Monthly Archives: September 2017

Carbon Reporting 2016-17 due 29th September

This post comes from Creative Carbon Scotland

Carbon Reporting is due on 29th September for all Regularly Funded Organisations, and Creative Carbon Scotland are here to help!

All Regularly Funded Organisations should now have received their Annual Statistical Survey for 2016-17 from Creative Scotland which should be completed and returned by 29th September 2017. As with previous years the survey contains an Environment worksheet which requests information on the emissions produced from your use of utilities, waste and travel. You can find a new video explaining how to complete this worksheet in the Carbon Reporting for RFOs section of the website.

What you need for reporting to Creative Scotland

You will need access to data on your usage of water, electricity, gas and other heating fuels as well as amounts of your landfill and recycled waste. Your emissions will be calculated automatically when you enter this data into the worksheet. In addition, you will need to access emissions data for your travel. We recommend using figures from the report page in your www.claimexpenses.com account. If you do not have your travel data recorded in claimexpenses you will need to calculate emissions from mileage figures using emissions factors for each mode of travel.

Please contact us if you need help to obtain data on emissions factors for travel.

Note: If you have completed this form for a previous year there have been some very minor changes.

Last year, over 50 organisations supplied actual recorded data for all appropriate categories. We hope that this year will see an even greater number of organisations supplying actual data but if this is not available we would encourage you to supply estimated data rather than no data.

Previous year’s reporting

You may be interested to know how we have used your data in the past? You can download our analysis of the data returned in the Environmental section of the Annual Statistical Survey for 2015-16 from our new pages.

Please get in touch with fiona.maclennan@creativecarbonscotland.com / 0131 529 7909 if you have any questions or need help with completing the Environment section of the survey.

 



The post Carbon Reporting 2016-17 due 29th September appeared first on Creative Carbon Scotland.



 

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

500 Years of Resistance Presented By: Dancing Earth Creations and Cuicacalli Dance Company

“500 YEARS OF RESISTANCE”

SAN FRANCISCO, CA — Dancing Earth Creations in collaboration with Cuicacalli Dance Company are proud to present “500 Years of Resistance” Festival at the newly renovated Brava Theater in the Mission District in San Francisco on Dec 1-2, 2017 . The Festival celebrates the tenth anniversary of the Cuicacalli Danza, the associate year round training program of Dancing Earth.

Two different programs will be presented from December 1-2, 2017 :

  • The Opening Night concert on December 1st will focus on contemporary Indigenous choreographies with themes of; honoring of Native land and water rights  and honoring of treaties,  the renewal of ancestral ties though memory and dreaming; the spiritual, cultural and practical exploration of notions of Renewable Energy; diasporic resilience and resistance in solidarity with all struggles and commonality of people of color; and resistance prayers and  protests tied to local issues advised by our California First Nations consultants.
  • The Closing Night concert on December 2nd features brilliant full  scale production of Ballet Folklorico Mexicano by Cuicacalli Dance Company, as created and directed by Jesús “JACOH” Cortés, former soloist with Ballet Folklorico de Mexico, as well as select contemporary Indigenous choreographies

    (Cuicacalli Dance Company Performance Photo by Robbie Sweeny)

The programs will be featuring Dancing Earth’s collaborating Indigenous performing artists, Cuicacalli professional danzantes and advanced apprentices, special  guest artists, and our honored cultural artist ambassadors of local California First Nations including Ohlone, Pomo and Wappo.

This festival is made possible by San Francisco Arts Commission grants, in-kind support from Dance Mission and Brava Theater, and the immeasurable cultural legacy of our Indigenous cultural consultants and collaborators.

(Cuicacalli Dance Company Performance Photo by Robbie Sweeny)

Calendar Listing:

WHO:   Dancing Earth,  Cuicacalli Dance Company and guest artists including local California       First Nations honored representatives

WHAT:   “500 Years of Resistance” Festival

WHEN:   Program A, Dec. 1 , 2017 ; Program B Dec.  2, 2017

TIME:   7 pm

WHERE:    Brava Theater, 2781 24th Street, San Francisco, CA 94110

WEBSITE:   https://www.brava.org/visit

WHY:   On the days following Native history month— and the national holiday   known as Thanksgiving by some, but known as ThanksTaking by many– we reclaim  the mythology on which this holiday has been imagined with vital and compelling truths of Indigenous survival and resilience of the original peoples of , as well as inter-tribal and Indigenous people who have made the Bay Area their home.

We honor and embody local and hemispheric resistance efforts protecting Indigenous eco-cultural rights to exist, with vibrant rituals of contemporary Indigenous dance that celebrates our continuance, and welcomes community to gather in solidarity and unity.



Ticket Details:



$30 – General Tickets

$25 – Advance Tickets

$20 – for Students with ID, seniors, and youth under 10 yrs old

*Ticket covers cost of Performance and helps support scholarships for deserving low income students of Cuicacalli Dance Company

Tickets are available after October 15 at https://www.brava.org/ or call 415-641-7657

Website: www.dancingearth.org

About “ 500 Years Of Resistance “

INTENTION: To offer dances as vital contemporary  rituals for transformation that  heighten awareness and understanding of Indigenous presence and issues for our extended Bay Area community. At this important time in history, Native people are being recognized as the leaders of the ecological movement by bringing spiritual, cultural and creative resonance,  connecting all living beings.

INSPIRATION: We honor the rich heritage of California First Nations’ songs and dances that have kept the land, waters, and all living beings in balance and harmony until colonial times. We are energized by the history of inter-tribal solidarity such as the 1970s takeover of Alcatraz, commemorated annually with gatherings on Indigenous Peoples Day and Thanks(Taking) Day, with this performance falling just after that national holiday. Rich source material emerges from consultation with inter-tribal elders, culture carriers, and activists, as well as individual Indigenous artists bringing their unique cultural perspective to the collaborative creative process in a shimmering mosaic of historical and ancestral memory, imagined futurities, and embodied present.

CREATIVE PROCESS: Dancing Earth works closely with Indigenous collaborators and inter-tribal elders and consultants including representatives of regional California First Nations with creative explorations in seasonal intensives at indoor and outdoor locations,  activating the inner and outer landscapes in a process  described by Dancing Earth’s Founding Director and Choreographer, Rulan Tangen, as “Re-Story-ing”

About Dancing Earth and Director Rulan Tangen:

(On Photo: Rulan Tangen, Dancing Earth Images)

DIRECTOR BIO: RULAN TANGEN (Director, Choreographer, Dancer) is an internationally accomplished dance artist and the Founding Artistic Director and Choreographer of DANCING EARTH. As a performer and choreographer, she has worked in ballet, modern dance, circus, TV, film, theater, opera and Native contemporary productions in the United States, Canada, France, Norway, Mexico, Brazil and Argentina.

Her work values movement as an expression of Indigenous worldview,  honoring  matriarchal leadership, dance as functional ritual for transformation and healing, the process of decolonizing the body, and the animistic energetic connection with all forms of life on Earth. She has recruited and nurtured a new generation of Indigenous contemporary dancers and holds the belief that “to dance is to live, to live is to dance.”

Rulan has been recognized with:

  • Costo Medal for Education, Research and Service by UC Riverside’s Chair of Native Affairs
  • Native Arts and Cultures Foundation for their first dance Fellowship for Artistic Innovation
  • Top ten finalist across all disciplines for Nathan Cummings Fellowship for Social ChangeArts and Healing Network’s Arts for Social Change Award
  • A Blade Of Grass fellowship for socially engaged art
  • Nomination for Action in Film award

In April 2018, she is honored to be a recipient  of the Kennedy Center Citizen Artist Award.

(On Photo: Rulan Tangen, Dancing Earth Images)

ABOUT DANCING EARTH:

DANCING EARTH (DE) debuted at Dance Mission in 2004 and has emerged as a unique force in the dance world. DE’s work gathers inter-tribal collaborators to re-envision contemporary dance, embodying Indigenous ecological philosophies with renewed relevance as evidenced by extensive national and international touring invitations.

Director Tangen’s founding vision for DE is to serve a need not met in the United States, giving hope and opportunity to Native talent who are outside of mainstream performance because of lack of access and resources. As Native dancers, composers, customers, filmmakers, and spoken word artists, we challenge notions of what comprises a professional artist, the role of the audience, and the boundaries and purpose of performance. Our tribal values honor dance and songs as essential ritual for transformation which we expand to socio-environmental change. Reviewer T. Hassett  describes Dancing Earth as having “Taken the beauty, power, and wit of that sensibility further, combining powwow, ballet, modern dance, circus arts, capoeira, and b-boying into something acutely mythological.”

We are one of few companies who work with Native communities in gymnasiums and open spaces for people who may have never seen theatrical dance as well as in festivals in Opera houses for audiences who have never met a Native person. We also serve our circles with extensive local and national dance instruction, engagement workshops, and community-made art.

We dance the rich diversity of our contemporary heritage with the intent to promote ecological awareness, cultural diversity, healing and understanding between peoples. Our aesthetic embodies the spirituality inherent on Earth, and is created by, with, and for the land and the peoples of the land.

Recognition include:

  • Medallions from the US Embassy for Cultural Ambassadorship
  • National Museum of American Indian’s Expressive Arts Award
  • Mention as one of ”25 To Watch” by Dance Magazine
  • National Dance Project’s Production and Touring awards in 2009 and 2016
  • MAP FUND award for GROUNDWORKS, a project to debut in Bay Area in 2018

DE evokes critical review such as that found in Santa Fe’s THE magazine: “The visionary note easily persists in the accomplished miracles of speed, agility, grace, and sensuality that articulate … Rulan Tangen’s extraordinary choreography.”

(Dancing Earth Images)

About Cuicacalli Compania and Director Jesus Jacoh Cortes

DIRECTOR BIO: Jesús “JACOH” Cortés, began his training in Mexican folk dance when he was 6 years old under the direction of his great uncle, Juan Natoli. In 2000, he started dancing with Ballet Folklórico de Mexico de Amalia Hernandez in the Palace of Fine Arts in Mexico City after he was trained as a Deer Dancer under the direction of Lucas Zarate Lobato. He was a soloist in the role of The Deer Dance “La Danza Del Venado” for Ballet Folklorico de Mexico de Amalia Hernandez, and has toured Mexico, Europe and the United States. He was the company choreographer and lead teacher for Los Niños de Santa Fe y Compañia. In addition to performance, he has also taught hundreds of elementary school children as part of the Arts in the Schools program in Española, New Mexico.

Currently, Jacoh lives in San Francisco and works as an artist in residence with the SFUSD and Brava Theater. He is founder and Artistic Director of Cuicacalli (meaning House of Culture in Nahuatl dialect), and is a lead teacher and choreographer for Dancing Earth. In the Bay he has been a Guest Artist/Instructor/Choreographer/Consultant with initiatives including San Francisco Symphony,  Printz Dance Project, ALICE (Arts and Literacy in Children’s Education) program, “Burning Libraries,” Mystical Abyss, Sonoma Ballet, and  Ballet Folklorico de Stanford University. His Cuicacalli Escuela and Dance Company, has been presented by D.I.R.T. Festival, Festival of Latin American Contemporary Choreographers, Baile en la Calle, SF Son Jaroche, Cuba Caribe and CARNAVAL.

Notable recognition:

  • Director/Choreographer Cortes and Music Director Ariana Cortes led students who were selected as the only youth group ever to place in professional level as Carnaval second place winners!
  • Recognition of Sr Cortes’ version of ‘Danza Del Venado with an  acclaimed IZZY award.
  • Sr Cortes was recognized with Dream Catcher award for excellence in the arts by SF School District in 2017.

ABOUT CUICACALLI :

CUICACALLI “House of Culture” is a year-round youth training program, in association with DANCING EARTH, the nation’s foremost Indigenous contemporary dance ensemble.  Founded in 2008 by renowned international performer Jesus “Jacoh” Cortes, CUICACALLI is an international, cross-cultural, dance-arts educational institution.

CUICACALLI carries strongly its mission to serve the diverse community of San Francisco with dedication towards excellent instruction, performances and community programs, for intergenerational students, artists and audiences of all backgrounds. CUICACALLI builds communities through dance- expanding, exploring, and celebrating the cultural traditions of the Americas. Self expression, confidence enthusiasm, discipline, focus, cooperation, teamwork and positive attitude are amongst the life qualities encouraged in all CUICACALLI classes. The offering of versatile dance styles give students a well-rounded curriculum of body awareness, movement dynamics, strength, flexibility, spatial composition, and the appreciation for the vibrant cultural rhythms that are the pulse of Latino/Indio life.

Advanced students become eligible for apprenticeship with CUICACALLI DANCE COMPANY  and Dancing Earth. The COMPANY  is inspired by cultural traditions and their development to the modern days, Cuicacalli develops choreographies to revive traditions, social and environmental situations, or simply give a look to the daily life with an abstract motion. As a multi disciplinary dance company, CUICACALLI fuses various styles into a unique story of their own. By including dance styles such as Indigenous, Folkloric, Contemporary, Cuicacalli hopes to expose, sustain, and expand traditional and modern dancing with a new lens.

***JESUS CORTES IS A BILINGUAL SPANISH-ENGLISH SPEAKER AND IS AVAILABLE FOR SPANISH LANGUAGE INTERVIEWS  

(Photos of Artistic Directors , all copyright courtesy of photographer Elizabeth Oplaenik for Dancing Earth Creations)

Exhibition: Cash, Clash & Climate (U.K.)

CASH, CLASH & CLIMATE 

MASLEN & MEHRA in collaboration with street artists, Shuby and Delete
1 September – 12 November 2017
Opening event: 14th September 2017
Hastings Museum & Art Gallery
John’s Place
Hastings TN34

Maslen & Mehra consider their more recent work to be ‘micro’. By that, they mean they are honing in on very specific political and environmental dilemmas. This requires a completely different methodology to previous work in order to explore detailed narratives. The sculptures in their current series have been based on ceramic plates researched in museums around the world. These include the Victoria & Albert and British Museums, London; Hastings Museum, UK; Mares Museum, Barcelona; the Metropolitan Museum, New York; the Archaeological Museum and the Turkish and Islamic Art Museum, Istanbul; the Asian Museum of Civilization in Singapore and the Museo Internazionale delle Ceramiche in Faenza, Italy. Maslen & Mehra fashion the sculptures from humble materials: wire and papier-mâché, completed with a decoupage technique of small tiles of archival prints. The narrative of each original plate is altered to highlight a variety of ideas tied to three themes: Cash, Clash and Climate.

The Cash series draws attention to bank bailouts; Doughnut Economics; credit culture; housing bubbles; tampon tax; quantitative easing; war as big business; the commodification of food staples; and the almost religious status that money has reached in our times. The Clash series embodies social unrest from London to Athens; Article 475; the refugee crisis; Grenfell; Greece and the Eurozone; social media to organise protests; fracking; gun control vs gun rights; and the Dakota Access Pipeline.  Lastly, the Climate series highlights environmental topics such as global coral bleaching events; chronic pollution as a heavy cost for economic power in China; melting ice caps; the opposing views of climate change; El Niño; Natural Capital; and the legacy of radiation from Japan’s nuclear disaster in Fukushima. The artists have made bespoke stands for the sculptures and invited local street artists, Shuby and Delete, to add to their surfaces, responding to each theme. This exhibition at the Hastings Museum draws together pieces from the three collections for the first time, representing years of work.

The sculptures individually pose questions about political, social and economic structures but together they ask how they, in turn, relate to social unrest and environmental issues. Some themes may be familiar to the viewer such as the piece, Polarized, which confronts us with opposing slogans: ‘Global warming is a cruel hoax’ and ‘Climate can’t wait’. Others are less obvious, such as the piece Article 475 which encourages the viewer to look further if they don’t understand the reference. Faith in Fiat questions the shift from commodity money to a fiat system which is effectively a promise. Is it sustainable to have such blind faith? The largest piece in the collection, Natural Capital references a system by which natural assets (water, geology, biodiversity, soil, air) and ecosystem services (pollination by insects, recreation, natural flood defences etc.) are given a financial value. Could this alternate economic system be the key? Maslen & Mehra have created the framework Cash, Clash and Climate in order to ponder questions about the complexities of living today and they invite viewers to follow their train of thought.

Hasting Museum and Art Gallery has an extensive ceramics collection. This exhibition will be in the newly refurbished Ceramics Gallery which showcases pottery production over the past 5000 years.

Hastings Museum and Art Gallery
Telephone: 01424 451052
Or you can contact us via Twitter or Facebook
https://twitter.com/hastings_museum
https://www.facebook.com/HBC-Hastings-Museum-Art-Gallery-218155741717952/

Admission is free. We are open all year:
April – October: Tuesday - Saturday 10am – 5pm, Sunday 12noon – 5pm. Last admission 4.30pm
November – March: Tuesday - Saturday 10am – 4pm, Sunday 12noon – 4pm. Last admission 3.30pm
The Museum has full wheelchair access throughout and disabled toilet facilities.
Free parking available outside Museum, including 1 disabled parking bay.

Faith In Fiat

Installation on view at the Towner Art Gallery.
22 July - 1 October 2017.
The summer exhibition has been selected by Richard Billingham (artist), Rosie Cooper (curator De La Warr Pavilion) and Brian Cass (curator Towner).

Open TuesdaySunday and Bank Holiday Mondays. 10.00am-5.00pm
Devonshire Park
College Road
Eastbourne
BN21 4JJ



MASLEN & MEHRA Biography



Tim Maslen (b. 1968, Australia) studied Fine Art at Curtin University, Perth and completed an MA at Goldsmiths University, London in 1997. Jennifer Mehra (b. 1970, London) studied Fine Art at City Art Institute, Sydney and the National Arts School, Australia. Mehra was a founder of VOID, an East London artists’ – run space, which staged dozens of exhibitions for four years from 1997 – 2000.

Maslen & Mehra have worked collaboratively since 2000. They are recipients of a grant award from the Arts Council of England for their ongoing work Cash, Clash & Climate (2015 – 2017). Work from this series was included in an exhibition curated by Jenni Lomax, Melanie Manchot and Brian Cass at the Towner Contemporary (July 2016). They exhibited work from this series in the exhibition The Fall Of The Rebel Angels in Venice in 2015.

In 2014, they staged a solo exhibition at Lucy Bell Gallery for the Hastings Photo Festival. They were selected by Paul Noble for Creekside, London 2013, and were included in LUMINOUSFLUX at the Lawrence Wilson Art Gallery as part of the Perth International Arts Festival. In 2011, they were shortlisted for the Latitude Contemporary Art Prize alongside Graham Dolphin, Delaine Le Bas, Andy Harper and Alice Anderson.

The work of Maslen & Mehra can be found in collections such as Tattinger Switzerland, Galila Collection Brussels, Art EsCollecion Madrid, numerous international private collections and the Altered Landscape Collection, Nevada Museum of Art. Maslen & Mehra are featured in the stunning accompanying book titled The Altered Landscape published by Rizzoli.

Solo exhibitions have been staged in New York, London, Paris, Rome, Barcelona, Dubai, Istanbul, Toronto, Perth, Sydney and Berlin. In 2011 there was a solo presentation of their work for the Scotiabank CONTACT International Festival, Toronto. A monograph, Mirrored – Maslen & Mehra was published by Verlag für moderne Kunst Nürnberg in 2008 with texts by Hamburger Bahnhof Museum Curator, Eugen Blume and art historian, Edward Lucie-Smith. Earlier projects include an installation at the Frissiras Museum, Athens during the Olympics (2004), a sculpture installation exhibited at Artspace, Sydney (2002), and a solo project at Dilston Grove, London achieved with awards from the Henry Moore Foundation and London Arts (2001).

Understanding a place “without shortcuts”: exploring the Tim Robinson archive 

This Post Comes from The Hollywood Story : An Eco-Social Art Practice | Co. Carlow Ireland | Authored by Cathy Fitzgerald:

I’m staying near Bearna village, which is on the edge of the ecologically significant Moycullen bog area in the West of Ireland.

On such occasions the basic act of attention that creates a place out of a location would be renewed, enhanced by whatever systems of understanding we can muster, from the mathematical to the mythological, by the passion of poetry, or by simple enjoyment of the play of light on it. Here is a gateway to a land without shortcuts, where each place is bathed in the sunlight of our contemplation and all its particularities brought forth, like those mountainside potato plots gilded by midwinter sunset in the valley of the stone alignment.

Tim Robinson ‘A Land without Shortcuts’, The Dublin Review 46 (Spring 2012), p.43

2017 has seen me spending many months away from Hollywood forest. Now, I find myself exploring a remarkable archive, a body of work created over four decades by Tim Robinson, that celebrates some of the most iconic land and marine areas of the West of Ireland. I thank Dr. Nessa Cronin of the Moore Institute, National University of Ireland, Galway, for inviting me to apply for a month-long Visiting Fellowship that is giving me access to Tim Robinson’s remarkable legacy. Also thanks to Dr Iain Biggs, my PhD supervisor, who encouraged me to take this opportunity.

Since 1972, Tim Robinson with the support of his partner Mairead, has created a nationally acclaimed body of work that celebrated and mapped the Aran Isles, the Burren and Connemara.

Initially, I was a bit unsure how my creative practice and research would connect with the archive. I was thinking how would I relate to the tree-less landscape that is the West of Ireland, but I was soon intrigued how Robinson developed an extraordinary ecology of creative practice.This practice, developed over these decades, embraced map-making, ecological and archaeological studies, local histories and folklore, and writing to deeply map and highlight overlooked values of these areas. Reflecting the significance of Tim’s work to the Irish nation, is that he is a member of Aosdana (an affiliation of artists who have made an outstanding contribution to the arts in Ireland) since 1996, and he  is a fellow of the Royal Irish Academy since 2011.

Robinson, drawing on his background in visual arts, mathematics and physics, and perhaps freshly enthusiastic about Ireland as he was as a visitor to this region (he was born in Yorkshire), created a practice that is far from a simple study of landscape.

An important recent book to understand Robinson’s many faceted practice is  Unfolding Irish Landscapes Tim Robinson, Culture and Environment (2016). A contribution from Irish art and architect researcher Catherine Marshall, indicates that Robinson’s wide-ranging creative practice is less appreciated in the art world than might be expected. She writes that Robinson’s work has been more often examined by literary critics, geographers, historians and other writers (Marshall, 2016, p.191).  Notably, she understands that Robinson’s mapping and collation of histories and place names inevitably led to his writing several acclaimed books, Stones of Aran: Pilgrimage (1986), Stones of Aran: Labyrinth (1995), Connemara: Listening to the Wind (2006), Connemara: The Last Pool of Darkness (2008), Connemara: A Little Gaelic Kingdom (2011) and yet, how his practice was informed ‘by an artist’s eye at all times’ (p.198) (a sense of Robinson’s work can be seen in the video below). She recognises that Robinson’s aim was to find a way to link the particular to the global and the mythic (p.197), and she briefly mentions how his work connects to other’s creative practices as established by Deirdre O’Mahony and Alan Counihan and Gypsy Ray who have created similar wide-ranging and comprehensive eco-social ‘mapping’ projects in Ireland (p.199). However, the final contribution in this book by ecocriticism researcher, Eoin Flannery in his ‘Essayist of Place: Post-Colonialism and Ecology in the Work of Tim Robinson’, signals how Robinson’s constellation of practices are now viewed as contributing significantly to the developing ecological (environmental) humanities discipline, of which ecological art practice is increasingly recognised as a vibrant field of enquiry.

Extract from the documentary film Tim Robinson: Connemara (Director, Pat Collins, Harvest Films, 2014), it ‘is a sixty minute film based on Robinson’s three Connemara books and a visual interpretation of his work as a map-maker and writer. An exploration of landscape, history and mythology – this film acts as an intersection between writing, film-making and the natural world.’ (Harvest Films)

To my mind, Robinson’s creative work is an exemplary example of a developed ecological practice.  Ecological art practices are perhaps better described as eco-social art practice (as they bear similarities to social art practices). Such practices involve organising activities and insights from lived (lifeworld) experience and diverse disciplinary knowledge, and are motivated by ethics, learning and action. Practitioners of such practices are not to the fore of such projects, rather they work transversally to encircle an emergent ecosophy, a philosophy of living well in a specific  location (originally described by French therapist, political activist and theorist, Felix Guattari). They foster a reflective, collaborative and comprehensive effort,  “without shortcuts”, as Robinson says, to understand our cultural values, or lack thereof, to our life-supporting environments.

Iain Biggs, who also undertook a Moore Institute visiting fellowship in 2014, has explored such ecosophical projects (looking at the creative practices of Deirdre O’Mahony, Pauline O’Connell and my own) in his research article ‘”Incorrigibly plural”? Rural Lifeworlds between Concept and Experience’ (2014). Biggs details how these creative practitioners develop and share  workings for their audiences as a result of them inhabiting ‘polyverses’: that these multi-constituent practices champion openness and plurality as they welcome and explore many different ways of appreciating often marginalised rural lifeworlds (Biggs, 2014, p.263).

And fostering sensitive, inclusive, region-specific creative practices is important for all our futures given the unprecedented eco-crises we all face (although in Ireland, understanding that culture is 4th pillar of sustainability is still little acknowledged, Fitzgerald, 2017). I can illustrate this further by considering two creative projects detailed in articles sent to me by colleagues this week, one from Ireland and one from Australia. The Irish article, in yesterday’s Irish Times, ‘Connemara village writes its own positive obituary’ (Siggins, 24 August 2017) reveals a local community that feels abandoned by the Irish Minister for Rural Development. However, this community, with the help of creative film-maker and television producer, Sean O Cualain, has set up a bilingual online interactive map and archive of this area’s place-names and rich heritage, that honors it’s ancestors’ livelihoods. Such efforts contrast what the Irish Times writer Siggins identifies as the official, “the land is worthless” narrative, that is often heard by those, like the villagers in Connemara, who are trying to maintain a sustainable relationship to their land. The Connemara village’s Loughaconeera Heritage website highlights Coiste Scoil Loch Con Aortha, their  voluntary organization and their efforts to secure funds to develop an old school as a community facility (you can make a donation here). It’s more than telling  that this article ends with a note that a Fine Gael Councillor resigned in April from the post of chairman of the Western Development Commission in protest over government inaction.

Likewise, Australian sociologist Laura Fisher in ‘Ecologies of Land and Sea and the Rural/Urban Divide in Australia: Sugar vs the Reef? and The Yeomans Project’ (2017) documents similar narrow-minded, city-based agendas that little reflect or consult with rural realities. She argues the potential for embedded eco-social art practices to offer valuable insights to seemingly intractable farming versus environmental debates. Her research reviews the live, ongoing multi-dimensional creative Sugar vs The Reef? Project (begun 2016), in which creative practitioners Ian Milliss, Lucas Ihlein and Kim Williams, listen and gather overlooked diverse local knowledge to map a regenerative farming appropriate for this specific environment, that borders the sensitive and declining Great Barrier Reef. Having followed Lucas Ihleins’ doctoral research (and I met with Lucas last December), I also admire their use of a blog  sugar-vs-the-reef.net to creatively collate and make this project open and  accessible to local and further afield audiences. Similarly, I recognise blogging as a creative audio-visual discursive practice that has an immediacy  perhaps more readily engaging than Robinson’s preference for detailed literary endeavors, although, of course, both have value (I wondered the other day in the reading room looking at the physical archive how will blogs be archived in the future). Overall, Fisher’s analysis concludes that these ‘projects show that generating compelling, localised, cultural meanings around land use has the potential to be as decisive as scientific intervention or environmental legislation’ (ibid).

Fisher’s research confirms others extensive studies, such a sociologist Sacha Kagan’s Art and Sustainability: Connecting Patterns for a Culture of Complexity (2011) which analyses that ecological art practices are a significant contribution towards developing relevant instances of sustainability. However, I concur with Marshall above, that such wide-ranging practices are less known than they should be. My recent doctoral research and practice has tackled why these practices pose challenges to contemporary art practice. Importantly, I see common aims and strategies in how these projects develop and are maintained. My research has helped to articulate these processes and I hope to apply my theory and methodology framework to understand Robinson’s and others practices more simply.

But first, I think I might go out and experience the bog outside my front door. And that’s the first step, gathering experiential knowledge of being in a place, and art has a key role to translate these experiences in new and engaging ways to audiences. I’ll post more on this in my next post from the bog 🙂


Biggs, Iain (2014)’”Incorrigibly plural”? Rural Lifeworlds between Concept and Experience. Canadian Journal of Irish Studies, Special issue, “Text and Beyond Text: New Visual, Material, and Spatial Perspectives in Irish Studies”. Vol. 38, Nos. 1+2, 260-279.

Fisher, Laura (2017) ‘Ecologies of Land and Sea and the Rural/Urban Divide in Australia: Sugar vs the Reef? and The Yeomans Project’. Available at https://www.academia.edu/33371306/Ecologies_of_Land_and_Sea_and_the_Rural_Urban_
Divide_in_Australia_Sugar_vs_the_Reef_and_The_Yeomans_Project
 [Accessed 23 August 2017]

Fitzgerald, Cathy (2017) ‘Creative Carlow Futures: Art and Sustainability for County Carlow’. A Carlow Arts Act Award study report. In press.

Kagan, Sacha (2011) Art and Sustainability: Connecting Patterns for a Culture of Complexity.

Siggins, Lorna (2017) ‘Connemara village writes its own positive obituary’ 24 August 2017 Irish Times. [Accessed 24 August 2017].


Thanks to digital archivist Aisling Keane and Prof Daniel Carey, Director, of the Moore Institute for welcoming me to the Robinson archive. Thanks to Mary Carty and Lucas Ihlein for sending me the above articles.