by Julia Levine

Juxtaposing the International Day for Women & Girls in Science with Drawdown solutions, Persistent Acts considers the vitality of women and girls in the climate conversation, and how the arts can play a role in gender parity.

Of Drawdown’s 80 published solutions for reversing global warming, three are explicitly about women and girls. As Drawdown Vice President of Communication and Engagement, Katherine Wilkinson, states in her TedTalk How empowering women and girls can help stop global warming: “Climate and gender are inextricably linked.” Gender parity is connected to numerous climate solutions, but Drawdown solution #6, Educating Girls, drives a case for equity. Enabling opportunities for safe, quality education for girls “is the most powerful lever available for breaking the cycle of intergenerational poverty, while mitigating emissions by curbing population growth.” Moreover, “educated women can marshal multiple ways of knowing to observe, understand, reevaluate, and take action to sustain themselves and those who depend on them.”

In honor of this day, I chatted with ecologist and environmental lawyer Kyla Bennett. Kyla has taught classes and workshops for elementary school students, and noticed that the girls were less engaged than their male counterparts. In a talk with fifth graders about what they can do to help the earth, boys dominated the conversation. We discussed the need for girls’ voices to be valued in our society, so they can more actively participate in the classroom and beyond.

Kyla also brought up the inclination of girls towards the arts (reading books, watching movies), and how our society urges them toward creative pursuits at young ages – more so than boys. This suggests that we (artists) can support girls in feeling more comfortable with science, and in engaging with scientific topics at vital young ages (8-18 years old) through means that they already love. As Kyla explained, “everything is already stacked against girls in the STEM (Science, Technology, Engineering, and Math) area…we need to get it into their lingo.”

This is in part why Kyla wrote No Worse Sin, a young adult novel featuring a teenage girl in the face of global disaster. There is a love interest, but the story breaks the mold of a series like Twilight, to uplift the female character’s agency. Young people need stories that highlight leaders and heroes other than cis white men, and the stories for girls can and should be of substance in order to foster scientific curiosity.

No Worse Sin by Kyla Bennett.

Another example is a verbatim theatre project, A Chip on Her Shoulder, by director and playwright Kristin Rose Kelly. With Honest Accomplice Theatre, Kristin is creating a docu-play with music, investigating the experiences of women, trans people, and other minorities in the field of engineering. I talked with her about her impetus for this project, which started when she was a graduate student at Virginia Tech. As she came into leadership roles as a theatre director, she realized the extent of the gender bias against women in any leadership position, including in the engineering field, where only 15% of engineers are women. She connected with organizations like WINGS (Women Inspiring the Next Generation’s Success) to interview engineering students and professionals from around the country.

A Chip on Her Shoulder. Photo by Dylan Bomgardner.

There was a certain caution and reservation amongst female interviewees, especially those associated with institutions: “I can’t talk about this. I don’t want to use my name.” Women who do talk candidly are often labeled as having a “chip on her shoulder.” Yet there is no question that we need to break the stigmas and encourage more women and girls to embrace STEM. So many solutions to our global issues are being generated and developed in STEM; with more diversity and inclusion, such solutions can have greater impact for more people – not just those who look and think like the engineers. Kristin talked about the ethics of engineering, and the ideal that the tools engineers create should be for everyone. Empowering and uplifting women in STEM helps break the homogeneity, unlocking the unbounded applications of what engineers can do.

A Chip on Her Shoulder. Photo by Mary Rathell.

Through theatre, Kristin is spotlighting stories on the margins, stories of women in workplace situations not dissimilar to her audience’s. She is creating a piece of theatre that people across industries can relate to and helping them feel more resilient in their own workplaces and communities.

Kyla and I agree: Women are going to save the world. Whether it’s through art or science, women are drawing upon our particular ways of moving through the world and sharing modes of empathy with others to address climate. Drawdown has the research compiled on women-centric solutions; people like Kyla and Kristin are playing out the possibilities. This is notable today on the UN’s International Day for Women & Girls in Science, but it is also notable everyday that women comprise half of the world’s population.

There’s More…

Related posts:
My previous post When Women Lead
Chantal Bilodeau’s Exorcising Harveys, about tackling gender equity onstage in the Arctic
Chantal Bilodeau’s Why do Women Climate More Than Men?

Podcast recommendation: 
Mothers of Invention, hosted by former Irish President Mary Robinson and comedian Maeve Higgins, celebrating amazing women doing remarkable things in pursuit of climate justice.

Performance in New York City:
Honest Accomplice’s Engineer Not Found, created by Honest Accomplice Theatre featuring verbatim interviews from A Chip On Her Shoulder. Directed by Maggie Keenan-Bolger Rachel Sullivan and Kristin Rose Kelly with original songs by Teresa Lotz (music) and Naomi Matlow (lyrics), coming to The Tank this Spring.

(Top Image by Mariadel Alamort.)

This article is part of the Persistent Acts series which looks at the intersection of performance, climate, and politics. How does hope come to fruition, even in the most dire circumstances? What are tangible alternatives to the oppressive status quo? The series considers questions of this nature to motivate conversations and actions on climate issues that reverberate through politics and theatre.

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Julia Levine is a creative collaborator and vegetarian. Originally from St. Louis, Julia is now planted in the New York City downtown theatre realm. As a director, Julia has worked on various projects with companies that consider political and cultural topics, including Theater In Asylum, Honest Accomplice Theatre, and Superhero Clubhouse. She is the Marketing Manager at HERE and is Artistic Producer of The Arctic Cycle. Julia writes and devises with her performance-based initiative, The UPROOT Series, to bring questions of food, climate, and justice into everyday life.

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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by Mary Woodbury

Denver resident Peter Heller is a contributor to NPR, Outside Magazine, Men’s Journal,and National Geographic Adventure. He has written literary nonfiction and fiction – and he loves the outdoors, so his writing reflects his adventures, including in Hell or High Water: Surviving Tibet’s Tsangpo River, The Whale Warriors: The Battle at the Bottom of the World to Save the Planet’s Largest Mammals, and his newest, Kook: What Surfing Taught Me about Love, Life, and Catching the Perfect Wave. The Dog Stars was his debut novel, published in August 2012. Since then, he has also written the novels The Painter and Celine.

When I asked Heller if there was anything he would like to tell me about writing The Dog Stars, he said:

I believe climate change and the Sixth Great Mass Extinction – which we are in the middle of, and which has been caused by us – are the stories of our time. I think about them all the time. So, when I sat down to write my first novel, they had to inform the writing and the story.

Writers artistically document our times. They inform, create, entertain, and imagine. They warn and give hope. Sometimes they frighten us. They create new myths and expand on old ones. They have always reflected the changing world around us. In our Sixth Great Mass Extinction, like Heller said, come stories, and I believe that authors writing about this extinction are going through a period of unprecedented loss and reflection.

To learn more about the Sixth Great Mass Extinction, see National Geographic.

On Earth Day this year I took part in a panel called Climate Change and Storytelling, at the West Vancouver Public Library. Some of the main questions people asked were: How do you write about climate change in fiction, and what impacts readers the most? Is doom and gloom or cheer more effective? Authors are diverse in tackling global warming in fiction; they have their own way of storytelling – from didactic to the other end of the spectrum, not even really mentioning climate change at all. Readers are just as diverse. Some prefer science fiction. Some literary. Some like dystopia. Some can’t stomach it. Some stories, however, may hit home with almost everyone, and when I read The Dog Stars, I felt that it was one of these types of stories. However, it is a stark novel, brutal and honest to the bone.

Why Heller’s novel works so well is that it simply touches your heart, which was also our panel’s conclusions when it comes to why readers like any story, not just stories about climate change. Climate change may be a big focus in novels listed at this site, but when readers can relate to characters in the story, that’s when we get inspired. As I’ve pointed out often, impact is greater than intent.

The Dog Stars weaves an interesting story of a guy named Hig and his dog who live in an abandoned airstrip, Hig’s memories of his wife and unborn child, and his relationship with a neighbor named Bangley. Other characters enter the story: a group of Mennonites nearby and a father and daughter living “at the point of no return.” This apocalyptic novel has a conversational style, making the reader feel right at home. Hig is likeable, and the reader probably will root for Hig’s continued survival – and potential romance – in his climate-changed world where many species seem to be gone and an epidemic (“The Blood”) has wiped most people off the face of the Earth. Zoom in to Hig and his world, and you get a glimpse of Heller’s concerns for our own planet.

Heller has a deft writing style that captures loss well, but he is also all about cheering on the remaining wilderness:

There are patches of green wood, and I am their biggest fan. Go Go Go Grow Grow Grow! That’s our fight song.

He yells it out the window as he flies along in an old Cessna trying to see what’s remaining in his newly isolated existence. What’s not to immediately adore about Hig? He loves the wilderness, which is a diminishing aspect of planet Earth, but there are still signs of it. As a person who also spends a great deal of time outside, I see the woods and meadows continuing to disappear and so I revel in places that are still green, like Hig does, and I revel likewise in his prose about those places. Heller’s descriptions of woods and meadows and willows and creeks are partially why this novel hits the heart. When all these things are taken for granted, and then they are endangered, an author can bring them back with words, with warning, and with whispers of what once was – what may be in the future if we take care. John Seabrook in The New Yorker said about The Dog Stars:

The prose bears an obvious debt to manly sentence-smiths like McCarthy, Hemingway, and Jack London, but it also has lyrical descriptions of landscape and nature reminiscent of James Dickey’s poetry.

The reader can also relate because this is a down-to-earth novel, despite its nods to stars and constellations – and its main character flying around in the sky. Hig’s narration is similar to how any one of us readers might be thinking in a similar situation. We understand the eclipse of his life, from the modern era to the apocalyptic afterworld where lamentation, nostalgia, and yet hope are big. We are already starting to view similar situations found in the novel as climate change grips us in its talons and flies us toward uncertainty.

Climate change does not have to change humanity; relationships with pets, friends, lovers, and the natural world around us will live on. Nostalgia peaks because of loss, and survival may be frightening, but all the more reason to grasp onto others who help us cope with loss – similar to what’s happening in The Dog Stars. There is an uptick to the harsh environment and world that Hig finds himself in. There are plenty of frightening individuals, but we like Hig. NPR stated:

Hig, though, is Nice. He can’t quite give up his dreams of a better world, of brotherhood, of natural beauty, of grace. A failed poet, on his forays into the wilderness to hunt for deer, his voice becomes lyrical: “The moss I wonder how old. It is dry and light to the touch, almost crumbly, but in the trees it moves like sad pennants.”

I won’t spoil the story by telling everything that happens, but one particular event is a sad one that made me cry. And it made Hig fall into an existential lamentation. We are warned at the start of the novel that the future world is at the stage of lamentations:

Did you ever read the Bible? Check out Lamentations. That’s where we’re at, pretty much. Pretty much Lamenting. Pretty much pouring our hearts out like water.

Despite such a downfall, Hig goes on, and we are left with a heartfelt, jarring read that makes this one of my favorite stories wherein climate change is a strong force. Perhaps it is Heller’s beautiful prose writing. Maybe it’s that I identify with Hig’s love of nature and his excitement when he finds it. But, mostly, The Dog Stars is about us, in all our quirks and loves and nostalgia – and our vulnerability and found-strength when it comes to how we survive disaster.

(Top image: Photo by Photo by Hyoung Chang, downloaded from The Denver Post.

This article is part of our Wild Authors series. It was originally published on Eco-Fiction.com on May 12, 2017.

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Mary Woodbury, a graduate of Purdue University, runs Eco-Fiction.com and Dragonfly.eco, sites that explore ecology in literature, including works about climate change. She writes fiction under pen name Clara Hume. Her novel Back to the Garden has been discussed in Dissent Magazine, Ethnobiology for the Future: Linking Cultural and Ecological Diversity (University of Arizona Press), and Uncertainty and the Philosophy of Climate Change (Routledge). Mary lives in the lower mainland of British Columbia and enjoys hiking, writing, and reading.

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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by Brenda Cummings

I am a professional actor, singer, writer and teacher from New York City and New Jersey. I have performed, written for, and worked with children for several decades. I created shows with New York’s Paper Bag Players, toured extensively with the company, created props/costumes, and led workshops in New York and on the road. In addition, I did television and theater in New York as well as regional theatre productions with numerous companies in the 80s, 90s and 2000s.

My late husband inherited his family home in suburban New Jersey, so we moved into the house in the early 2000s. His parents had been environmentalists and educators in the area during the 50s thru the 90s. They had grown all their own vegetables, volunteered at the local nature center and helped to educate locals about environmental issues. I always had great respect and admiration for their work, so I tried to pick up where they left off.

We adopted a beautiful 10-month-old girl through the foster care system and when she started kindergarten I realized that the kids in our upper-middle class area were not learning how to prepare for climate change or think sustainably. How could they possibly deal with the environmental problems they’d be inheriting? There was practically no public transportation in our area, bottled water use was wide-spread, parents idled their SUVs in front of schools, the food and plastic waste at school was appalling, and environmental education had become practically nonexistent. When our town banned beekeeping, I’d had enough.

I started working on Granny Green’s Green Machine, writing songs, and picture books. I created set pieces, props and costumes from recycled materials. I offered shows as well as arts and crafts programs to help kids learn how to make art or useful things out of their trash.

The idea I wanted to impress upon them was that everything we do affects other things. All the parts of the natural world are connected like the parts of a machine. I hoped that the children would take information home through a song, a story or a treasure. I began presenting the programs wherever possible – in schools, at Earth Fairs, and the youth development organization 4H and scouting events.

I talked to teachers, administrators, and parents about changing things in our schools but I failed to light any fires. I joined a local sustainability group to talk about the issues with like-minded people. There were not many of us at the time, and sometimes it felt like what we were doing was subversive. There were times when I was dismissed or treated like a screwball in my town, but eventually I was asked to join our town’s environmental commission and head our Green Team. We began doing annual town clean-ups, showing educational films, and bringing in lecturers. Soon after, I was invited to write a sustainability column for the local newspaper. We worked with neighboring towns to broaden our scope, but very few of the area’s residents actually came to our events, and we were, from time to time, met with outright hostility.

I have sometimes gotten arguments from parents and educators who say that talking to children about climate change is too scary. I think it’s scarier to keep children in the dark about their future. One of the songs I wrote for the show is The Polar Bear Blues and along with it I describe how the greenhouse effect works. It’s not scary. It’s science with a song.

I try to promote the idea that kids can make changes at home and in school. The theme song of the show is In My Backyard — I can make the whole world greener in my own backyard.

I did an Indiegogo campaign in 2016 to raise funds to publish I Am the Hugger! – a picture book about trees and the many wonderful things they do for us. I will be eternally grateful to my friends and family members who contributed to the publication of the book.

Our taxes got higher and higher, my husband lost his editorial job, and the 2016 campaign and election had a negative effect on the way children were treating our African American daughter. The bullying got so bad that at one point a group of boys chased her down the street with sticks, hurling racial epithets at her. We left New Jersey a year and a half ago and moved to progressive Tacoma, WA where my family lives. I’m slowly getting into the performance and art worlds here and I’m in the process of publishing some new picture books and recording a new album.

Starting over at 60 is challenging, but I don’t plan to stop any time soon. Children need to know the truth if they’re going to help solve the many problems they will face. These days, more and more young people are speaking out about climate change and the environment. Their courage and understanding of the issues gives me hope for a better future.

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Brenda Cummings recently moved from the New York City area to Tacoma, Washington. She performed in New York and regional theater, including Mrs. Pierce, My Fair Lady; Mrs. Lynch, Grease (The Papermill Playhouse); Georgette, School For Wives (The Yale Repertory Theater); Adelaide Churchill, Lizzie Borden (Goodspeed Opera House), and Teresa, Don Quixote(Denver Repertory Theatre). Brenda worked with Obie award-winning playwright/actor Jeff Weiss in Hot Keys, Come Clean and That’s How the Rent Gets Paid. Brenda was with the Obie award-winning children’s theatre company The Paper Bag Players, and has presented Granny Green’s Green Machine since 2009.

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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by Amy Brady

Today I have for you an interview with Catherine Sarah Young, a Chinese-Filipina interdisciplinary artist, designer, and writer who creates works that investigate nature, our role in nature, and the tensions between nature and technology. We discussed her latest projects and why she’s drawn to the subject of climate change.

Your work combines art and science. What are you hoping to communicate through your interdisciplinary work that art or science alone can’t?

I am hoping to communicate the beauty and fragility of nature and how our actions create impact on the planet. More importantly, I hope to inspire people to redefine our relationship with nature, with each other, and with the self – and to get them to act. With this broad aim and lots of things to be inspired by, I am usually driven to create many different things. I was trained in molecular biology, fine art, and interaction design, and all these have brought me a myriad of lenses with which to see the world. Science helps me to see the world for what it is in its many dimensions, while art creates emotional connections that are important to see nature as part of our identity. Design is incredibly useful, too, since it’s about empathy, and we need that when we want to effectively communicate or facilitate something to another person, especially when this might be a complex topic that is not easy to swallow.

Tell us about your most recent project, Wild Science.

This is a project I started in Vienna in April 2018 during an art residency with KulturKontakt Austria and the Austrian Federal Chancellery. I did this after five years of working on The Apocalypse Project. I had observed a shift in conversation since 2013 when I began work on climate change, where we went from asking what climate change was, to what were the systemic issues that were causing it, such as wealth inequality, lack of access to science, lack of collaborations between disciplines, etc.

It was great to start this in Vienna, which has a rich history of both art and science, so I was able to go through a lot of museums. I also had the fantastic opportunities of working with Dr. Gerhard Heindl, the historian of the Schönbrunn Tiergarten which is the oldest zoo in the world, for the project, Der Tiergarten: Human Forces on the Animal Kingdom, and to have conversations with people from the Naturhistorisches Museum, Vienna, such as Dr. Silke Schweiger, curator of the Department of Herpetology, and Ms. Melina Franz and Ms. Mirjana Pavlovic from the taxidermy team for the project, Scientific Method.

One of my favorite projects in this body of work so far is Letters for Science, where I ask people to write letters to science denialists. I was able to go to Eferding thanks to KulturKontakt Austria’s Artist in Residence Go to School program, and a group of thirteen year olds chose to write letters to climate change deniers. (The project is still ongoing and everyone is welcome to contribute.)

I like being prolific and there are always all these questions in my head that I need to answer by doing projects, so I’ll likely keep working on both The Apocalypse Project and Wild Science for a while, and perhaps others.

You told me something during our very first chat that I haven’t been able to get out of my head: that an artwork you created using a breathing mask actually became a part of your wardrobe while you lived in China. This is an extreme example of just how relevant your work truly is. It’s also an example of how a piece with humorous connotations evolved to be a lot less funny as the world we live in has grown increasingly more polluted. Have you noticed other works of art changing in meaning as the world changes?

Futurists often quote William Gibson, “The future is here; it’s not just evenly distributed.” I remember including masks in the Climate Change Couture series almost as a joke, and I brought one of them to Beijing with me for a potential exhibition or just to show people. Instead I ended up wearing it because the smog was just too much for me. I think visions of the future catch up to us more quickly because we are changing the planet so fast. I keep revisiting the works of people such as Buckminster Fuller, Agnes Denes, Cai Guo-Qiang and others as I feel that their work keeps being relevant in different contexts.

In your artist statement, you write that your work is “critiquing broken real-world systems and proposing alternative realities.” Are you hopeful that humans will create a future reality that is actually sustainable?

We are all part of these broken systems, and this can make one feel helpless. But for me, to make art is to be hopeful. It may feel easier to be willfully blind or uncaring about these realities, or make them even worse by manipulating our consumerist tendencies, but creating art is a way where I can face each day with purpose and have a stake in the future. So I am hopeful that we will make a reality that is sustainable – we have to, if we wish to survive. Right now I’m thinking of my experience with the Haus der Kulturen der Welt’s (Un-)Learning Place, which ended for me just a few hours ago, because I was surrounded by academics, artists, and other cultural practitioners whose work and lives were so different than mine. One prevailing emotion I felt in myself and in others was a disquiet with institutions that have failed us. So I hope that we will dismantle these or find ways to fix them and keep engaging with people who are different than us and who may even disagree with us. I grow so much with these art residencies and fellowships – they are not only ways for me to connect with people and to challenge myself and my assumptions, but to also remind myself that among the greatest of freedoms is the ability to think for oneself and to question everything without fear.

What’s next for you?

After a short stint in Berlin, I’ll be taking a much-needed rest in Manila, then I’ll be back in Beijing in March to continue my residency with China Residencies and Red Gate Residency. I’ll be in Kampong Thom, Cambodia in May and in Bangkok, Thailand in June for parts 2 and 3 of my fellowship with the SEAΔ program of Mekong Cultural Hub and the British Council. I’ll also keep making more art, writing more stories and articles, and training more in taekwondo.

Read more about Catherine Sarah Young and her work at her website.

For previous articles about Catherine Sarah Young’s work, check out:

Scientific Method: Documenting the Invisible Processes of Research
Wild Science: Experiments in Nature and the Vanishing Amazon
Turning Sewage into Soaps: The Sewer Soaperie by The Apocalypse Project
Climate Change Couture

This article is part of the Climate Art Interviews series. It was originally published in Amy Brady’s “Burning Worlds” newsletter. Subscribe to get Amy’s newsletter delivered straight to your inbox.

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Amy Brady is the Deputy Publisher of Guernica magazine and Senior Editor of the Chicago Review of Books. Her writing about art, culture, and climate has appeared in the Village Voice, the Los Angeles Times, Pacific Standard, the New Republic, and other places. She is also the editor of the monthly newsletter “Burning Worlds,” which explores how artists and writers are thinking about climate change. She holds a PHD in English and is the recipient of a CLIR/Mellon Library of Congress Fellowship. Read more of her work at AmyBradyWrites.com and follow her on Twitter at @ingredient_x. 

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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Ashley Mazanec, a singer/songwriter from Encinitas, California, joins us in the Art House. She tells us about some of the songs on her album Let’s Talk About the Weather, and fills the segment with powerful pop tunes. In addition to making music, Ashley holds regular monthly events that bring together other eco-artists.

Coming up next month, sculptor Emily Puthoff uses her art to build solitary bee habitats.

If you like what you hear, you can listen to full episodes of Citizens’ Climate Radio on iTunes, Stitcher Radio, Spotify, SoundCloud, Podbean, Northern Spirit Radio, Google Play, PlayerFM, and TuneIn Radio. Also, feel free to connect with other listeners, suggest program ideas, and respond to programs in the Citizens’ Climate Radio Facebook group or on Twitter at @CitizensCRadio.

This article is part of The Art House series. 

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As host of Citizens’ Climate Radio, Peterson Toscano regularly features artists who address climate change in their work. The Art House section of his program includes singer/songwriters, visual artists, comics, creative writers, and playwrights. Through a collaboration with Artists and Climate Change and Citizens’ Climate Education, each month Peterson reissues The Art House for this blog. If you have an idea for The Art House, contact Peterson: radio @ citizensclimatelobby.org

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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