I’m beyond excited to announce the official launch of Fix’s writing contest, Imagine 2200: Climate fiction for future ancestors. After a year few of us could have imagined (not to mention a tumultuous start to 2021), my team at Fix is looking, optimistically, to the future. And we hope you’ll help us spread the word about this contest far and wide!
I’d like to share a quick note about how this project came to be. In the spring of 2020, just after the pandemic had hit the United States, Fix convened (virtually) a group of New England Fixers to foretell the next 180 years for their region. They visualized a complete societal transformation and a path to a clean, green, and just future: A dissolution of political parties and borders. Reparations. The return of land to Indigenous and Black stewardship. Restorative justice replacing prisons. Food sovereignty triumphing over monoculture farming. An economy built on ecological restoration, mutual aid, and care work. Out of their visions grew the idea to launch a climate-fiction initiative at Fix.
Check out our media kit (below) for graphics and sample social copy to spread the word about this new project.
Imagine 2200 draws inspiration from Afrofuturism, as well as Indigenous, Latinx, Asian, disabled, feminist, and queer futures. The contest is also grounded in hopepunk and solarpunk — literary genres that uplift equitable climate solutions and continued service to one’s community, even in the face of despair.
In the contest’s inaugural year, we’re calling for short stories that envision the next 180 years of equitable climate progress. What will the world look like in the year 2200 — or anywhere between then and now? Submissions open today (January 12) and close on April 12. Stories will be judged by a board of literary experts including authors Adrienne Maree Brown, Morgan Jerkins, and Kiese Laymon. The first, second, and third-place winners will be awarded $3,000, $2,000, and $1,000 respectively, and nine additional finalists will each receive a $300 honorarium. Winners and finalists will be published in a digital collection on the Fix website and will be celebrated in a public-facing virtual event.
We hope you’ll help us get this opportunity out in front of the world. Together, we can fix the future with fiction. Join this creative uprising of imagination. In your story lies our collective liberation.
Tory Stephens Imagine 2200 Project Director & New England Network Weaver, Fix
Stay in touch Did a friend forward you this newsletter? Drop me a line and I’ll add you to the list so you can get more updates from the Imagine 2200 crew.
(Top photo: Carolina RodrÃguez Fuenmayor)
Grist is an independent, nonprofit media outlet covering the climate crisis and the many facets of life it touches. Our award-winning journalism elevates solutions, exposes inequity, and gives our readers the context, knowledge, and tools to make a difference.
Fix is Grist’s solutions lab. We combine solutions-oriented storytelling with gatherings that bring together a growing community of Fixers to create a planet that doesn’t burn and a future that doesn’t suck.
A 600-word tiny play challenge from Fishamble & ESB about what a brighter energy future means to you.
​ESB has joined forces with Fishamble: The New Play Company to set a challenge for the Irish public, and anyone who feels they have a 600-word play in them, to capture what a brighter future means for people living in communities across Ireland.
For ESB, a brighter future starts with a low carbon future, powered by clean electricity. One where air quality is better, energy is sustainable and affordable, communities are thriving and where the future of the planet is safe. With Ireland’s electricity system on a pathway to be carbon free within a generation, and with the growing adoption of electric cars, electric heat pumps and smart home devices, electricity will be a transformative force in the fight against climate change.
Tiny plays for a brighter future is an opportunity to give creative expression to all points of view in the transition to a low carbon energy future: to look at the choices we all must make to meet our future climate goals, examine how those choices will impact communities across Ireland, and imagine what we want the Ireland of our future to be, through 600-word tiny plays.
Submissions deadline is 5pm Irish Time, Monday 1st March 2021.
A maximum of two entries per person can be submitted.
​Writers of shortlisted entries will be paid €200 each to have their plays published online, and three chosen writers will be paid a further commissioning fee of €800 (so a total of €1,000) to have their play brought to life by Fishamble, who will produce and film multimedia pieces that will be shared online.
This call-out is open to all residents on the island of Ireland, and Irish abroad (with the exception of Fishamble & ESB staff). In all of its work, Fishamble seeks to tell the story of Ireland, and to engage with a wide range of communities, through discovering, developing and producing plays by Irish writers, and writers living on the island of Ireland. It aims to reflect contemporary Ireland through bringing a diverse range of voices to the stage, regardless of gender, sexual orientation, civil or family status, religion, age, or socio-economic background.
Fishamble actively encourages submissions from underrepresented and marginalised voices including, but not limited to, people who identify as: BIPOC, members of the traveller community, neurodivergent people, LGBTQI+ , migrants, and people with disabilities. People of all ages can send in their 600-word tiny play.
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.
How did your interest in Ecoscenography and sustainable theatre production begin?
My passion for sustainability has been there from the very beginning of my theatrical journey (over 15 years). When I first started out in the theatre, we worked in very small teams and did everything ourselves, so nothing was thrown away unnecessarily. It was only recently that I realised how sustainability has always been at the heart of my artistic approach. I was always the ‘annoying one’ on productions – the person who ensured and insisted that nothing be thrown away!
It took Jasmine Catudal (who organized the Quebec exhibition And after at the Prague Quadrennial in 2019) to alert me to my sustainability ethic and insist that I be part of the delegation of artists at PQ. Previously, I had been inclined to keep quiet about my sustainability concerns and put all the responsibility of Ecoscenography on my shoulders.
Now, I am grateful and so full of joy to work with Anne-Catherine Lebeau (Écosceno) to share my sustainability journey with others.
What does Ecoscenography mean to you? How do you define it (for yourself and others)?
Love. Really! For me, eco-design means to love and take care of others, the planet and myself. It is the main inspiration that drives me and challenges me in infinite ways. And the more ‘I love’, the more it becomes a natural part of who I am, not just as a concept, but also as part of my reality. This changes everything because nothing is external to me anymore, and I am no longer separated from my personal and professional values. Love is a powerful tool that keeps me thriving. My passion also comes with an infinite dose of hope that allows me to move forward and continue wanting to do and see things differently.
When I define eco-design to others, I describe it as a process of creation that adds meaning to our artistic voice. We must take the time to think about the community and inject meaning into our decisions. We must make sure that we respect all matter as well as human beings – to love them, to take care of them, to allow them to regenerate. It is respecting all that is. Eco-design is a way for me to create a healthy environment right now and for the generations that will follow. It is also, and above all, a commitment to perpetuate life. And it is extremely motivating to choose this commitment.
La forêt consisted of a labyrinth of trees where more than 20 actors and musicians came to life under the theme of disillusioned tales. It was set in an underutilised site in the city, a vacant lot between two streets, under highway ramps. For this project we used security barriers (rented) and covered them with branches recovered from the pruning and ecocentres of the city. We also rented a tent to house the musicians and actors. The vast majority of the accessories and costumes were created from rental and second-hand purchases. The pennants were made from used sheets and have been reused several times since on other projects. The wigs were customized and were subsequently given to Drag Queens for their own performances. All tree branches were gently removed and shredded to create compost. To my delight, during the 4 weeks that the scenery was set, the birds came to settle in the temporary forest. I admit that I was very happy to see the city planting trees on this site the following year.
Can you tell me about your work on Tom à la ferme?
For this project, the director and I had a strong desire to represent the rural universe of the play realistically but with a poetic touch. In Quebec there are many barns with weathered timber – a look that is part of our rural landscape. Many barns are dismantled, and the wood is sold for its rustic appeal. I took advantage of this opportunity and purchased the reclaimed timber boards and then worked with the carpenter to build directly on the site to minimise excess waste.
The structure of the barn for the show was made solely from rented scaffolding structures. A good part of the house, which opened at the end of the room, was also structured in the same way. All the accessories were bought from antique dealers or borrowed from a family barn belonging to the parents of one of the actors. All the artefacts were returned at the end of the piece. I also donated the barn wood or antiques via social media. The ground was covered with soil that was recovered and donated at the end of the last show.
It was fascinating to see how the use of recycled material can create a visual and artistic richness; the passage of time gives it a complex beauty.
Can you tell me about your work on Madame butterfly?
This project was also created with weathered timber (recycled barn wood). For this design, we proposed to those who had sold us the wood to come and collect it at the end of the production. They accepted with joy! They were even surprised by the offer as this meant that the company could resell the wood and increase their profit on the same material. We also offered them all the wood they wanted from the decorated structure. Thus, a greater percentage of wood was recycled. This project proved that people are often more open than we think! Furthermore, my whole approach shows me that one of the reasons why I love creating so much is because it allows me to make surprising encounters than more ‘traditional’ ways of doing things. Every project, every subject, every way of seeing things differently allows me to make encounters that enrich my life.
In my conceptualisation of Ecoscenography I am interested in how ideas of co-creation, celebration and circulation can be considered as a fundamental part of the design process. ‘Co-creation’ implies ways of using local, serendipitous, place-based solutions in the making of the work; ‘Celebration’ is about using the stage as a platform to showcase sustainability and test out new ideas; and ‘Circulation’ is about taking the afterlife of theatre materials and ideas into consideration. Can you highlight any examples of your work that address these stages in interesting ways?
Co-creation: I am completely animated by the concept of co-creation and involving the use of local materials. Creating from what exists around us, to design an aesthetic with a local signature pleases me greatly! I believe it is possible to create this by remaining and curious.
Celebration: Up until now I have tried to prove that we can create eco-responsible scenographies without drawing attention to its sustainability credentials. Now, I am more interested in highlighting the ecological implications of a show with its audiences. I truly believe that the whole theatre community must be part of the solution. Creating for and with the wider community is a very rewarding path from all points of view.
Circulation: I am really animated by the idea of making matter circulate – to allow it to become something else, to have several lives and possibilities. This is something I take into account from the very beginning of the creative process – thinking about other ephemeral uses, but more often than not, I think about sustainable alternatives to facilitate reemployment. The truth is, I’m a matter lover. I find it moving to see materials circulate and engage with several audiences – to bring meaning into more opportunities.
What have been some of the biggest hurdles that you have encountered in implementing Ecoscenography? What are you most proud of?
I think one of the biggest obstacles I have faced is the lack of time. The conditions of creation are so short and intense that it is often lack of time that causes unsustainable practices to persist as eco-design (at least at the moment) invariably takes more time. I am truly aware that our system is not sustainable and that aiming for productivity, speed and the desire for tailor-made spectacular designs at all costs encourages over-consumption and over-exploitation of both human and global resources. I hope that in the near future, the methods of creation will change and that time will play in our favour instead of being perceived as our enemy.
In these unprecedented times (when the cultural environment is in hiatus), many people no longer want to work a senseless number of hours with unhealthy pressure and speed. Many of my colleagues are going back to school or changing jobs because the insecurity that existed before is now tenfold. When the cultural system resumes, will we refuse the old methods of operation, or will we fall back into our old habits for fear of losing contracts or of being perceived as disruptive agents? I sincerely hope that we will dare to speak and stand up to protect what we hold dear and what we care about and help create a healthier environment.
Another major obstacle that I have encountered is the lack of education and/or openness of some people who do not wish to make the effort to change their working methods. When I hear the phrase, “We’ve always done it this way…â€, I sometimes rage inwardly or feel a burst of frustration. I understand that questioning our unsustainable methods requires reflection, time (and yes, again that!) and energy, but stagnating and believing that we always do the right thing – without questioning ourselves – also takes a lot of energy and removes some much needed flavour to life! I find it stimulating to question myself, to seek what is healthiest, to be alive!
What tips would you give to a scenographer who is exploring sustainable practice for the first time?
Do not take the entire fate of the universe on your shoulders because guilt or burden is not sustainable in the long run. It is healthy and realistic to share this responsibility. It also allows us to realize that this is both an individual and collective process.
Find some fellow eco allies! They will help to exchange experiences, to alleviate the pressure, and to see the whole picture from other perspectives. This will make finding solutions easier.
Accept the fact that you are always imperfect, that we are all imperfect and and that’s okay. Sometimes you win, sometimes you learn, it’s pretty fair actually. Mistakes are part of the process and make it possible to learn very quickly – remember them!
Be patient with yourself and the others, but not too much! Remain action-orientated (not too much in your head) and be curious and open.
What do you think the future of theatre will look like for a climate-resilient world?
I hope to see a more holistic way of creating by allowing people to realise themselves both personally and collectively. I believe the solution lies there. Creating for the service of the community brings such great meaning, greater than oneself. This motivates and nourishes. I hope that the notion of waste will no longer exist, and that everything will be considered as resources, therefore upgraded and loved again and again. I hope that governments will quickly prioritize the common good and put forward policies that accelerate the circular economy and make the linear economy obsolete or even illegal.
I also hope that this approach will soon be embraced by all disciplines in the industry, not just designers because I think that’s where the solution lies. Let the designers adopt this creative process, but let them be joined by the directors, technical and production directors, the workshops, the actors, all disciplines. I sincerely believe that this is the only way it will change in a global way, that responsibility and pride will be shared. And I dare to believe that we are already on this path and that everyday more people are joining it.
What is your next project?
Currently, almost all theatres or museum projects are cancelled, postponed or virtual and especially in stand-by since last March. I am very grateful because the projects that come to me are meaningful, bigger than me.
Anne-Catherine Lebeau (Ecosceno) and I are preparing training sessions in ecodesign and ecoresponsibility for the museum and cultural community that will be held in the winter and spring of 2021. I find it extremely inspiring to see the enthusiasm for these training sessions. It fills me with much hope to see that this is starting to become a main concern, that people are finally wanting to change their way of creating.
Ecoscenography.com has been instigated by designer Tanja Beer – a PhD candidate at the University of Melbourne, Australia, investigating the application of ecological design principles to theatre.
Tanja Beer is a researcher and practitioner in ecological design for performance and the creator of The Living Stage – an ecoscenographic work that combines stage design, permaculture and community engagement to create recyclable, biodegradable and edible performance spaces. Tanja has more than 15 years professional experience, including creating over 50 designs for a variety of theatre companies and festivals in Australia (Sydney Opera House, Melbourne International Arts Festival, Queensland Theatre Company, Melbourne Theatre Company, Arts Centre) and overseas (including projects in Vienna, London, Cardiff and Tokyo).
Since 2011, Tanja has been investigating sustainable practices in the theatre. International projects have included a 2011 Asialink Residency (Australia Council for the Arts) with the Tokyo Institute of Technology and a residency with the Royal Central School of Speech and Drama (London) funded by a Norman Macgeorge Scholarship from the University of Melbourne. In 2013, Tanja worked as “activist-in-residence†at Julie’s Bicycle (London), and featured her work at the 2013 World Stage Design Congress (Cardiff)
Tanja has a Masters in Stage Design (KUG, Austria), a Graduate Diploma in Performance Making (VCA, Australia) and is currently a PhD candidate at the University of Melbourne where she also teaches subjects in Design Research, Scenography and Climate Change. A passionate teacher and facilitator, Tanja has been invited as a guest lecturer and speaker at performing arts schools and events in Australia, Canada, the USA and UK. Her design work has been featured in The Age and The Guardian and can be viewed at www.tanjabeer.com
Tickets for the Cultural Adaptations conference, taking place online from 2nd to 5th March 2021, are now available to book!
The conference marks the conclusion of Cultural Adaptations: an action research project supported by the Creative Europe programme of the European Union and co-funded by the Scottish Government.
How must our culture adapt to the impacts of climate change? And how can culture and creativity help create a positive future?
These are the questions we, along with our European project partners in Ireland, Sweden and Belgium, have been endeavouring to answer throughout the Cultural Adaptations project using creative processes, including embedded artist projects. Now, we are delighted to share this learning and the online toolkits we have produced, which will be available to support people undertaking adaptation within their organisation or city region.
Over four afternoons, the conference will showcase some of the unique, innovative and creative approaches to solving complex climate challenges we have employed, present new ways of working collaboratively in adaptation, and bring together a diverse and ambitious group of adaptation practitioners, city officials, cultural organisations and artists from across Europe and the UK.
There will be speakers from Scotland, Europe and around the world and programme activities include keynote presentations, panel discussions and interactive networking sessions.
Bookings are now open, with prices from £0 to £45 so that as many people as possible can attend what promises to be an inspiring and thought-provoking four-day event.
We look forwarding to seeing a broad range of artists and creative practitioners, cultural managers, sustainability and adaptation professionals, policymakers from local and national government, and academics and students in attendance.
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.
Submit your environmental art to the Enviro-Art Gallery today! Making a difference through art.
Are you an artist that finds inspiration in natural spaces? An environmentalist with works highlighting environmental issues?
Consider submitting your artwork to the Enviro-Art Gallery. The Enviro-Art Gallery is a showcase of student and professional artwork designed to highlight the beauty and struggles of nature. The gallery presents art as a call to action, working to connect people to places, ecosystems, and international experiences of nature through engaging visual dialogues.
Through the use of a variety of media and artistic styles, the gallery works to provide a relatable and easily absorbable method for environmental awareness and activism.
This year the Enviro-Art Gallery is going VIRTUAL and GLOBAL. It will consist of a singular virtual gallery space filled with environmental artwork from around the world, testimony videos and art process videos.
If you would like to join the movement and see your work as part of a larger call for environmental awareness, complete the form to submit your work.
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.
The Royal Conservatoire of Scotland (RCS) are recruiting new members for their Board of Governors.
The Board of Governors play an important role in the life of RCS and we plan to recruit several new Board members over the next six months. Governors are integral to the development and implementation of the Royal Conservatoire’s strategic objectives and offer constructive challenges as well as the monitoring and evaluating of performance in line with these objectives. In more general terms, Governors have an important role in supporting the delivery of the Royal Conservatoire’s strategic priorities including its teaching excellence, innovation and sustainability agendas.
We welcome applications from candidates with a strong commitment to higher education in Scotland and a passion for the performing arts.
We’d especially love to hear from candidates with specialist professional knowledge and experience in the following areas:
Development and fundraising
Finance and pensions
Performing arts
Academia
As well as attending Board meetings, Governors are expected to play an active role in one or more sub-committees for which their knowledge and experience is particularly relevant. In addition, Governors will be expected and encouraged to attend performances and act as ambassadors for the institution.
If you are interested and would like to apply and find out more about this opportunity please get in touch, sending an up-to-date CV and a covering letter outlining why you would like to be considered for the role and any key points you’d like us to consider, as well as a completed equalities and diversity monitoring form.
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.
