Open Calls

Opportunity: Nature and Culture to Revitalize an Island

This post comes to you from EcoArtScotland

International Creative Workshop in Megijima, Japan
2016 October 2-9 (long session) / October 8-9 (short session)
hosted by SocieCity and Final Straw
with Patrick M. Lydon, Suhee Kang, and Kaori Tsuji

Ecological activism, creative practice, and community building come together on the Island of Megijima, Japan this October, and we want you to be a part of it.

The team at SocieCity & Final Straw are assembling an international cast of creative thinkers and doers to join us in a small Japanese village, where we will discover and highlight the social and ecological treasures of this island together. This is a once in a lifetime opportunity to explore in depth, the nature and culture of a small island together with other creative minds from around the world, and to help build an ecological future for this community.


Our program begins with participants enjoying an in-depth look at the island, it’s nature, and its people. We have arranged special tours of the island’s ecological and cultural history, and participants will interact directly with locals to hear their stories of the island, it’s natural resources, its farms, and its folklore.

The second half of the program focuses on synthesizing our experiences – the ecology, stories, and personal reactions – into creative prototypes for small products that can be made using local materials. The prototypes are mean both as talismans (souvenirs) for visitors, and celebrations of the island’s unique nature and culture.

All prototypes produced by workshop participants will be voted on by the local villagers, with the winning design having a chance to be put into production locally in order to support the island.

Participants can choose to stay for only the intensive course (October 8th – 9th), or an extended internship (October 2nd – 9th) that will include becoming part of the larger community regeneration activities we are undertaking on the island. The extended internship, though not required, is especially recommended for international visitors.

To Apply, please send the following by Sept 1, 2016:

  • Your Name / Street Address / Email / Phone / and Website (if available)
  • Either five still images or five minutes of video showing previous work. Images must be JPEG format and around 500kb – 1mb in size each, attached to the email. Videos must be submitted as a links to YouTube, Vimeo, or another streaming service. If a video is longer than 5 minutes, please note that we can only watch the first 5 minutes.
  • An image list with location, title, and short description for each image or video
  • A short statement (less than 300 words) about your practice
  • A short statement (less than 300 words) about why you wish to join the workshop
    Please include all text in the body of the email, not as an attachment.

Conditions (Please Read Before Applying):

Accommodation – The rate for accommodation is $40 (2 days / 1 night) or $180USD (7 days / 6 nights). This covers the cost of private room hotel accommodation on the island.
Tuition – The workshop tuition is done using the “pay it forward” system. This means that there is no predetermined rate for tuition, and participants are welcome to pay what they can. However, Pay it Forward also means that your project coordinators are volunteering their time, they are not getting paid to produce and lead these workshops. Your tuition payment is the only way we can continue to conduct more workshops for future participants.

Travel and Meals – All participants must cover their own travel and expenses of getting to Japan and during their stay. Meals are not included in the tuition fee, though there are a few options for eating on the island, and group-cooked dinners will be arranged for those who wish to take part in them.

Applicants are expected to be proficient in speaking English. Japanese language experience is a bonus, but certainly not required.

Previous experience with community engaged arts, craft skills, or creative practice, although not explicitly required, is recommended and should be reflected in your work and statement.

Learn More About Our Work:
SocieCity / Creative actions for inspiring tomorrow –
Final Straw / Food, Earth, Happiness –

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

Powered by WPeMatico

Nka Foundation announces INTERNATIONAL EARTH SCULPTURE SYMPOSIUM for October 3 – 31, 2016

BETENIM, GhanaJune 24, 2016PRLogVENUE: Abetenim Arts Village near Kumasi in Ghana

DATE: October 3 – 31, 2016

Nka Foundation invites creative practitioners from around the world for the 2016 International Earth Sculpture Symposium at Abetenim Arts Village in Ghana. Practitioners in the visual arts, building arts, landscape architecture, environmental design and others are all welcome to participate. We will immerse ourselves in the local environment and create site-specific works through use of earth and other materials from the environment. Our rural arts village provides the participant with time and space away from the everyday stresses of city/studio life to focus and investigate own practice, creating the possibility for discovery, collaboration and growth. The arts village has an openair theatre, workspaces and guest houses for your accommodation. Most evenings will be used for reviewing workshop progress along with artist lectures, impromptu performances and presentations by workshop participants. By alternating work and dialogues, we anticipate cross fertilization of ideas. Join us!

WORKSHOP DIRECTOR: Mantey Jectey-Nyarko, PhD. Lecturer, College of Art and Built Environment, Kwame Nkrumah University of Science and Technology, Kumasi.

COST: Food and accommodation 80€/week (flight costs are not included).

CONTACT: / for application form.

Opportunity: Course on Regenerative Art & Public Spaces with

This post comes from Creative Carbon Scotland

Regenerative Art: the aesthetics of renewable energy in public spaces

November 11-13, 2016

Course Leaders: Elizabeth Monoian and Robert Ferry (Land Art Generator Initiative)

Facilitator: Dr. Richard Povall ( and Schumacher College) invite you in this unique opportunity to work with two leading proponents of sustainable design within the sphere of public art. The Land Art Generator Initiative is becoming increasingly known and respected across the world for their work with public art, design in public spaces, and aesthetic design for renewable energy.

dartington-hall-1This short course takes place at the remarkable Dartington Hall in southwest England from 17.00 on November 11 to 16.30 on November 13, 2016 (immediately following on from the international summit meeting Feeding the Insatiable). This extraordinary site sits within some of the UK’s most spectacular landscapes, with more protected areas than anywhere else in the UK.

This practice-based short course provides participants with useful knowledge and experience for creatively integrating renewable energy systems into cherished cultural environments as a part of a larger strategic approach to carbon reduction. The workshop will focus on the Dartington estate and seek to identify opportunities to place new infrastructures in open areas while maintaining shared use with open spaces and other campus functions. Dartington Hall (image courtesy Dartington Hall Trust)

Experience will be applicable to all types of contexts. The outcome will include concept sketches of specific public art ideas based on the Land Art Generator Initiative design model. A document will record the outcomes of the workshop as a planning tool for the College Estate.

We will work with photographs and scale drawings of the estate as a design site, along with other contemporary and historical information about the estate.

Your work will be speculative design – as innovative, challenging and creative as you can make it – for a speculative use on this historic estate. The work is intended to model the real-life experience of designing for a unique site.

Maximum number on the course is 20, and we welcome participation by community leaders, environmental organisations, community energy leaders, artists and arts producers, and architects and designers).

For more information and how to book visit their website here.

The post Opportunity: Course on Regenerative Art & Public Spaces with appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

Opportunity: Aberdeen Climate Conversation

This post comes from Creative Carbon Scotland

Opportunity for those working in the arts to directly influence the Scottish Government’s thinking about climate change as they prepare for the publication of an important document, the third Report on Policies and Proposals, in December.

Creative Carbon Scotland is partnering with Sniffer, an Edinburgh-based environmental charity, to enable artists and cultural workers to participate in Climate Conversations, a public consultation on climate change.

This event is part of a wider series, funded by the Scottish Government, which aims to gather public perspectives on climate change for feeding into a report presented to the Scottish parliament this winter.

Creative Carbon Scotland has partnered with Sniffer to run a session in Aberdeen specifically focused on those working in the arts, whether within cultural organisations, in academia or as freelancers. As a sector that is commonly overlooked in relation to the issues surrounding climate change, this is an important opportunity to strengthen the role of the arts and culture in transitioning to a more sustainable Scotland. No technical or special knowledge is required.

The event will be an informal conversation guided by Sniffer, taking place on Thursday 1st September, at the Lemon Tree in Aberdeen, from 18:00 – 19:30. This venue is wheelchair accessible.

By participating in the event you will have the chance to:

  • Discuss climate change and its impacts;
  • Learn about Scottish Government action to reduce our carbon footprint and protect people from the impacts of climate change;
  • Make your views heard by contributing to the RPP3, a report on climate change which will be presented to Scottish Parliament this winter.

Places are limited to allow an in-depth conversation to take place, so please register early and RSVP by Monday 29th August.

The post Opportunity: Aberdeen Climate Conversation appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

Opportunity: ECCA 2017 Call for Abstracts

This post comes from Creative Carbon Scotland

The third European Climate Change Adaptation Conference 2017 Call for Abstracts is now open!


The theme of ECCA 2017 is ‘Our Climate Ready Future’. Our vision is to inspire and enable people to work together to discover and deliver positive climate adaptation solutions that can strengthen society, revitalise local economies and enhance the environment. We will bring together the people who will deliver action on the ground – from business, industry, NGOs, local government and communities – to share knowledge, ideas and experience with researchers and policymakers. Set in the cultural city of Glasgow, at the heart of a city-region that is putting climate adaptation and climate justice at the core of decision making, ECCA 2017 offers a unique opportunity to visit innovative local adaptation projects and share experience of how climate adaptation can work in practice.

ECCA 2017 is aiming to encourage broad participation and interaction across the science, policy, business and practice communities. ECCA 2017 invite both session and abstract submissions for the European Climate Change Adaptation conference.  Three types of sessions will be organised: Practice, Science-practice, and Science . All session and abstract submissions should link to one of theconference themes.

ECCA 2017 welcome abstracts from practitioners and scientists that show real-world examples of climate adaptation, and encourage case study abstracts to show how their experience can be useful to others, e.g. through identifying lessons learned, providing recommendations on best practice and considering whether the approach could be transferred to other regions or different contexts.

Abstract Submission Deadline: September 30th

More information and how to apply available at the ECCA 2017 website.

The post Opportunity: ECCA 2017 Call for Abstracts appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

Open Call: Film4Climate Global Video Competition Opens

Winners to be honored at official awards ceremony at COP22 climate summit in Marrakech, Morocco in November 2016

WASHINGTON, June 20, 2016 – The Film4Climate Global Video Competition formally opens today as the centerpiece of the Connect4Climate initiative to promote sustainability in the creative industries through active engagement with young people in finding solutions to climate change.

Announced at the Cannes Film Festival by the World Bank Group’s Connect4Climateglobal partnership program, the competition will be open for submissions through September 15, with the winners to be announced at a high-profile awards ceremony at the United Nations COP22 Climate Summit in Marrakesh, Morocco in November.

The winning entries will receive cash prizes of $8,000, $5,000, and $2,000 for first, second and third place in each of two categories: an under one-minute Public Service Advertisement (PSA) or a Short Film up to five minutes.

The competition offers filmmakers a chance to have their work reviewed by a jury chaired by Bernardo Bertolucci, and including other preeminent directors, producers, writers and political leaders.

At the competition’s announcement in Cannes, producer and jury member Lawrence Bender said, “In every country, every city, people have different stories on climate change…there are many stories that can be told. If this worldwide film competition creates a critical mass of ideas and energy, it could help tip the balance in terms of focusing people’s attention.”

As the next five years will be critical to advancing and scaling up climate action around the world as part of the SDGs, the COP22 climate summit aims to encourage countries to implement ambitious climate actions, with youth playing a vital role in the agenda.

“It is not our role to inspire youth, it is they who inspire us every single day. Our mission is to provide them with a platform, and COP22 will be the opportunity to show the world the creativity of young filmmakers and how they are taking action on climate change,” statedDr. Hakima El Haite, Delegate Minister in Charge of Environment, Morocco, Special Envoy for Mobilization of COP22, and High-Level Champion of the United Nations Framework Convention on Climate Change (UNFCCC).

Nick Nuttall, Spokesperson/Head of Communications, UNFCCC, adds, “In order to unleash the full potential of the Paris Climate Change Agreement towards a better, more climate-safe world, all sectors of society and all walks of life need to be on board, including the creative industries. We are therefore delighted to be working with Connect4Climate to raise awareness on how the film industry can fast forward its contribution, and to showcase these achievements in Morocco in November at the next UN climate change conference.”

Sheila Redzepi, Vice President of External and Corporate Relations, World Bank Group, says: “Climate change is a real and global threat affecting people’s wellbeing, livelihoods, the environment and economies. Communication is a powerful tool in furthering understanding of its impact and inspiring action to tackle it. That’s why I welcome this initiative and the support it has received from partners who, in their own fields, are leading the way in finding solutions.”

In addition to the main cash prizes a number of special prizes will be awarded to outstanding entries. These include a People’s Choice award, a MENA-Award for the best entry from the Middle East and North Africa region, and a “Price on Carbon Pollution” award. Other prizes, including worldwide distribution by Vulcan Productions, will be awarded as determined by presenting partners. Vulcanpreviously partnered with the World Bank Group’s Connect4Climate program to produce the spectacular large-scale architectural projection and public art display of images of climate change on St. Peter’s Basilica in December 2015, as a gift to Pope Francis, which was seen by an audience of several billion people.

Carole Tomko, General Manager and Creative Director of Vulcan Productions, states, “We know the immense power of storytelling to change the way people view an issue, to raise awareness and inspire progress. We are looking for submissions that energize and communicate in a fresh manner, and demonstrate innovative storytelling of key issues of our time.”

“This competition is a chance for young people to tell a story that may change the world,”said Lucia Grenna, Program Manager of Connect4Climate, the global partnership program behind the competition. “The science of climate change is beyond debate. Politicians are moving in the direction of a solution. What we need now is the creative push that the passion and imagination of young people can provide. We need their images and words to tell a story that inspires individual responsibility and collective action on a global scale.”

The competition is the outcome of a partnership between the World Bank Group’s Connect4Climate program, the United Nations, Vulcan Productions, and the Italian energy company Enel, which has endorsed the UN’s Sustainable Development Goals and targeted carbon neutrality for its operations by 2050. Other presenting partners include the UNFCCC, UN Sustainable Development, UNEP, The Global Brain, and the Government of the Kingdom of Morocco. In addition, more than 50 collaborating partners are supporting the competition.

Connect4Climate receives support from the Italian and German governments, as well as from the private and public sectors, and academia.


About the Competition

The Film4Climate Global Video Competition invites aspiring filmmakers from around the world to express their vision for a sustainable future by creating a short film or video about climate action. The competition calls on filmmakers to explore Climate Action, the 13th goal under the UN Sustainable Development Goals, emphasizing what individuals and communities around the world are doing to promote action, offer solutions and inspire positive change to combat climate change and its impacts. Filmmakers are encouraged to deploy personal narratives that explore fundamental questions such as: What does climate change mean to me? What actions am I taking to mitigate the advance of global warming? What is my Climate Action message to the world?

Videos must be submitted as Public Service Announcements that are less than one minute, or as a Short Film, between one and five minutes.

Bernardo Bertolucci (The Conformist, Last Tango in Paris) will serve as the jury president of the competition. Bertolucci is joined on the jury by Oscar-winning Directors and Producers as well as luminaries of cinema, communications and the environment, including Mohamed Nasheed, climate champion and former president of the Maldives, producer Lawrence Bender (An Inconvenient Truth, Pulp Fiction), director Sharmeen Obaid-Chinoy (Saving Face, A Girl in the River), director Louie Psihoyos (The Cove, Racing Extinction), director Fernando Meirelles (City of God, The Constant Gardener), director Robert Stone (Radio Bikini, Pandora’s Promise), directorMika Kaurismaki (Zombie and the Ghost Train), director Pablo Trapero (Carancho, El Clan), producer Martin Katz (Hotel Rwanda), Ann Hornaday, Chief Film Critic of The Washington Post, Sheila Redzepi, Vice President for External and Corporate Relations, World Bank Group, Moroccan director Farida Benlyazid (Frontieras, Keïd Ensa), Carole Tomko, General Manager and Creative Director of Microsoft co-founder Paul G. Allen’s Vulcan Productions, Maria Wilhelm, Executive Director of the Avatar Alliance Foundation, Pat Mitchell, President and CEO of the Paley Center for Media,Rose Kuo, CEO and Artistic Director of the Qingdao International Film Festival, andMark Lynas, author and environmentalist (The God Species, Six Degrees).

The competition is open to filmmakers between 14 and 35 years old. Submissions will be open through September 15, 2016. For full competition rules and eligibility requirements, please visit: or

About Connect4Climate

Connect4Climate, also known as the Communication for Climate Change Multi Donor Trust Fund (MDTF), is a global partnership program based at the World Bank Group, dedicated to climate change communication. It is supported by the Italian Ministry of Environment, Land and Sea, the German Federal Ministry for Economic Cooperation and Development and the World Bank Group, along with more than 400 partners including civil society, media networks, international organizations, academic institutions, youth groups and the private sector. Film4Climate is the official Connect4Climate initiative dedicated to greening the silver screen, with more than 160 partners from the global film industry. For more information, and to download the Connect4Climate overview report, please visit:

About Vulcan Productions

Vulcan Productions is dedicated to the power of storytelling. The division produces content and large-scale campaigns that entertain, electrify and change the way people understand the world’s toughest challenges. Vulcan Productions’ films, television series and digital content spark ideas and turn action into measurable impact.  Founded by Paul G. Allen and his sister Jody Allen in 1997, Vulcan Productions creates content across all platforms, extending the wide-ranging work of Vulcan Inc. in wildlife, science, climate, oceans, education, technology, current social issues, history and the arts. Award-winning projects include Racing Extinction, Academy Award®-nominated Body Team 12, We The Economy, #ISurvivedEbola, Girl Rising, and The Blues. Upcoming projects include Ivory, Naledi: A Baby Elephant’s Tale,Mind of a Giant and Unseen Enemy.

About Enel

Enel is a multinational power company and a leading integrated player in the world’s power and gas markets. Enel Group operates in Europe, North America, Latin America, Africa, and Asia, producing energy through a net installed capacity of around 89 GW and distributes electricity and gas through a network of approximately 1.9 million kilometers. With over 61 million business and household customers worldwide, Enel has the largest customer base among European competitors. Enel is the largest integrated utility in Europe in terms of market capitalization and figures among Europe’s leading power companies in terms of installed capacity and reported EBITDA.

Artist Residency Open Call: Thinking through the Anthropocene

This post comes from Creative Carbon Scotland

We’re delighted to announce the details of our annual Arts & Sustainability Artists’ Residency (30th September – 3rd October). This year we’re offering up to eight Scotland-based artists from any discipline with the paid opportunity to participate in a weekend of discussion and activities at Cove Park, exploring the relationship between their practices and environmental sustainability.

Residency description

“Human activity has been a geologically recent, yet profound, influence on the global environment. The magnitude, variety and longevity of human-induced changes, including land surface transformation and changing the composition of the atmosphere, has led to the suggestion that we should refer to the present, not as within the Holocene Epoch (as it is currently formally referred to), but instead as within the Anthropocene Epoch” (Lewis and Masin, 2015)

Co-facilitated by Jan Bebbington (Professor of Accounting and Sustainable Development, Director, St Andrews Sustainability Institute) and Lex ter Braak (Director, Van Eyck Institute, Maastricht, Netherlands), Creative Carbon Scotland’s third annual residency will use the spectrum of stories surrounding the Anthropocene as an entry point for discussing the relationship between cultural practices and environmental sustainability.

We are delighted to offer up to eight Scotland-based artists working across a variety of disciplines and contexts, who may or may not have previously worked in this area, with the opportunity to think about, learn from one another, and develop their practices in relation to environmental sustainability.

This year, the residency will be hosted in partnership with internationally-renowned artist residencyCove Park over a long weekend from 30th September – 3rd October. Selected artists will be paid a fee of £450 for their attendance and travel expenses from within Scotland, accommodation and catering will be covered.

Within the divergent responses to the Anthropocene, from the humble to the hubristic, we will seek to understand where points for fruitful artistic enquiry might emerge, building on existing examples and our specific geographical context.

Working in partnership with Cove Park, the residency programme draws on the group’s skills and experience, on-site activities and a range of reading materials to explore the diverse ways in which the Anthropocene could be considered through creative practice. Through this we seek to build understandings of how artistic practices might in turn effect wider social change in the transition to a more sustainable society.

This residency is funded by Creative Scotland and kindly supported by The Dr David Summers Charitable Trust and is run in partnership with Cove Park.


Application deadline: 10am Friday 19th August

Apply to the Arts & Sustainability Residency

Residency aims

  • To offer the opportunity for artists from a range of disciplines, who may have or may not have previously worked in this area, to learn from one another and develop their understanding of the relationship between their practice and environmental sustainability;
  • To explore the ways in which cultural practices of artists can re-express the scientific, social and philosophical ideas and concepts associated with the transition to a more sustainable future;
  • To build participating artists’, partners’, and Creative Carbon Scotland’s understanding of the connections between individual creative practices and climate change, and their role in effecting wider social change in the transition to a more sustainable society.

What to expect


The residency will commence at Cove Park mid-late afternoon on Friday 30th September and wrap up on the morning of Monday 3rd October. Travel arrangements will be made in coordination with Creative Carbon Scotland. Participants are expected to be able to attend the whole duration of the weekend.


Artists should expect a relatively open-format long weekend with facilitation by the group as well as Jan Bebbington and Lex ter Braak. There may be the opportunity for some artists to lead a ‘session’ during the weekend, bringing a particular response or angle to the theme of environmental sustainability and artistic practice.

Please note that participants are not expected to produce work during the residency period but rather use the time and space to reflect on their practice for future development.

The residency plays an important role in contributing to the community of practice of artists, cultural organisations and those working in environmental sustainability contexts which Creative Carbon Scotland supports across programmes including Green Tease and the Green Arts Initiative.

Following the weekend, we anticipate that participants will continue to build connections with one another and Creative Carbon Scotland to explore opportunities for collaboration and exchange. We will also work with partners from the University of St Andrews to evaluate the longer term impact of the residency on participating artists’ practices.

Activities will include:

  • Whole and small group discussions led by our facilitators;
  • Presentations by participants on projects which they are interested in developing and connecting to residency themes;
  • Visits to local sites of thematic significance;
  • Walking and hands-on activities as an alternative format to group discussion.

For more information on Cove Park visit the website –

What we’re looking for

We’re looking for inquisitive artists who can bring interesting ideas to a group setting and who are keen to ask questions of themselves and established ways of working.

We encourage the participation of artists from a wide range of disciplines, and whether or not they have previously considered environmental sustainability in their approach to working. Applicants must be based in Scotland.

Through the generous support of the Dr David Summers Charitable Trust, at least one place on the residency is reserved for a poet or writer.

Equalities and accessibility

Creative Carbon Scotland has a rigorous Equalities Policy and we welcome applications from artists in line with the ‘protected characteristics’ named in the Equality Act 2010. This includes: Age, disability, gender reassignment, income, marriage or civil partnership status, pregnancy and maternity, race, religion or belief, sex and sexual orientation, socio-economic deprivation.

Our Equalities Policy is available here.

Cove Park’s brand new Artists Centre has been designed and built to be open and accessible to those with mobility issues, with ramped access to the entrance and level access throughout. There is accommodation and an adjoining studio attached to the Artists Centre, which will allow a wheelchair user on residency to make full use of the new centre.

Cove Park sits within a 50-acre rural site overlooking Loch Long and is hilly with some rough terrain and pathways. Residents are able to make use of the 4 X 4 truck to access the whole site and the nearby coast. The nature of the site and some of the activities we plan may present difficulties for some people with limited mobility but we will make every effort to overcome these and urge all to apply – we will discuss any details once the initial selection has been made.

About our facilitators

Jan Bebbington

Previously Professor of Accounting at the University of Aberdeen, Jan applies academic research in sustainable development to practice. She is Associate Director of the Centre for Social and Environmental Accounting Research.

Lex ter Braak

Lex ter Braak is currently the Director of the Van Eyck Institute, a post-academic institute for artistic development with an international outlook, located in Maastricht. The core values that the Van Eyck aspires to are meeting, connection, cooperation, engagement and process. From 2000 he was director of the Foundation for Visual Arts, Design and Architecture in Amsterdam. Previously he was director of the Vleeshal in Middelburg. He is a freelance writer/critic on literature and fine art.

Applicant specification

  • Artists at any stage in their career are welcome to apply, provided that they are at least one year out of undergraduate training or have equivalent experience.
  • Artists must be based in Scotland.
  • We encourage applications from artists working in a range of disciplines including theatre, dance, music, visual art, literature, poetry, TV/film, craft, design, community arts, participatory arts, digital, and other related creative practices. At least one place will be reserved for a poet or writer, thanks to support from the Dr David Summers Charitable Trust.
  • We encourage applications from artists who may or may not have not previously considered environmental sustainability in their practice.
  • We encourage applications from artists in line with the ‘protected characteristics’ named in the Equality Act, 2010. This includes: Age, disability, gender reassignment, income, marriage or civil partnership status, pregnancy and maternity, race, religion or belief, sex and sexual orientation, socio-economic deprivation.

Apply to the Arts & Sustainability Residency

Selection process

We will select applicants so as to achieve a good balance of the specifications outlined above, and on the basis of their responses to the application form questions, quality of work and previous experience outlined in their CV.

Applications will be shortlisted internally and then referred to our selection committee: Jan Bebbington (Residency Facilitator), Asif Khan (Director of Scottish Poetry Library – for special advice on the literature and poetry position funded by the Dr David Summers Trust), Catrin Kemp (Cove Park), Ben Twist (CCS) and Gemma Lawrence (CCS).

Phone calls may be made to some applicants if further information is required to support their application.

All applicants will be informed of the status of their applications by early September with feedback provided to unsuccessful applications.

Recommended reading

Defining the Anthropocene – Lewis and Maslin, 2015.

Read about our previous Arts & Sustainability residencies



Image: Contains British Geological Survey materials © NERC (1990)

The post Artist Residency Open Call: Thinking through the Anthropocene appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

Call for Papers: The Performing Arts and the Film Industry through Sustainable Development


Universités Lumière Lyon 2, Sorbonne Nouvelle Paris 3, Bourgogne Franche-Comté – ESC Dijon-CEREN

Paris (Théâtre de la Cité Internationale) – 8th-10th of March 2017

Call for papers 

The recent introduction of the notions of “sustainability” and “sustainable development” into fields of cultural and artistic practice is a phenomenon that demands our attention.   The interest in sustainability signals the emergence of a new paradigm–at once economic/political and aesthetic/philosophical– a paradigm that is worth examining and developing more thoroughly.

The roots of such a new paradigm of “sustainable culture” can be found in the many discourses justifying public funding for culture that have accumulated and cross-pollinated ever since the 1950s (Menger 2011). The dominant paradigm during the 1960s suggested that the general population (including neophytes) could receive aesthetic acculturation through direct exposure to what was deemed to be the most excellent, aesthetically “high brow” offerings (Throsby and Withers, 1979; Urfalino, 1996). This paradigm of cultural democratization was then contested, due to its failure to effectively reduce the sociodemographic inequalities of the different populations targeted (Bourdieu et Darbel, 1966; Baumol, Bowen, 1966).

At the same time, an alternative ideal of cultural democracy sought to legitimize the diversification of funding by public organizations of cultural activities that went outside  the parameters of “high” culture. This paradigm was informed by an anthropological, relativist vision of cultures as diverse, each possessing its own aesthetic values. Cultural organizations accorded artistic recognition to alternative forms of expression (such as the work of amateurs, of street art, circus, urban dance, and so on). The cultural democracy- oriented paradigm interacted with a growing international interest in the conditions of sustainable development, from Brundlant report (1987) to the Unesco Declaration on cultural diversity (2001, 2005), the foundation of United Cities and Local Governments for cultural development (Agenda 21 for culture), and Fribourg Declaration on Cultural Rights (2007).

Finally, there emerged a third paradigm, the doctrine of the “creative industries,” circulated from the 1990s on. This paradigm sought to marry multiculturalism (the recognition of the cultural value of “minority arts”) with an economic impetus: the dynamism of cultural activity was seen to constitute a motor of economic development, stimulating numerous profitable innovations in the other economic sectors. None of these paradigms shifts, however, has questioned the fundamental manner in which public funds are distributed nationally according to what is deemed to be artistic merit.

The goal of this conference is to interrogate the links that have been established between the performance arts, cinema, and sustainable development. To what extent are the notions of sustainability and sustainable development relevant for analysing artistic and cultural practices?

Following COST typology (2015), the links between performing arts, the film industry and sustainable development can be discussed from three different perspectives:

  • the performing arts and the film industry in sustainable development. In this case, the focus of study is the arts within a framework that refers to culture as yet another activity (similar to economic, social, and environmental activities) leading to sustainable development, especially by recognising the equal dignity of cultures (Hawkes, 2001; Lucas, 2010) or the heritage value of local objects and cultural practices (Boltanski, Esquerre, 2014);
  • the performing arts and the film industry for sustainable development. These artistic practices contribute–via the production and sales of performances–to other activities (economic, social, environmental) leading to sustainable development: they might, for instance, reduce the environmental footprint by enhancing stakeholders’ incentive to meet the ISO 20121 standard (Herry, 2014); consolidate the social cohesion with artistic forms of expression reflecting the cultural diversity of the population (Wallach, 2006; Goldbard, 2010; Throsby, 2014); or stimulate positive economic returns, such as in cases where they cause an increase in territorial attractiveness and economic innovation (as in the reference framework of ‘creative industries’). Contributions in this area may take an aesthetic or/and philosophical approach: certain artists treat sustainable development as a theme or in terms of a dramatic plot; here, the stage can become a space for reflecting on and even promoting a militant position;
  • the performing arts and the film industry as sustainable development. The process of co- construction in which the world of the arts enters into more solid relations with other sustainability projects manifests itself most notably: 1) when a more equal collaboration among professional and non-professional artists is valorised (Urrutiaguer, 2014) ; 2) in experiments that reconfigure performance and cinematic arts by developing links of solidarity, both within and between organizations, in order to address a context of recurrent economic insecurity. This precariousness, which impacts negatively the lives of artists, is often hidden by those who militate for federating democratic cultures (Henry, 2015). This second practice urges greater cooperation among players such that resources may be more equitably

We suggest the following axes of reflexion:

1. Conventions and doctrines of cultural action 

How did the rationales justifying public cultural expenses change in the different State- nations so that cultural diversity is now taken into account more frequently? What are the links between cultural diversity and sustainable development? To what extent are  references to a new paradigm, assessing culture in terms of sustainability, modifying priorities in the institutional valuation of artistic production?

The sociologic analysis of domination may be based on the “grammar of political and moral justification” of different “worlds” or “cities” (Boltanski, Thévenot, 1991). Can we characterize the “grammar of political and moral justification” of a “world of culturally sustainable development”? What are the conflicts with other logics of action and valuation, especially from the market world or the artistic inspiration world?

2. Dynamics of sharing artistic creations

Artistic creations that emphasize sharing or collaboration are aimed at creating more symmetrical relationships between artists and non-professionals. Shared creations are orientated differently, from the minimal vision of amateurs’ inclusion in a professional cast to the egalitarian pooling of artistic and cultural competences. To what extent is this relational dynamic connected to the culturally sustainable development?

What are the positive effects and the limits of sharing-oriented performing arts or industry film-making on the participants’ personal development? How are the artistic teams positioning themselves between the public authorities’ social inclusive goals and the political critics of the social order?

What are the effects of artist-as-scholar residencies that have attempted to engage the students and the staff members in an egalitarian process of co-construction? What are the obstacles to longer stays for artists?

What kind of initiatives are being developed to get attendants involved in creating some reflexivity between producing or programming (performing arts or films) and extending  the groups’ life time?

3. Solidarity and economic sustainability in the performing arts and the film industry 

Sharing-oriented creations are usually appraised for their social-added value and not for their aesthetic qualities. Given that the market-oriented and the institutional-oriented logics of action and valuation base the valuation of their products on the ludic and aesthetic qualities of performing arts and films, the corporative reputation and media renown of sharing-oriented creations are at a disadvantage. We can infer a systemic obstacle to the economic viability for the artistic teams involved in the ideals of culturally sustainable development. How are these performing arts companies and cinematographic enterprises proposing modes of cooperative solidarity to consolidate their economic sustainability?

Production offices are increasing in the performing arts. Some of them refer to the values  of the economics of solidarity. Will this logic of action strengthen the sustainability of both performing arts companies and administrative teams?

What are the instrumental or ideological motivations of the co-operative members who are sharing resources, competences or risks? What obstacles to their budgetary sustainability do they confront? What are the key success factors of collaborative business models? What can we learn from the analysis of emerging business models for cultural enterprises? (Spence et al., 2007; Sinapi, Juno-Delgado, 2015) The current debates regarding economic,

environmental and social dimensions of cultural sustainable entrepreneurship interrogate the different existing paradigms within the field of entrepreneurship (Dean et al., 2007 ; Sheperd et al., 2011).

4. The festivals in performing arts and cinema

The European Festivals Association plays three main roles: to favour the international circulation of artists, to support innovations, and to promote intercultural dialogue. To  what extent is promoting intercultural dialogue on local and international scales a condition sufficient to attract some festivals to the world of culturally sustainable development?

We suggest several areas of questioning with respect to the characteristics of festivals seeking to abet culturally sustainable development:

  • the initiatives for decreasing the environmental footprint, that are recurrent in music festivals (and significant also in the production and sales of performances;
  • the participative interactions with the local population;
  • the extent to which cultural diversity is taken into account in the structuration of festivals;
  • the partnerships with local cultural actors to decentralize the festival in the territory;
  • the cooperative relationships with the programmed artists, especially those who are unknown.


Baumol W.J & W.G. Bowen, Performing Arts – The Economic Dilemma, MIT Press, Cambridge 1966.

Boltanski L.& L. Thévenot., Les économies de la grandeur, Paris, Gallimard, 1991. Boltanski L. & A. Esquerre, « La “collection”, une forme neuve du capitalisme. La mise en valeur économique du passé et ses effets », Les temps modernes, 679, 2014, p. 5-63, 2014. Bourdieu P. & A. Darbel, L’amour de l’art, Paris, Minuit, 1966.

Brundtland G.H. Our Common Future: Report of the World Commission on Environment and Development. New York: UNO, 1987.

COST, Culture in, for, as Sustainable Development, Jyväskylä, Jyväskylä University Press, 2015.

Dean T.J. & J. S. McMullen, “Toward a theory of sustainable entrepreneurship: Reducing environmental degradation through entrepreneurial action”, Journal of Business Venturing, 22 (1), 2007, p. 50-76.

European Festivals Association, Europe for festivals. Festivals for Europe. The guide 2015-2016, Brussels, Lannoo Publishers, 2015.

Goldbard A., New creative community. The art of cultural development, Oakland, New Village Press, 2010, 1st edition 2006.

Hawkes J., The fourth pillar of sustainable development: Culture’s essential role in public planning, Melbourne, The Cultural Development Network, 2001.

Henry P., Un nouveau référentiel pour la culture ? Pour une économie coopérative de la diversité culturelle, Toulouse, L’attribut, 2014.

Herry J.-C., Le management responsable du spectacle. Comment intégrer les principes du développement durable à son activité, Paris, Irma, 2014.

Lucas J.-M., Culture et développement durable : il est temps d’organiser la palabre…, Paris, Irma, 2010.

Menger P., « Les politiques culturelles en Europe : modèles et évolutions » in Poirrier P. (ed.), Pour une histoire des politiques culturelles dans le monde. 1945-2011, Paris : La Documentation française, 2011, p. 276-287.

Nurse K., “Culture as the fourth pillar of sustainable development”, Small states: economic review and basic statistics, 11, 2006, p. 28-40.

Sheperd D.A. & H. Patzelt, « “The New Field of Sustainable Entrepreneurship: Studying Entrepreneurial Action Linking ‘What Is to Be Sustained’ With ‘What Is to Be Developed’”, Entrepreneurship Theory and Practice, 35 (1), 2011, p. 137-163.

Sinapi C. & E. Juno-Delgado, “Motivations for Establishing Cooperative Companies in the Performing Arts: A European Perspective”, In Kauhanen A. (ed.), Advances in the Economic Analysis of Participatory & Labor-Managed Firms, Emerald Group Publishing Limited, 2015, p. 63 – 107.

Spence M., J. Ben Boubaker Gherib & V. Ondoua Biwolé, « Développement durable et PME: une étude exploratoire des déterminants de leur engagement », Revue internationale PME: Économie et gestion de la petite et moyenne entreprise, 20, (3-4), 2007, p. 17-42.

Throsby, The Economics of Cultural Policy, Cambridge: Cambridge University Press, 2010.

Throsby C. & G.A. Withers, The Economics of Performing Arts, London, Edward Arnold Publisher, 1979.

Urfalino P., L’invention de la politique culturelle, Paris : Documentation Française, 1996. Urrutiaguer D., Les mondes du théâtre. Désenchantement politique et économie des conventions, Paris: L’Harmattan, 2014.

Wallach, J.-C., La culture pour qui ? Essai sur les limites de la démocratisation culturelle, Toulouse : Editions de l’Attribut, 2006.

Expectations for papers:

We are soliciting two types of contributions; 1) Researchers may address theoretical considerations and qualitative and/or quantitative data on the issue of cultural sustainable development in the performing arts or the film industry; 2) Panel discussions may be based on the testimony of professionals or amateurs.

Further, papers may be based on the theoretical background of various disciplines in sciences: aesthetics, anthropology, economy, ethnology, history, information and communication sciences, management sciences, philosophy, political sciences, sociology. The colloquium concerns all the domains of performing arts (theatre, dance, music, puppetry, circus, storytelling, performances, interdisciplinary theatre) and  the  film industry.

Proposals involving the on-site observation of professional or amateur artists should be accompanied by a document or a link offering further information on the experiment or experience described.

Communications can be in French or English. If the language used is French, the presentation support (ppt., etc.) written in English should be appraised and vice-versa if possible.

The scientific committee will select some papers for publication.

To submit a proposal: Please send the title and an abstract around 3,000 characters with a short bio-bibliography (in the form of a Word document) before October 5, 2016 to the Organization Committee:

Notification of acceptance on November 15, 2016.

Organisation Committee 

Daniel Urrutiaguer, professor in performing arts studies, co-director of the Research Team (RT) Passages XX-XXI, Université Lumière Lyon 2

Christine Sinapi, professor of finance, scientific coordinator of the RT in Cultural management, Burgundy School of Business

Aurélie Mouton-Rezzouk, lecturer in theatre studies, RT Institut de Recherche en Etudes Théâtrales (IRET), Université Sorbonne Nouvelle Paris 3

Scientific Committee

Rachel Brahy, lecturer, scientific coordinator of the Maison des sciences de l’homme, Université de Liège

Sylvie Chalaye, professor in theatre studies, IRET, Paris 3

Laurent Creton, professor in economics of cinema, RT Institut de Recherche en Cinéma et Audiovisuel (IRCAV), Paris 3

Véronique Corinus, lecturer in comparative and francophone literature studies, RT  Passages XX-XXI, Lyon 2

Nadine Decourt, researcher in anthropology of storytelling, retired assistant professor, RT Passages XX-XXI, Lyon 2

Jacques Gerstenkorn, professor in cinematographic studies, RT Passages XX-XXI, Lyon 2 Kira Kitsopanidou, lecturer in economics of cinema, RT IRCAV, Paris 3

Bérénice Hamidi-Kim, lecturer in theatre studies, Institut universitaire de France, co- director of the RT Passages XX-XXI, Lyon 2

Philippe Henry, researcher in socioeconomics, retired assistant professor Aurélie Mouton-Rezzouk, lecturer in theatre studies, RT IRET, Paris 3 Olivier Neveux, professor in theatre studies, RT Passages XX-XXI, Lyon 2

Maria Lucia de Souza Barros Pupo, professor in theatre studies, RT Conselho Nacional de Pesquisas Tecnológicas, Universidad de São Paulo

Jaime Ruiz-Gutiérez, associate professor in arts management, Universidad de los Andes – School of Management, Bogotá

Milena    Dragićević    Šešic,    Unesco    Chair    in    Cultural    Policy    and    Management

(interculturalism and mediation in the Balkans), University of Arts Belgrade

Christine Sinapi, professor of finance, scientific coordinator of the RT in Cultural management, Burgundy School of Business

Daniel Urrutiaguer, professor in performing arts studies, co-director of the RT Passages XX-XXI, Lyon 2

Emmanuel Wallon, professor in political sociology, RT History of arts and performances, Paris 10

Julie’s Bicycle Current Vacancy: Company Administrator / EA

Julie’s Bicycle is looking for an excellent, self-motivated Company Administrator/EA to provide skilled day-to-day administrative support to the staff team and Personal Assistant responsibilities for the Chief Executive as and when needed.

Responsibilities include developing, implementing and maintaining accurate and efficient processes for all administrative activity.

This is an exciting time for Julie’s Bicycle, as we embark on an ambitious nation-wide programme to raise the profile and impact of cultural leadership on climate change and environmental issues over the next few years.

We are looking for an exceptional person with ambition, love of the arts and culture, creative flair and commitment to environmental sustainability to join a thriving team at the heart of the cultural response to environmental sustainability.

Terms and conditions

Contract: Full time

Salary: £23,000

Location: Somerset House, New Wing, The Strand, London.


Please send a CV and cover letter to by Wednesday 17th August 2016, 5pm. Interviews will held on Monday 22nd August 2016.

COAL PRIZE 2016 – Call for entries

DEADLINE – September 11, 2016

The COAL Prize will reveal the wealth of responses provided by artists to current environmental issues and will encourage the emergence of a new culture concerning nature and sustainability. The global ecological crisis, in the form of climate change, loss of biodiversity, depletion of resources, and various forms of pollution, is above all a cultural challenge that is determined by our individual and collective behaviour.

The COAL Prize is open to artists from all over the world who deploy their creativity to devise and experiment with solutions and bear witness to the transformation of territories, lifestyles, organizations, and means of production, while making a contribution to the process themselves. Together they are participating in building a new collective narrative, a new world of imagination, an evolving shared heritage, a positive framework that is optimistic and essential for everyone to find the motivation to implement the necessary changes towards a more sustainable world.

The COAL Prize, created in 2010 by the COAL Art and Ecology Association, aims to present to the general public and political figures other ways of understanding the complexity of climate and other environmental challenges through a multiplicity of views and creative alternatives. Every year the COAL Prize highlights ten projects by artists working on environmental issues in the field of visual arts. They are selected through an international call for projects. One of them is awarded the COAL Prize by a jury of personalities from the domains of art and ecology.

Organized under the patronage of Madame Ségolène Royal, the COAL Prize 2016 will be awarded during a ceremony organized in Paris in October, with the support of the French Ministry of Environment, Energy and the Sea, the French Ministry of Culture and Communication, the European Union and the Imagine2020 network, the Musée de la Chasse et de la Nature and the François Sommer Foundation.