WATER IMBALANCE — A Visual Conversation

March 18 to April 1, 2015

Open every day, 8 am to 10 pm

ASU Art Building, 900 S Forest Mall

Tempe, AZ 85281 

Curated by Danielle Eubank and Sandra Mueller, the “Water Imbalance” exhibition is set to coincide with the 2015 Balance UnBalance Conference at Arizona State University in Tempe from March 27-29, 2015. The eight women artists in the exhibition work in a variety of media including painting, photography, drawing and installation. The artworks speak to the preciousness of water—especially in women’s lives—and the considerable impact of drought. Short written statements by each artist challenge viewers to consider their own ideas about the imbalance of clean, available water without an apparent solution. The conference brings multiple disciplines together with participants coming from 24 countries to the ASU campus. The conference theme, ‘Water, Climate, Place: Re-Imagining Environments’ aims to provoke discussion and reflection on how our climate is changing and what our future might hold.

Participating artists: Kim Abeles, Sukey Bryan, Eco-Art Collective, Elizabeth Damon, Danielle Eubank, J. J. L’Heureux, Sandra Mueller and Melissa Reischman.

Danielle Eubank is a painter, curator, expedition artist, adjunct faculty member at University of La Verne and a 2014-15 recipient of the Pollock Krasner Foundation Grant. Her work has been shown in Europe, Asia and the US. She received her MFA from UCLA. Sandra Mueller is a interdisciplinary artist, editor/writer and curator whose work, which focuses on the intersection of ecology and feminism, has been shown throughout the Pacific Rim. The duo met while working in interactive media more than 20 years ago and re-connected at a 2010 ecology conference at the David Brower Center in Berkeley.


CSPA Director Ian Garrett to speak at Rice University on Thursday, March 26

Ian Garrett Headshot-4-2014CSPA Director Ian Garrett to speak as part of the The Arts in the Humanities Lecture Series, 2014-15 in the Rice University Department of Visual and Dramatic Arts.

Ian Garrett
Arts, the Environment and Sustainability in the Near Future

March 26, 2015
7-9:00 p.m.
Hamman Hall (reception to follow talk)

Ian Garrett is assistant professor of ecological design and performance at York University in Toronto.  He received his BA in architectural studies and art history from Rice University and his MFA in producing and lighting design from the California Institute of the Arts.

Garrett is a designer, producer, administrator and educator. He is assistant professor of ecological design for performance at York University in Toronto, co-founder of the Center for Sustainable Practice in the Arts, and resident designer at the Indy Convergence. He is a member of USITT, OISTAT and ADC, and is associate curator for the US entry into the 2015 Prague Quadrennial. He serves as Vice chair of the Board of Trustees for DanceUSA, the national service organization for professional dance in the US.

He has many active projects for which he is serving as a designer and systems consultant, most recently the set and energy capture systems for Vox:Lumen, a full length dance production which premiered at the Harbourfront Centre in March 2015. He designed the video systems of DTAH Architects’ installation for the Storefront for Art and Architecture’s Toronto Site, and was the designer for the lighting team of Crimson Collective’s Ascension at the 2010 Coachella Music Festival. He received the 2006 LA Weekly Theater Award for his lighting of Permanent Collection, at the Kirk Douglas Theatre, and lit Song of Extinction (Moving Arts), the 2008 LA Weekly Production of the Year.

Garrett has chaired the conferences Sustainability in Theatre and Staging Sustainability, 2014, and served as sustainability coordinator for World Stage Design, 2013. His writing includes the chapters The Carbon Footprint of Theatrical Production, published in Readings in Performance and Ecology, from Palgrave McMilian, and the paper Theatre is No Place for a Plant in Landing Stages from the Ashden Directory. His essay Art, the Environment, and Sustainability, is one of ten commissioned monographs being released by Americans for the Arts this year looking at the future of the arts in the US.

logo_rice3This Arts in the Humanities lecture is a collaborative partnership with the Department of Visual and Dramatic Arts, the Rice School of Architecture, the Humanities Research Center, and the Center for Energy and Environmental Research in the Human Sciences (CENHS).

Zata Omm Dance Projects’ Vox:Lumen Goes Off Grid

Produced with Harbourfront Centre’s World Stage in association with York University and Aesthetec Studio

March 4–7, 2015 in the Harbourfront Centre Theatre, Toronto, Canada


Choreographer William Yong proposes a future in which human labour produces energy and the pleasure of movement works to integrate technology into the social sphere. Thanks to a multi-year creative partnership with ground-breaking researchers at York University and interactive designers Aesthetec Studio, Zata Omm is undertaking a formal experiment of the most absolute practicality: What does a show that is powered by sustainability look like?

Lighting itself with energy created by the dancers, the audience and renewable sources, vox:lumen imagines a situation in which the necessity of illumination structures every human interaction. The performance confronts the audience with the most elemental metaphor for understanding, as dance becomes the interplay of darkness and light – the light we make ourselves. The audience is invited to help contribute to vox:lumen’s energy needs from March 4 to March 7 (an hour before the show) at Zata Omm’s Energy Fair in the theatre lobby.

Zata Omm Dance Projects is Zen and the Actualization of Modern Movement. Artistic Director William Yong has made the award-winning organization a site for research focussing on the integration of dance, technology and broader culture.

The audience is invited to help contribute to vox:lumen‘s energy needs from March 4 to March 7 (one hour before the show) at Zata Omm’s Energy Fair.

  • Concepts and Choreography: William Yong
  • Dancers: Michael Caldwell, Irvin Chow, Daniel McArthur, Brendan Wyatt and William Yong.
  • Technology designer and research partner: Mark Argo and Asethetec Studio
  • Set designer and technology consultant: Ian Garrett
  • Lighting designer: Simon Rossiter
  • Composer: Andrea Rocca (Actress Voice: Zoe Hunter)
  • Workshops technical director and set builders: James McKernan with assistants Jonnathan Leong-Sem and Adam Brewer.
  • Production technical director: Kirsten Labonte
  • Dance and technology research strategist and video designer: Elysha Poirier
  • Creative process outside eye: Andrea Nann
  • Director of strategy and development: Randy S’ad
  • Documentary film maker: Timothy Garrett
  • Zata Omm company manager: Samantha Mehra

Zata Omm’s vox:lumen in research and creation from Zata Omm on Vimeo.

Early stage of technology research was funded by George Cedric Metcalf Charitable Foundation. vox:lumen is sponsored by Bullfrog Power and generously funded by Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Harbourfront Centre and TD Friends of the Environment Foundation. Solar Energy devices are sponsored by Better Current and Kortright Centre for Conservation/Toronto and Region Conservation Authority. Light-emitting diode (LED) stage lighting is sponsored and costumed made by A.C. Lighting Inc. Energy fair displays sponsored by Asethetec Studio, Kortright Centre and Tune Your Ride.


Zata Omm Dance Projects is in a state of constant development with on-going artistic research to explore the artistic climate, reflect contemporary culture and lead the emerging artistic trends. Zata Omm’s objective is to create multidisciplinary contemporary dance works using meaningful integration of dance, technology and other art forms on stage in order to provide an alternative way of seeing our world, which facilitates our exploration and understanding of the human condition. Artistic Director William Yong has created more than 57 dance works worldwide which have been presented by major presenters or in renowned festivals.



vox:lumen – Pre-show Tea

Wednesday, March 4, 2015
Join us for a series of Pre-show Teas with our Harbourfront Centre Scholars-in-Residence. Admission is free with the purchase of a ticket to the opening performance of vox:lumen.

In recent years, we have become increasingly aware that we have consumed and are consuming our planet’s resources at an alarming rate. Sustainability movements have begun to work against the prospect of a dark future. Arising from this context, vox:lumen asks: What does a show that is powered by sustainability look like? How can theatre, and our participation in it, lead to a more sustainable world? Join Scholar-in-Residence Denise Cruz for a pre-show tea and conversation about sustainability, the arts, collaboration, and their consequences for our planet.

vox:lumen – Talkshow

Thursday, March 5, 2015
The second performance of each World Stage production is followed by our talkshow event, where the artists connect with the audience outside their work, fielding questions with the moderation of their colleagues in the community. Admission is free with the purchase of a ticket to vox:lumen.

Toronto: Eco-Art-Fest Save the Date!

HEADER.1d2664e.1.1.1Save the date! Join us on June 21st from 5-11pm for the No.9 Eco-Art-Fest Opening Preview night at Todmorden Mills!

Eco-Art-Fest is an outdoor summer-long festival that 
– Promotes sustainability and environmental awareness
– Provides hands-on artistic programming
– Celebrates an active outdoor lifestyle
– Presents 8 public artworks by Dean Baldwin, Nicole Dextras, John Dickson, Sean Martindale, Ferruccio Sardella, Penelope Stewart, Labspace Studio (John Loerchner & Laura Mendes). 

The festival runs until September 21st, Wednesday to Sunday.

For more information, visit

Formal Invitation with Ticket information to follow.

Culture2015 – Declaration on the Inclusion of Culture

Declaration on the Inclusion of Culture in the Sustainable Development Goals

1 May 2014

We, the undersigned organisations active in the field of culture and development:

Understanding the concept of development to comprise

  1. human development: the pursuit of the full potential of citizens with physical, emotional, spiritual, intellectual, psychological and cultural dimensions
  2. social development: the building and sustaining of structures, policies and strategies that facilitate and enhance the pursuit of human development, social cohesion and participatory governance
  3. economic development: the creation of wealth and generation of economic resources that can help drive human and social development

Convinced of the unsustainability of

  1. human development without fundamental rights and freedoms and respect for cultural diversity
  2. social development without social justice
  3. economic development that exacerbates inequality and depletes natural resources

Observing that the cultural dimensions of development are too often ignored to the detriment of the achievement of sustainable development – human, social and economic

Recognizing that

  1. culture – understood as an ensemble of values, traditions, tangible and intangible heritage, religious beliefs, worldviews and the expressions of culture in ways of living – can facilitate the achievement of development goals
  2. development – premised on values, worldviews, ideological beliefs, vision etc – is itself an act of culture that impacts, benevolently or adversely, on the culture of its intended beneficiaries
  3. conflicts rooted in economic and power disparities may be fueled by the exploitation of cultural differences, with such conflicts impacting negatively on development through the destruction of infrastructure, social cohesion and human life and the flight of people with expertise

Believing that

  1. strong cultural organizations and participation can play a key role in preventing conflict by promoting dialogue and a diversity of cultural expressions
  2. development means participation in the cultural life of the community and access to the arts as fundamental human rights asserted in the Universal Declaration on Human Rights
  3. as the fourth dimension of sustainable development, culture is as essential as the economic, social and environmental dimensions; and therefore, the safeguarding of heritage, diversity, creativity and the transmission of knowledge are integral to sustainable development
  4. human development thrives on creativity, creative expression, the arts and cultural heritage as means of emotional and psychological catharsis, intellectual stimulation and the exploration, celebration and transformation of the human condition within given circumstances
  5. social development requires creativity, a diversity of creative expressions, the arts and cultural heritage as means of education, social cohesion, intercultural dialogue and the building of national identity
  6. economic development will benefit from capacity building and investment in all aspects of the value chain of the arts, creative industries, and tangible and intangible cultural heritage, by in turn creating jobs and generating income

Recalling the many United Nations resolutions, international declarations and instruments on culture and sustainable development, as well as the substantial evidence, gathered during the last two decades, of the positive role of culture in development.

Convinced that culture is both a driver and enabler of development and should therefore be integral to Post-2015 Sustainable Development Goals based on

  • A vision of the future anchored in human rights and universally accepted values and principles, including those embodied in the UN Charter, the Universal Declaration of Human Rights, UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions, and the Millennium Declaration;
  • A focus on issues with the greatest impact on sustainable development and a set of concise goals and targets aimed at realizing the priorities of the agenda;
  • A global partnership for development to mobilize implementation and a participatory monitoring framework for tracking progress and mutual accountability mechanisms for all stakeholders.


Call on governments and policymakers defining the post-2015 UN Development Agenda to ensure that targets and indicators on culture be included as part of the Sustainable Development Goals

in particular (but not limited to) those related to

  • Poverty eradication
  • Education
  • Sustainable cities and human settlements
  • Peaceful and non-violent societies
  • Equality
  • Ecosystems and biodiversity
  • Economic growth

Commit to work together and with international, regional, national and local partners to achieve development policies and strategies that recognize and integrate effectively with the cultural dimensions of development

* * * * * * * * * * * * *

International networks promoting the campaign to include culture in the Sustainable Development Goals

  • IFACCA – International Federation of Arts Councils and Culture Agencies
  • Agenda 21 for culture – UCLG’s Committee on Culture
  • IFCCD – International Federation of Coalitions for Cultural Diversity
  • Culture Action Europe
  • Arterial Network
  • IMC – International Music Council
  • ICOMOS – International Council on Monuments and Sites

To support this campaign please urgently:

  • Visit and sign this Declaration either as an organisation or as an individual
  • Send this Declaration, or your own message, to your country’s representative at the United Nations (this will probably be via the Minister or Department for Foreign Affairs).  See the list of Permanent Delegates here
  • Circulate this Declaration to your networks and spread the word.

Why is this important?

Global expenditure on development over the next 15 years will be defined by the final goal document to be agreed by UN Member States in coming months. If culture is not mentioned, it will be extremely difficult for countries to elaborate policies and provide funds for projects that rely on culture’s role as a driver and an enabler of sustainable development.

‘Culture’ was completely absent from the Millennium Development Goals document . Don’t let this happen again.

Why is this urgent?

UN’s Open Working Group (OWG) on Sustainable Development Goals (SDGs) holds working sessions to draft a list of goals, targets and indicators. ulture is again almost absent. The OWG’s draft of the SDGs will be finalized in July 2014.

Please act now and help raise awareness of the UN’s Member States of culture’s vital contribution to sustainable development.

Contact: info@culture2015goal.netThis email address is being protected from spambots. You need JavaScript enabled to view it.


Charlotte_Hodge_Tim_Atkinson_Rick_FisherBedlam Theatre has taken the :entertaining sustainability Award for Venue Sustainability at the inaugural Technical Theatre Awards, presented at a ceremony held on Tuesday evening at the annual PLASA London live entertainment technology show at the ExCeL.

Charlotte Hodge, Bedlam’s Theatre Manager, collecting the Award on behalf of the student-led venue in Edinburgh, said, “Receiving this award is a huge honour for Bedlam. We feel that sustainability is so important to the future of theatre as a whole. We have many ideas on how to improve but as a student-run theatre company we don’t necessarily have the professional experience or the funds to know where to make a start on them. That is why this award is so important to us: it rewards our enthusiasm and our drive to make changes with the resources we have. This award will help us in our mission to make Bedlam Theatre a more sustainable venue for future members.”

Hodge continued, “Thanks must go to Edinburgh University and the Edinburgh University Students’ Association for their support; to Creative Carbon Scotland and Harry Giles of Festivals Edinburgh for their advice; and to the many Bedlam members who have got us to this point, in particular Luciana Miu, Adam Alton, Bryn Jones and Ruth Luckins.”

Tim Atkinson, Technical Director of :entertaining sustainability, the award sponsor, said, “Bedlam Theatre’s team demonstrates once again that it is perfectly feasible to present uncompromising and exciting live entertainment whilst continually innovating and experimenting to reduce the residual impact of its operations”.

Atkinson went on, “By experimenting with initiatives such as electronic programmes, and collaborating with organisations such as Creative Carbon Scotland, Bedlam repeatedly pushes the envelope of what is achievable within their parameters. Most importantly, the team communicates their work with their audience – a crucial engagement – and with so many patrons at each performance, their message spreads quickly beyond the walls. Huge congratulations to them all.”

The Technical Theatre Awards has been established to recognise the achievements of backstage staff in production, and was given considerable industry support, not only by its host, Tony and Olivier Award-winning lighting designer and former chairman of the Association of Lighting Designers, Rick Fisher, but by the industry sponsors who supported each award.

The full list of winners is: Paul Arditti, dBS Award for Outstanding Achivement in Sound; Tim Routledge, Philips Entertainment Award for Outstanding Achievement in Lighting; Ben Philips, AVW Award for Outstanding Achievement in Automation; Jonathan Hall, StageBitz Award for Outstanding Achievement in Prop Making; Chris Layton, PRG Award for Outstanding Achievement in Education; Megan Cassidy, IOGIG Ltd Award for Outstanding Achievement in Wardrobe; Adam Searle, Load Cell Rental Award for Outstanding Achievement in Flys and Rigging; Stefan Musch, The Theatres Trust Award for Outstanding Achievement in Wigs and Makeup; Sadler’s Wells, Spotlight Accounting Award for Receiving Venue of the Year; Autograph Sound, AdVision Hire Company of the Year Award; Janet Williamson, Triple E Award for Outstanding Achievement in Building and Set Construction; Richard Bullimore,  Lighting and Sound International Award for Outstanding Achievement in Production Management; Bedlam Theatre, :entertaining sustainability Award for Venue Sustainability

For more information visit

New Perspectives on Ecological Performance Making, London

This one-day symposium will bring together researchers, practitioners and students for a discursive investigation of performance approaches that explore the human relationship with the natural world. The recent Readings in Performance and Ecology (2012) and Performing Nature (2007) acknowledge that ‘conventional theatre’ may not be as well positioned to intersect with ecology as other forms of performance. Other paradigms such as eco-activism, bicycle performances, outdoor audio-walks, landscape performances, allotment performances, live art and site-based participatory performance offer unique opportunities for audiences to intimately engage with the living world and interact directly with the material environment. Recent examples of practice include Simon Whitehead’s work, Townley and Bradby’s The Bowthrope Experiment, Earthrise Repair Shop, Platform’s Oil City, the work of Fevered Sleep and FanSHEN’s Green and Pleasant Land. This symposium will assemble key people in the field of Performance and Ecology to explore how new paradigms can be developed from a number of different perspectives and expertise on the subject.

Hosted by the Theatre Applied Research Centre, confirmed participants include Wallace Heim, FanSHEN, Julie’s Bicycle, Sally Mackey, Ian Garrett, Harry Giles, Stephen Bottoms, Dee Heddon, Carl Lavery, Dead Good Guides, Peter Coates, Silvia Battista, Eve Katsouraki, Gareth Somers, Sarah Hopfinger, and Baz Kershaw.

Lunch will be provided along with tea and coffee.

Book Now: New Perspectives on Ecological Performance Making Tickets, London – Eventbrite.

Jean-Claude Carrière Theater at the domaine d’O

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The Jean-Claude Carrière theatre is a unique «environmentally friendly» project, based on a global environmental approach aiming for general energy efficiency and for environmental quality standards.

Other than the slab that supports it, the entire structure could be dismantled and rebuilt on a different site. Just like the similar project at the Comédie Française (the «théâtre éphémère»), the structure is entirely built out of wood panels (KLH). The unique design is enhanced by a light wooden lozenge structure recovering the entire building.

MGB_3838 copieThe renowned Montpellier architect firm A+ architecture has been entrusted with this project, which from the very beginning has been designed taking the natural environment of the location into account : a construction which can be entirely dismantled, the use of wood, a light architectural expression, respecting the surrounding wooded zone. The building is entirely built of recyclable material, using for instance PECF labelled wood, providing an outstanding carbon footprint for this project.

The theatre is more than remarkable in terms of energy efficiency, including the innovative heating system, an excellent insulation system and the exclusive use of LED for the lightning systems. The acoustic insulation system has been optimised in order to avoid neighbourhood sound pollution and to create perfect interior acoustic settings for the stage. Retractable seating solutions, a modular stage frame, a construction that can entirely be dismantled, optimised technical  zones, a bright and welcoming hallway…

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picture credits, following pictures : Jean-Yves GILBERT


Are They Edible? (entertainment you can taste)



ARE THEY EDIBLE? has been selected to be presented by La MaMa Theatre Puppet Series – a bi-annual puppet series presented by the reputable La MaMa Theatre.  It will preimere from November 7-10, 2013 at The Club.

Are They Edible? is a multi-sensory puppetry performance inspired by Homer’s epics: the Iliad and the Odyssey. It takes place in an interactive setting in which food consumption is used as a way to engage the audience in a tactile discourse on the relationship between war, heroes, and hunger (or the urge to consume).

Initiated by war then cursed by pride, Homer’s Iliad and Odyssey are tales of war, of the construction and destruction of heroes, of how hunger and thirst for violence are never satisfied, and of wearied soldiers’ journey – and ultimately one soldier’s journey home. While our memory mostly lingers around the heroic acts associated with these tales, I want to emphasize the image of only ONE soldier, Odysseus, succeeding in returning home and his son Telemachus, meanwhile, growing up to join him in slaughtering the suitors. Through this act, Telemachus becomes the next hero preparing for another Trojan War. This parallels how we encourage and celebrate the sacrifices from our generations of military service.

During the performance, audiences will be served food along with red wine. In addition, they will be led literally on their feet to journey through different puppetry stations as a way to put them inside the experiences similar to Odysseus’ and a given birds’-eye view of the scope of atrocities with the eerie sense that this is all constructed for their enjoyment and available for their consumption or manipulation.

The tone the piece sets out to create is of uneasy playfulness, where at times the audience is able to taste, enjoy, and comment on the action with one another, and at other times will be lulled into private contemplation through immersive visual, aural, and sense-of-taste experiences.

We are working hard towards making this premiere a great success but need a little extra financial help to support all the wonderful artists who are involved in the project, many of whom I’ve been collaborating with for years. This project is blessed by their talent and commitment so please join me in supporting them by making a donation today.

Because this is an “all or nothing” type campaign, I am setting the goal at $6,000 to cover the costs of supplies and puppet creation as well as ARTISTS and every dollar that exceeds this goal will continue towards supporting the artists involved with my new performance.

Artists involved in this production include:

  • Torry Bend (Set and Puppet Designer – since 2011)
  • Burke Brown (Lighting Designer – since 2011) * Andrew Butler (Performer – since 2012)
  • Nikki Calonge (Performer – since 2011)
  • Elizabeth Eggert (Technical Direction)
  • Nicole Greene (Stage Manager – since 2011)
  • Phillip Gulley (Video Designer – since 2012)
  • Connie Hall (Culinary Designer – since 2011)
  • Karl Hinze (Composer)
  • Amy Jensen (Dramaturg – since 2011)
  • Tom Lee (Puppet Designer & Builder)
  • Maggie Robinson (Performer)
  • Rachel Schapira (Props and Puppet Designer – since 2012)
  • Margaret Schedel (Sound Designer) – Bobby McElver was the original designer but unfortunately his schedule won’t allow him to work on this.
  • Julia Sirna-Frest (Performer – since 2011)
  • Matthew Stephen Smith (Playwright)
  • Marisa Lark Wallin (Performer – since 2011)
  • Meghan Williams (Performer) and Puppet Designer – since 2011)

Julie’s Bicycle Releases New Sustainable Production Guide at Sold out Event

JBsustainingcreativity.102840Julie’s Bicycle on Tuesday launched its new Sustainable Production Guide at the first of their autumn events on Sustainable Design in the Arts to 50 arts professionals.

Speakers Donyale Werle, Tanja Beer and Sam Collins led the debate on the role designers and production managers can play in making arts practice more environmentally sustainable. Hosted by the Young Vic, the panel addressed an audience of London and UK based arts professionals from across theatre, opera, visual arts, dance and education.

After her success at World Stage Design 2013, Donyale Werle spoke about her experiences designing and constructing shows sustainably on Broadway, and the need to the normalise sustainable practices and work with current networks and suppliers to create change. Tanja Beer presented her research into eco-design principles and went on to explain her “Living Theatre” project as an example of how work can be designed to engage and enrich audiences, and leave a positive environmental and social legacy.

Sam Collins offered a different perspective, highlighting the potential for sustainably-designed artwork to create the context for honest and open discussions about waste and carbon emissions within the industry, particularly with regards to touring shows. He used the striking example of adding a GPS device to packing crates transporting Cape Farewell’s U-n-f-o-l-d exhibition to track their journey around the world. This was followed by a 50 minute discussion with the audience covering topics of new materials, the use of toxic treatments and contending with fire regulations, waste management, and the role of artistic vision in driving the cultural shift towards a more environmentally sustainable arts sector.

The event also included the launch of Julie’s Bicycle’s new Sustainable Production Guide. Available from today for free download the guide has been developed with a community of production professionals, and offers comprehensive guidance on how to make theatre more sustainable at every stage in the production process.

The guide is available for free download at:

Arts Manager Sholeh Johnston said, “The Sustainable Production Guide is the result of a collective effort within the theatre industry to understand and improve the environmental sustainability of production. It showcases best practice developed to date, links to key resources, and provides practical actions for directors, production managers, set designers and builders, costume makers, cast, marketeers and others involved with making great art happen. The guide is both a distillation of Julie’s Bicycle’s research to date, and an invitation to join an exciting community of practitioners pioneering new ways of working in line with environmental, economic, and technological drivers. We want to keep the conversation going, and continue to shout about the fantastic work being developed.”

Download the Guide here: Sustainable-Production-Guide-Final-2013