Katrina Seltzer

Quarterly Archive: Reprints, Reflections, Readings.

This special issue of the CSPA Quarterly takes the form of an archive, which is to say it is an assemblage of past contributions that continue to feel particularly resonant. It is also an index of artistic and academic ideas, intended to create a resource with an expanded view of practice, noting artistic influences while leaving space to dream new possibilities. This document consists of reprinted articles and artworks from issues since the inception of the CSPA Quarterly, as well as reflective texts and a series of references in bibliographic form.

Your Art Our Earth – Call for Submissions

EARTHDAY.ORG’s Your Art, Our Earth poster competition for Earth Day 2024 is underway and open to student submissions until January 22, 2024!

On April 22nd, 1970, the very first Earth Day saw 20 million people take to the streets to advocate for environmental protection. Since then, EARTHDAY.ORG has stood as a champion for the planet. Each year, a billion people worldwide engage in various Earth Day activities, including participating in cleanups, signing petitions, and supporting our initiatives. Throughout the history of Earth Day, we’ve harnessed the power of impactful art to emphasize the urgent need to care for our planet and advocate for the environment.

In 2024, our theme is Planet vs. Plastics, aiming to spotlight the detrimental effects of plastics on our environment, both in our oceans and on land. Additionally, microplastics are posing a threat to our health. They have even invaded the fashion industry and the clothes we wear — which is why we launched our Fashion for the Earth campaign.

EARTHDAY.ORG is calling for a 60% reduction in global plastic production by 2040. We invite YOU to contribute by creating an iconic poster vividly illustrating the urgent need to say NO to plastics!


COP28: Climate change theatre and performances reveal new narratives about how we need to live

Originally Posted on The Conversation

By Taiwo Afolabi

How can arts (broadly defined) help us think about the state of the planet and walk the talk when it comes to addressing climate change — including climate finance where those who contributed more to the problem assume greater responsibilities for solving it — and energy transition?

As a theatre scholar and practitioner attending the COP28climate summit, I was invited to experience a performance of the play Bright Light Burning. Playwright Steven Gaultneyauthored this play, and it was produced by the Cairo-based, internationally recognized The Theatre of Others. Adam Marple, co-artistic director of this theatre, invited me to the performance. 

Marple is also project lead of the Sustainable Theatre Networkand a guest on one of my climate change research projects, People, Place and Performance

The performance Bright Light Burning, in dialogue with my own research and theatre practice, led me to reflect on the role of art in climate change issues. 

People seen milling around a demonstration where a large sign that says polluters is seen.
Signs saying ‘polluters’ and ‘climate finance – direct funds to Indigenous People’ seen at the COP28 UN Climate Summit, Dec. 10, 2023, in Dubai, United Arab Emirates. (AP Photo/Rafiq Maqbool)
Bright Light Burning

Bright Light Burning, set in 2100, is a stage performance that is inspired by We Are the Possible, an anthology of 12 poems for 12 days of COP28.

The project takes its name from a Maya Angelou poem. The poetry anthology was a collaboration between scientists, health experts, educators, translators, artists and youth leaders in the United Kingdom and the United Arab Emirates. The project aims “to unite us to forge a greener healthier, and fairer world.” 

Bright Light Burning, inspired by this larger poetry endeavour, is a theatrical journey that merges artistry, storytelling and environmental activism. The play presents choices made by individuals in responses to climate change — from denial to activism. 

It addresses policymakers on the importance of storytelling in forging new directions. The ensemble comprises actors from different parts of the world — from Singapore to Australia, Egypt to the United States, United Arab Emirates to the United Kingdom.

‘Bright Light Burning’ Dec. 7 performance at COP28.

As different stakeholders continue to enact signed deals, pledges and commitments after COP28, and as communities grapple with the need for political will to implement needed change, who is present or absent at the table is important to achieving an equitable future. 

Here are four ideas that could guide interactions, negotiations, thinking and actions around climate justice.

1. Think globally, act locally and personally

Central to the perspectives offered in these performances is the need to decentre a universalist approach to resolving climate issues. We Are The Possible reminds us to start where we are — not out of fear, but hope that humans have the capacity to bring about change. We have to believe in that.

We need to re-engage place-based and localized solutions, because what works in Latin America may not work in North America. 

In my own context in Saskatchewan, theatre artists in have relied on “strategic foresight” to imagine how the theatre we want in the Prairies could help people navigate climate instability while transforming racial injustice. Through such approaches, the capacity of different regions can be built. 

2. Embrace alternative ways of knowing

The performances I have seen at COP28 and other theatre projects such as climate change theatre action remind us of the need to return to a relational approach with nature in our existence, and advocate for green theatre. 

When we develop habits of seeing ourselves as future ancestors, this means we have to save for the future generation and this means consuming less. This way of seeing and knowing ourselves in relationship to our world in turn affects how we use resources. The performances of Bright Light Burning were designed with a minimalist approach — no prop, set, light or make-up etc. This approach to “greening theatre” has been reiterated by arts practitioners.

Retooling Green Tools for Theatre in Africa: People Planet and Performance roundtable discussion from July 2023.

Socially engaged theatre is about holding urgent social questions at the centre of our theatre practice. In so doing, as we engage with the UN’s Sustainable Development Goals, questions emerge: What alternative knowledge systems critical to ecological and cultural processes are yet to be known? How can alternative knowledge that has been pushed to the periphery help us think and walk through the polycrisis? In what ways can knowledge from the global majority be amplified? 

For instance, prioritizing the perspectives of Indigenous Peoples will require genuine inclusion since it is believed that Indigenous Peoples are stewards of 80 per cent of the world’s biodiversity. Their intergenerational leadership, practices and knowledge in sustainable climate justice need to be recognized for biodiversity to be recovered.

As I saw in my work on theatre and immigration which resulted in the Onion Theatre project, where youth devised a play about immigrant experiences, art can offer us space to foster dialogue to gain insights into ways we can be open to alternative and new ways of knowing — something critical to forging a pathway to an equitable future.

Activists participate in a demonstration for climate solutions at the COP28 UN Climate Summit, Dec. 8, 2023, in Dubai, United Arab Emirates. (AP Photo/Peter Dejong)

3. Embrace the need for a holistic system approach while fostering equal partnerships that seek to account for inequities, such as class-based and racialized inequities. Holistic system approaches mean that participation in climate change mitigation, anticipatory adaptation and climate justice initiatives should involve equal and genuine partnership and collaboration across geographies. Having a “co-design” mindset is essential to building sustainable systems and solutions.

4. Finally, artists and creative initiatives continue to challenge us to champion climate action. Creatives are invited to think about the impact of their production on health, recovery, peace finance, just transition, gender equality and Indigenous Peoples globally.

All hands must be on deck to walk the talk emerging from COP28, if these conversations are to yield the desired results.


Taiwo Afolabi

Canada Research Chair in Socially Engaged Theatre; Director, Centre for Socially Engaged Theatre (C-SET), University of Regina

Disclosure statement

Taiwo Afolabi acknowledges the support of the University of Regina and the Centre for Sustainable Practices in the Arts (CSPA) in attending COP28.


University of Regina provides funding as a member of The Conversation CA-FR.

University of Regina provides funding as a member of The Conversation CA.

View all partners

(Top image: Islene Facanha, of Portugal, participates in a demonstration dressed with images of wildfires at the COP28 UN Climate Summit, Dec. 8, 2023, in Dubai, United Arab Emirates. [AP Photo/Peter Dejong])

Opportunity: untune residency

The untune residency is a non-discipline specific programme for (inter)national artists and creative practitioners to experiment, observe, learn, exchange ideas, and collaborate. We encourage the exploration and research of site-specific histories and ecologies, as well as the socio-cultural transfiguration of collective spaces in Los Angeles and California’s central coast. Selected creatives are offered guidance, space, and time to work on their own projects, collaborate with the surrounding bodies (wildlife, community, and land) and engage in daily regenerative activities (untune’s guiding principles) to learn new skills and strengthen our cohabitation instincts. These activities aim to collectively slow down the energy flow with the intention to inspire a zero-waste practice, food sustainability and accessibility, community growth, and mind/heart nourishment

Residency Details

This will be the first year untune invites creatives to apply for 3 week (two locations) or 1 week (one location) residencies: 

Option one (3 weeks):
two weeks at canvas 5025 (located in North East Los Angeles) and one week at Rancho Arroyo Grande (RAG, located in California’s central coast). We will be driving together from one location to the other and stopping at sites of interest along the route. The distance between the locations is approximately 300 km. This program is organized in a way to allow for non-local artists to engage with local artists.  

Option two (1 week):  
One week at Rancho Arroyo Grande (located in California’s central coast) near the Los Padres National Forest. We will be accepting more applicants for this one week residency because the site can accommodate a greater number of people. The options are to either meet us in Los Angeles to travel together/caravan to the site OR you’re welcome to meet us at the location if you happen to be in San Luis Obispo county or traveling through the central coast.  


Cohort 1: Monday Feb 5 – Monday Feb 26, 2024 (3 weeks, both sites)
Monday Feb 12 – Sunday Feb 18, 2024 (1 week, only RAG) 

* Spring, Summer, and Fall cohorts will be announced in January 2024. 

Please visit our website and FAQ sheet for more details about the artist residency and the two sites (RAG and CANVAS 5025). 

Website: https://www.untunestem.com/opportunities/artistresidency
Contact: untune.helga@untune.com

Event: Ancestral Wisdom Driving Low Carbon, Climate Resilient Futures: Asia-Pacific and Global Lessons 


In his address at the plenary session of COP29, Greek Prime Minister  Kyriakos Mitsotakis said: 

“I firmly believe that we will discover ancient wisdom, how to build growth and thrive in harmony with nature. This wisdom will come from every corner of the earth. We have so much to learn from one another and from our ancestors. This challenge is as much about artificial intelligence as it is about ancestral intelligence.”

On Saturday, 9 December at 4:45pm GST, cultural voices pick up this conversation at an official UN COP28 side event  “Ancestral Wisdom Driving Low Carbon, Climate Resilient Futures: Asia-Pacific and Global Lessons.” The event will be livestreamed

In the Global Stocktake framework, this session highlights how greater focus on ancestral wisdom & traditional practices including heritage vernacular architecture that pre-date (or work independently of) the fossil fuel era can accelerate progress towards climate resilient, low-carbon living today.

Watch the Livestream of the “Ancestral Wisdom” Event Live From COP28

Giving Voice to the Nonhuman

Originally posted on Climate Cultures

Photographer and writer Joan Sullivan shares her realisation that, no longer content to simply document climate change, a more fluid, non-linear visual language can evoke the nonhuman voice and reflect our own impermanence in a rapidly warming world.

2,300 words: estimated reading time = 9 minutes

A camera is a tool for learning how to see without a camera.
— Dorothea Lange

Earlier this year, I had the great pleasure to collaborate with a sound artist, Robin Servant, to create an interactive climate change art installation in Quebec, Canada. The result of our collaboration was ‘La voix des glaces’ (in English: ‘Ice Voices’), a multi-sensory installation that gives voice to the nonhuman: the disappearing ice on the Saint Lawrence River.

Sensing the nonhuman voice: Showing a visitor touching the braille text from recent IPCC reports embossed onto photographic ice sculptures, to listen to the underwater 'ice voices' during the interactive installation LA VOIX DES GLACES, created by Joan Sullivan and Robin Servant for the Centre d'artistes Vaste et Vague in Carleton-sur-Mer, Quebec, Canada, from 24 Feb to 31 March 2023. Photograph: Joan Sullivan © 2023
Touching the braille text from recent IPCC reports embossed onto photographic ice sculptures, Edwige Leblanc listens to the underwater ‘ice voices’ during the interactive installation LA VOIX DES GLACES. Photograph: Joan Sullivan © 2023

This was the first time that I exhibited my photographs as tactile sculptures. I grouped 24 of my abstract photographs of the rapidly disappearing river ice into eight triangular triptychs suspended from the ceiling in the center of the gallery. Swaying in the natural air currents of the gallery, these ‘ice sculptures’ resembled floating blocks of ice in the Saint Lawrence River.

Sensing the nonhuman voice: Showing a close-up of four ice sculptures at the interactive installation LA VOIX DES GLACES by Joan Sullivan and Robin Servant, held at the Centre d'artistes Vaste et Vague in Carleton-sur-Mer, Quebec, from 24 February to 31 March 2023. Photograph: Joan Sullivan © 2023
Close-up of four ice sculptures at the interactive installation LA VOIX DES GLACES. Photograph: Joan Sullivan © 2023

Each photograph was embossed with braille text from recent IPCC reports. Visitors – both sighted and visually-impaired – were invited to touch the braille relief in a gesture symbolic of our collective blindness to climate change.

By touching my photographs, visitors triggered underwater audio recordings of the ice blocks as they shift and crack from friction, waves and tidal movements. Every time someone touched an image, the gallery filled with haunting, otherworldly ice voices. They destabilize us, pulling us into their evocative vortex, coaxing us to listen more intently. We find ourselves imagining what the ice is trying to tell us.

Sending the nonhuman voice: Showing a close-up of a visitor touching the braille text from recent IPCC reports during the interactive installation LA VOIX DES GLACES by Joan Sullivan and Robin Servant, held at the Centre d'artistes Vaste et Vague in Carleton-sur-Mer, Quebec, from 24 February to 31 March 2023
Close-up of a visitor touching the braille text from recent IPCC reports during the interactive installation LA VOIX DES GLACES. Photograph: Joan Sullivan © 2023.
Bringing back the nonhuman voice

Giving voice to the nonhuman has, since 2019, transformed my photographic practice from documentary to abstraction. This shift was triggered by two events. The first (which will likely repeat itself in 2023) was Australia’s 2019-2020 Black Summer – the catastrophic, uncontrollable wildfires that killed an estimated three billion nonhuman beings. I was traumatized by the images of blood-red skies, charred kangaroos clinging to fences, and birds falling out of the sky. I suddenly realized that I could no longer participate in documenting climate change. I felt an overpowering sense of urgency to find a more fluid, non-linear, non-narrative language with which to express my ecoanxiety.

The second event that made me question the role of photography in the Anthropocene was a 2019 interview with the author Amitav Ghosh. Responding to a question from Amy Brady, Ghosh explains:

“I think, in literary terms, the most difficult challenge a writer has in an age of climate change is determining how to give a voice to the non-human(emphasis added). And not just in terms of natural disaster – in general. It’s such a challenge. One writer who has done this very well is Richard Powers. I thought his book, The Overstory, was a huge event because it expanded the boundaries of what writers can do. Now I am asking similar questions: How do we restore nonhuman voices? How do we trace the influence of the human among the nonhuman?”

I had previously read Ghosh’s 2016 non-fiction book The Great Derangement: Climate Change and the Unthinkable. But it was his 2019 quote above that inspired me — no, pushed me! — to completely change the way I used a camera. Instead of creating images from my perspective (while hiding behind a camera), I wanted to know how the nonhuman beings in front of my camera perceived climate change, from their perspective. What do they see when they look back at us? What do they feel about our destructive behavior and disregard for nonhuman life? What advice would they offer if given the chance? I was desperate to give voice to these nonhuman beings threatened in the age of man.

This shift in perspective, from the human to the nonhuman, has profoundly changed my art. Since 2020, I have been working on two series of abstract photos: ‘Je suis fleuve’ (in English: ‘Becoming River’) and ‘If I were a tree’. For both series, I have adopted a phenomenological approach in order to embody the nonhuman beings in front of my camera. It’s their story, not mine. If we humans are to survive the coming upheavals, we have no choice but to learn from our nonhuman relatives who were here millions of years before Homo sapiens sapiens first walked the earth. And many of them will likely still be here long after we have disappeared. So it would behove our self-described ‘wise’ species to absorb some of the wisdom from these ancient beings while there’s still time. But in order to do so, we must first slow down. We must learn to listen. We must learn to ‘see’ viscerally with our whole bodies, not just visually. This is embodiment.

A beauty filled with dread 

Since Australia’s Black Summer, I have become obsessed with finding non-visual ways to enhance the photographic experience, both for myself (during the creative process) and for viewers (in the gallery setting). Instead of ‘photographing the river or the trees’, I ‘become the river or the trees’ through sustained contemplation and mimicry – moving my body in sync with the flowing water or the wind blowing through the branches. I do this using the technique ICM (Intentional Camera Movement). All of my ICM images are created in-camera; nothing is Photoshopped in post. To date, all my ICM images are single exposures, usually 1-2 seconds long. Through this experimental process, I have learned to embrace chance and mistakes. Most importantly, I have learned to stop trying to control every aspect (sharpness, composition, depth of field, etc.) as I did for 25+ years as a documentary photographer.

Untitled. From the series ‘Je suis fleuve’ by Joan Sullivan © 2023

I describe my new abstract photos as fluid and fleeting. My hope is that these ephemeral images provoke reflection on our own impermanence in a rapidly warming world. An article in a French-language art magazine here in Quebec described my new abstract photos as “d’une beauté pleine d’effroi” (in English: “of a beauty filled with dread”). To me, that’s as close to a perfect description as possible, not just of my photos but also of my state of mind.

Yes, I am filled with dread. Things do not seem to be heading in the right direction; there’s no sense of urgency. But I also refuse to do nothing while we collectively watch the world burn on our cellphones. I counter this dread with a more powerful burning passion: to dedicate every second of my remaining years (15? max 20?) to helping shatter the absurd illusion that Homo sapiens sapiens is somehow separate from and superior to the one trillion other species with whom we share this planet and upon whom we depend for our own survival.




Images 1-9: Untitled. From the series ‘Je suis fleuve’ by Joan Sullivan © 2023. Click images for full size.

This is what prompted me, in part, to question the environmental impact of my own photographic practice. I started to think about all the toxic chemicals in the inks and photo papers that are used to create the photographic prints for my exhibits. Even for those photos that were never printed, a huge amount of electricity is required 24/7 to store them on my computer, in multiple external backup drives, and on my website. Social media, email, charging camera batteries, and driving to locations also require electricity and energy. Then there’s the undeniable problem of how to dispose of photographic prints (they are not recyclable), not to mention the layers of plastic and stryrofoam that protect them during shipping. I could go on and on…

But it wasn’t until November 2021, during a duo exhibit with the video artist Anna Woch, that I became aware of an even more existential dilemma for a photographer. As I looked at my photos on the wall, a wave of queasiness came over me: I felt strangely uninspired by my own work. Or, I should say, uninspired by the way they were presented: as static, two-dimensional objects hanging against a flat wall, protected behind glass to ensure that no one would damage them. After standing alone in the gallery trying to understand why I felt this way, it finally dawned on me: how absurd it was that these abstract images of the rapidly disappearing ice on the Saint Lawrence River were considered untouchable, yet we humans are constantly meddling with and disturbing nature. Photographs are ephemeral, just like the disappearing ice on the Saint Lawrence. Why was it so sacrosanct to protect ‘art’ for decades if the world around us was burning down? What’s the effing point? On the day that I took those photos down, I mentioned to the director of the artist-run center, Philippe Dumaine, that this would be the last time that I exhibited my photographs in the traditional manner, two-dimensionally. I had no idea what my next exhibit would look like, but I sensed that I was standing on the threshold of a new direction in my artistic practice.

A month later, I was sitting at the kitchen table of the sound artist Robin Servant, whom I had heard through the grapevine was collecting underwater recordings of the river ice with his hydrophones. In our early discussions, I had not yet developed a vision for the tactile three-dimensional photo sculptures; that would come much later thanks to the input of several artist friends. But when I first proposed this project to Robin, I already knew that I wanted to incorporate braille text into my photos in response to the rhetorical question “Are we not collectively blind to the impact of climate change?” After many iterations over the next 14 months and in collaboration with the local chapter of People Living with Visual Handicaps, we presented ‘La voix des glaces’ in February-March 2023 at the Centre d’artistes Vaste et Vague in Carleton-sur-Mer in eastern Quebec. Funding for ‘La voix des glaces’ was provided by the Canada Council for the Arts.


Images 10-13 from the interactive installation LA VOIX DES GLACES. Photographs: Joan Sullivan © 2023. 10 A partial view of the installation, made up of eight triangular abstract photo sculptures representing the disappearing ice on Quebec’s Saint Lawrence River. 11 A visitor touches the braille text on one of the eight photographic ice sculptures. 12 A group from the Gaspesie chapter of the Association of Persons with Visual Handicaps visits the installation. 13 Gaëtan Banville, who is blind and a member of the Lower Saint Lawrence chapter of the Association of Persons with Visual Handicaps, reads the braille text from recent IPCC reports embossed onto the eight photographic ice sculptures. Click images for full size.

The response to this multisensory interactive installation, in which visitors were able to experience embodiment of the disappearing river ice by using three of their five senses — sight, touch and hearing — was phenomenal. According to the Centre’s director, attendance at our installation broke all recent records. Especially among the youth. The secondary school students in particular were most captivated by ‘La voix des glaces’. One of their art teachers showed me some of the artwork that her students created after visiting our installation — such incredible abstract paintings, full of energy, movement, and emotion. And yes, rage. It gave me goosebumps knowing that some part of my work resonated with and was internalized by these young people. This gives me hope. We can live with beauty and sadness at the same time.

Showing a publicity poster for the interactive installation LA VOIX DES GLACES at the Centre d'artistes Vaste et Vague in Carleton-sur-Mer, Quebec.
A publicity poster for the interactive installation LA VOIX DES GLACES at the Centre d’artistes Vaste et Vague in Carleton-sur-Mer, Quebec.

I’m currently working on the conception for a new exhibit in 2024 or 2025 — my most audacious to date — that incorporates elements of ‘La voix des glaces’ but goes one step further. I’ll write about this in a future post.

Hope you enjoyed reading.

P.S. If anyone out there knows Amitav Ghosh, please thank him for inspiring me to experiment using my camera in new ways that give voice to the nonhuman.

Find out more

‘La voix des glaces’ — created by Joan Sullivan and Robin Servant — was exhibited at Vaste et Vague artists’ centre in Carleton-sur-Mer (Quebec) from 24th February to 31st March 2023. It was supported by The Canada Council for the Arts. 

Les artistes remercient le Conseil des arts du Canada de son soutien financier, et tous ses partneraires pour l’appui précieux : Centre d’artistes Vaste et Vague, Centre VU, Engramme et La Chambre Blanche. / The artists thank the Canada Council for the Arts for its financial support, and all its partners for their valuable support: Center d’artistes Vaste et Vague, Center VU, Engramme and La Chambre Blanche.

Le Devoir, Quebec’s largest independent French-language newspaper, published Faire parler les glaces pour montrer que le climat s’effrite, a review of ‘La voix des glaces’, in February 2023. The Vie des arts magazine article that described Joan’s abstract images as “d’une beauté pleine d’effroi” (“of a beauty filled with dread”) is Un vent du fleuve : expositions au Centre d’art de Kamouraska (A wind from the river: exhibitions at the Kamouraska Art Center: 19th September 2020).

You can see more of Joan’s series ‘Je suis fleuve’/’Becoming River’ and ‘If I were a tree’ at her website. 

You can read Joan’s previous ClimateCultures post, Deconstructing our Dominion Stories in a Time of Unravelling, a joint review of After Ithaca: Journeys in Deep Time, by Charlotte Du Cann (2022) and Loss Soup and Other Stories, by Nick Hunt(2022).

The 2019-20 Black Summer in Australia was covered by Reuters in Australia, scarred by bushfires, on high alert for dangerous summer (19th September 2023) and by the Guardian in The black summer bushfires killed 3 billion animals. They are our relatives; they deserve to be mourned (31st March 2023). 

Amy Brady interviewed Amitav Ghosh for the Chicago Review of BooksThe Uncanniness of Climate Change (18th September 2019). Ghosh’s 2016 book, The Great Derangement: Climate change and the unthinkable was published by University of Chicago Books.


A photographer, writer and farmer who focuses on climate change and whose abstract, phenomenological approach to photography expresses her ecoanxiety and gives voice to the nonhuman.

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FIA Live Performance Webinar on Green Production / Webinaire Spectacle Vivant de la FIA sur la production écologique

We would like to invite you to the next FIA Live Performance Webinar on Green Production, on November 30from 6pm to 8pm CET

Conceived amidst the COVID 19 pandemic, the FIA Live Performance Webinars aim to delve into issues specific to the live performance sector. Following three webinars devoted to the pandemic and its impact on performers working on live shows, this new edition will focus on Green Production.

The climate crisis is one of the most urgent issues in today’s world, with every industry being called upon to prioritise environmental sustainability. How can the live performance sector actively contribute to the battle against global warming? Moreover, what role should performers’ unions play in this critical fight?

To answer these questions, we have invited 6 great speakers:

• Isabel Amian, General Secretary of SSRS, Switzerland

• Ian Garrett, Director of the Centre for Sustainable Practice in the Arts, Canada

• Devon Hardy, Program Director Canadian Green Tools, Canada

• Karrim Jalali, Industrial Official for Equity, UK

• Kristine Karåla Øren, President of NoDa, Norway

• Sandro Santoro, Project Manager at Les Bonnes Pratiques, Switzerland.

This webinar will be moderated by Simon Norrthon, President of Scen & Film, Sweden, and Vice-president of FIA.

If you would like to find out more about our speakers and moderator, you will find attached a document with a brief biography of each of them.

To register to this event, please fill in the online form available HERE.

Simultaneous interpretation will be available in English and French.

Nous vous invitons au prochain webinaire sur le spectacle vivant de la FIA, consacré à la production écologique, le 30 novembre, de 18h00 à 20h00 CET.

Conçus dans le contexte de la pandémie de COVID 19, les webinaires de la FIA sur le spectacle vivant visent à explorer des questions spécifiques au secteur du spectacle vivant. Après trois webinaires consacrés à la pandémie et à son impact sur les artistes-interprètes travaillant dans les spectacles vivants, cette nouvelle édition sera consacrée à la production écologique.

La crise climatique est l’une des questions les plus urgentes dans le monde actuel, et tous les secteurs sont appelé à donner la priorité à la durabilité environnementale. Comment le secteur du spectacle vivant peut-il contribuer activement à la lutte contre le réchauffement climatique ? Et quel rôle les syndicats d’artistes-interprètes devraient-ils jouer dans ce combat crucial ?

Pour répondre à ces questions, nous avons invité 6 formidables intervenants :

• Isabel Amian, Secrétaire Générale du SSRS, Suisse

• Ian Garrett, Directeur du Centre for Sustainable Practice in the Arts, Canada

• Devon Hardy, Directrice du programme Canadian Green Tools, Canada

• Karrim Jalali, Représentant industriel à Equity, Royaume-Uni

• Kristine Karåla Øren, Présidente de NoDa, Norvège

• Sandro Santoro, Chef de projet Les Bonnes Pratiques, Suisse

Ce webinaire sera modéré par Simon Norrthon, Président de Scen & Film, Suède, et Vice-président de la FIA.

Si vous souhaitez en savoir plus sur nos intervenants et notre modérateur, vous trouverez ci-joint un document contenant une courte biographie de chacun d’entre eux.

Pour vous inscrire à cet événement, veuillez remplir le formulaire en ligne disponible ICI.

Une interprétation simultanée sera disponible en anglais et en français.

Acts of Resilience – A conference at the Ross Creek Centre for the Arts

ACTS OF RESILIENCE is a hybrid conference instigated by Two Planks and a Passion Theatre Company. Bringing together organizations and artists dedicated to outdoor performance, this gathering is dedicated to sharing knowledge and developing new strategies related to the climate crisis. 

The conference will include sessions ranging from the practical (how are our conditions of work changing and how must we adapt?) to the high-level (how are our relationships with audiences changing and what are our responsibilities as storytellers in mitigating the crisis?). This three-day gathering will be held at the Ross Creek Centre for the Arts in rural Nova Scotia, and the initial strategies and ideas developed during the conference will be shared widely.

Registration will open shortly and will be pay-what-you-can. Please also note that all zoom sessions will be recorded but that individuals will not be required to have their cameras on. 

The challenges the climate crisis presents to our entire society are undeniably huge and present in every community, workspace and home. This gathering of professional performance companies who work outdoors in collaboration with nature is focussed on our specific sector and the challenges we now face, from the practical to the existential. Some of the most important are:

  1. How are our conditions of work changing? What new guidelines, measurements or strategies need to be put in place in order to protect the health and welfare of theatre/performance workers?
  2. How do we communicate with the general public about the climate crisis and its impacts? What does that conversation look like?
  3. How does our public profile change given how closely our work is associated with nature and, by association, an existential crisis? How do we work in that new reality?
  4. What are our responsibilities as storytellers and community institutions in confronting the crisis?
  5. Are the changes ahead of us a matter of gradual adaptation, or is this crisis something we can’t simply adapt to?
  6. Many of our stakeholders create work in geographically remote locations without public transportation. What is the true carbon footprint of our work? How can/should this be measured?
  7. How will accessibility to our work be adversely impacted by the changing climate?
  8. What further measures can we take to further green our organizations?

This project is a response to an emergency. We, as artists who create work in partnership with nature, are overwhelmed by both the immediate impact of the climate crisis, and grappling with the longer-term ramifications for our relationships and communities. We must work together to share experiences, develop strategies and ask uncomfortable questions.


(Top image ID: Square graphic. At the top, yellow text on a dark purple background reads ‘ACTS OF RESILIENCE’. Directly below in yellow text on the same purple background reads ‘outdoor performance in the climate crisis. On the bottom is a yellow semi circle resembling a sun with a thin red border. Red text against the yellow sun reads ‘a conference at the ross creek centre for the arts’. Directly below that text in purple font reads ‘NOV 24-26, 2023’.)

Green Mentorship Program – Applications Now Open

The Canadian Green Alliance is a not-for-profit organization committed to bridging the gap between sustainability and theatre. The Green Mentorship Program is a year long mentorship opportunity for fresh grads, emerging artists or artists transitioning careers to be paired up with Green Experts in their area of interest. In addition to mentorship sessions, the Green Mentorship Cohort of 2024 will attend four exciting workshops on various green tools that they can use throughout their careers. The idea is to share the skills required by artists and technicians to move Theatre into a greener future both for their own careers but also for the general ecology of sustainability in the theatre industry. Each member of this cohort will also receive a $600 Honorarium for their participation! 

Deadline to apply: December 1st, 2023

Julia McLellan, one of the Co-founders of the CGA will be hosting a webinar this month on Monday, November 20th at 2pm EST (RSVP at canadiangreenalliance@gmail.com).

Apply Here: https://forms.gle/cU8HJSiLVa7EgEkV6

Open Call For Beam Camp Project Proposal – Extended to December 11

Beam Center seeks proposals for an ambitious public artwork that will be realized by a community of more than 100 young people at Beam Camp in summer 2024.

Every year, Beam Camp solicits proposals for unique and spectacular large-scale projects that serve as the centerpiece for the 29-day session of camp, during which they will be built and brought to life by 100 campers and 20+ staff. Our Project Team works with the winning designers to translate their project designs into the camp context. We pride ourselves on the high level of craftsmanship and skill that our Projects and the work of our staff and campers reflect. Please take some time to familiarize yourself with our past projects.

Winning proposals will be selected by a committee composed of Beam Center staff, youth, past project designers, and community members.

Beam Camp is looking for the following:

  • Proposals from creative individuals with big ideas, including but not limited to Artists, Engineers, Architects, Builders, Filmmakers, Musicians, Designers, Technologists, etc.
  • Big ideas that result in a unique, ambitious, and spectacular product
  • Proposals that communicate a clear vision (sketches, diagrams, and other visuals) and represent your/your team’s expertise
  • Projects that take advantage of Beam’s facilities, community, landscape and rural setting
  • Projects that use a range of materials, processes and techniques
  • Projects that allow us to create the majority of the components onsite and from scratch

Beam Camp Disciplines and Facilities include:

  • Full wood and metal shops, equipped with a range of hand and power tools
  • Welding facilities
  • Textile, dye and sewing stations
  • Ceramic studio
  • Molding and casting facilities
  • Technology lab
  • Audio equipment and instrument selection
  • Food Garden and Commercial Kitchen

Project Site: Beam Project NH

  • Location: Beam Camp in Strafford, NH
  • Completion: late-July 2024
  • Past projects: Welcome Beacon (2023), As Above, So Below (2022), and A Universe (2021)/ https://www.beamcenter.org/projects

Award, Project Budget and Selected Artist Expectations:

  • For each selected project artists receive a $5,000 award
  • Selected projects have approximately $15,000 fabrication budget
  • Selected artists should have a general understanding of the processes, techniques, and materials involved in their proposal
  • Selected artists must be available for bi-weekly meetings beginning 6 months before project completion in order to facilitate any necessary development, prototyping, and problem solving

Application Instructions (https://www.beamcenter.org/events/open-call):

Please submit proposal as a SINGLE PDF that includes:

  • The title of your proposed project
  • A detailed description of the project
  • Visuals (sketches, diagrams, renderings, video link, etc.)
  • Information about all co-designers included in your proposal, if any: names, emails, experience (resume, CV, portfolio, etc.) and phone numbers of each individual involved (including the applicant)

Applications must be submitted no later than 11:59PM EST on Monday, December 11, 2023