Monthly Archives: September 2021

Traditional Caretaking Practices and Climate Solutions

By GiGi Buddie

Indigenous communities all over the world have been caretakers of this land for thousands of years. Many communities created caretaking traditions that worked in tandem with the Earth, never taking more than what was needed, and always giving back. These communities were able to function in both self-sustaining and Earth-sustaining ways, prospering in ways that didn’t put human life above everything else. However, with the spread and destruction of colonization, many of these sustainable practices were forced from tradition. With disease, genocide, and assimilation fueled by ethnocentric attitudes, many of the traditions, cultures, languages, and caretaking practices have been lost… but this does not mean that they were forgotten. 

For this installment of the Indigenous Voices series, and in honor of World Indigenous People’s Day, which was on Monday August 9, I want to explore and share a traditional caretaking practice that can guide us toward global climate solutions. The history of Indigenous communities is proof that there is both truth and great purpose to the techniques they used to care for the Earth. And in the wake of our global climate crisis, these caretakers and their knowledge might just be the solution to our dying planet. In the last three years, we have seen the most intense and destructive wildfires decimate parts of Australia and the West Coast of the U.S., and every year that our planet warms, the possibility of these uncontrollable fires destroying entire ecosystems rises as well. 

Cultural burning has long been a practice for Indigenous communities around the world. In Australia, Aboriginal tribes practiced cultural burns (cool burns) for the purpose of saving flora and fauna in a wildfire-prone environment. These low-intensity, “cool” burns allow time for animals and insects to escape, are not hot enough to destroy young trees, and keep grass seeds intact for regrowth. On the West Coast of the U.S., tribes would use controlled burns to stimulate forest regrowth, destroy invasive species harmful to the health of the forest, and sustain overall environmental cycles. 

Indigenous tribes in both Australia and the U.S. also used controlled burns for cultural practices integral to their long standing traditions. For the Yurok, Karuk, and Hoopa Tribes of Northern California, traditional burn practices would produce strong hazel stalks that were gathered and woven into baby baskets, traditional dancers hats, and resource gathering tools. The fires help tan oak acorns to drop, and burn invasive plants that suck up rain water, letting more clean, cool water flow down into the Klamath river for the salmon. In a piece on controlled burns written for The Nature Conservancy, Bill Tripp, Director of Natural Resources and Environmental Policy for the Karuk Tribe, said: 

Without being able to freely engage in our cultural burning practices, we lose our culture. We can’t teach someone how to make a basket if we don’t have the materials that are pliable enough to make them. And we can’t access our food resources. We lose our salmon, we lose our acorns, we lose all those things, and we don’t have a culture. We just slowly disappear. 

The D’harawal Aboriginal people of Western Australia use cool burning to replenish the Earth and enhance the biodiversity that sustains their ways of living. For example, the ash from the burn fertilizes the soil and the potassium from the ash encourages flowering. And soft burning encourages rain: It warms the environment to a particular atmospheric level, and once the warm and the cool meet, rain falls, helping mitigate fires and encourage/sustain agriculture growth. Cool burns protect Aboriginal lands and clear access to areas for cultural uses like hunting, access to fish traps, and ceremony.

In addition to controlled burns being fundamental to the prosperity of the cultures, traditions, and practices of Indigneous tribes, it is clear that without these moderate/low-intensity burns to clear fuel, forests and landscapes quickly become vulnerable and primed for destructive wildfires. Unfortunately, because of the U.S. government’s interference with this practice (paired with the destructive effects of climate change), fire is now seldom connected with its life-giving and revitalizing qualities. Fire-suppression rules have forcefully stopped the ability of Indigenous communities to conduct traditional burns, and American Indians still face persecution and penalty for using fire for their traditions. However, it seems progress is slowly being made. In Australia, controlled burning is now widely used to mitigate the effects of destructive wildfires, and parts of the West Coast of the U.S. are starting to take advantage of a climate solution that rests in the hands of the very people and cultures they once sought to destroy. 

Controlled burns are just one piece of Indigenous land management and caretaking that should be implemented as solutions to the climate crisis. Indigenous communities understand the environment and understand the complexities of how to have a sustainable relationship with nature. I strongly believe that these are the voices that we need to listen to as we work together to save our home. And I strongly believe that the attitude most humans have towards the environment needs to significantly change, because each choice we make that negatively affects the environment will eventually negatively affect us. This Earth has given us a place to grow, learn, explore, and create. Let us save her so that future generations may get the chance to enjoy her as well. 

This article is part of the Indigenous Voices series.

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GiGi Buddie is an American Indian artist and student studying theatre, with an emphasis in acting, at Pomona College. Whether it be through acting or working in tech, GiGi has dedicated much of her life to the theatre. In the summer of 2019, her passion for art and environmental justice took her to the Baram River in Malaysian Borneo where she, alongside Pomona professors, researched the environmental crisis and how it has been affecting the Indigenous groups that live along the river. As a result of her experience researching and traveling, she student-produced the Pomona College event for Climate Change Theatre Action during the fall 2019 semester.

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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e59 pearl – positive tipping points

SCALE (Sectoral Climate Arts Leadership for the Emergency) is a national round table for the arts and culture sector to mobilize around the climate emergency. A few months ago, you and I, and a few others were all having the same realization that while there was a lot of important work and projects happening at the intersection of arts and sustainability in Canada, there lacked some kind of structure to bring this work together, to align activities, to develop a national strategy, and to deeply, deeply question the role of arts and culture in the climate emergency and activate the leadership of the sector in terms of the mobilization that needs to happen in wider society. SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.

judi pearl, conscient podcast, june 20, 2021, ottawa

https://vimeo.com/581625243

Judi Pearl is currently Associate Producer, Artistic Projects for English Theatre at the National Arts Centre and a board member for The Only Animal. Previously, she served for ten years on the board of the Professional Association of Canadian Theatres. A passionate environmental activist since her teen years, she is honoured to be a part of the inaugural Coordinating Circle for Sectoral Climate Arts Leadership for the Emergency (SCALE), an emergent national hub dedicated to developing strategy, aligning activities and activating the leadership of Canada’s arts and culture sector in the climate emergency. She is grateful to live and work on unceded Algonquin Anishinaabe territory, nestled between the Rideau Canal and the Rideau River.

I first met Judi while I was working on greening activities for the Canada Council for the Arts. Judi was doing similar work at the National Arts Centre and we collaborated on a number of projects. I then had the privilege of working with Judi to set up SCALE, where we both put our organizational skills to use and enjoy taking the climate emergency bull by the horns. 

Judi’s positive and ‘can do’ spirit is remarkable and contagious. I was uplifted by our walk by the Rideau River in Ottawa and think you will be as well. 

I would like to thank Judi for taking the time to speak with me, for sharing her passion for theatre and the environment, her deep commitment to climate justice and her exceptional skills as an organizer and eco arts leader. 

For more information on some of Judi’s work, see https://nac-cna.ca/en/englishtheatre

Links

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(traduction)

LeSAUT (Leadership sectoriel des arts sur l’urgence de la transition écologique) est une table ronde nationale permettant au secteur des arts et de la culture de se mobiliser autour de l’urgence climatique. Il y a quelques mois, vous, moi et d’autres personnes avons fait le même constat : alors qu’il y avait beaucoup de travail et de projets importants à l’intersection des arts et de la durabilité au Canada, il manquait une sorte de structure pour rassembler ce travail, pour aligner les activités, pour développer une stratégie nationale et pour questionner profondément le rôle des arts et de la culture dans l’urgence climatique et activer le leadership du secteur en termes de mobilisation qui doit se produire dans la société au sens large. LeSAUT essaie vraiment de devenir ce lieu de rassemblement qui engendrera cette collaboration de haut niveau, qui, espérons-le, créera ces points de basculement positifs.

judi pearl, balado conscient, 20 juin 2021, ottawa

Judi Pearl est présentement productrice associée, Projets artistiques pour le Théâtre anglais du Centre national des Arts et membre du conseil d’administration de The Only Animal. Auparavant, elle a siégé pendant dix ans au conseil d’administration de l’Association professionnelle des théâtres canadiens. Passionnée par l’environnement depuis son adolescence, elle est honorée de faire partie du premier Cercle de coordination du Leadership artistique sectoriel pour l’urgence climatique (SCALE), un centre national émergent qui se consacre à l’élaboration d’une stratégie, à l’harmonisation des activités et à l’activation du leadership du secteur des arts et de la culture du Canada dans l’urgence climatique. Elle est reconnaissante de vivre et de travailler sur le territoire non cédé des Algonquins Anishinaabe, niché entre le canal Rideau et la rivière Rideau.

J’ai rencontré Judi pour la première fois alors que je travaillais sur des activités d’écologisation pour le Conseil des Arts du Canada. Judi faisait un travail similaire au Centre national des Arts et nous avons collaboré à plusieurs projets. J’ai ensuite eu le privilège de travailler avec Judi pour mettre sur pied SCALE, où nous avons toutes deux mis à profit nos compétences organisationnelles et pris plaisir à prendre le taureau de l’urgence climatique par les cornes. 

L’esprit positif de Judi et sa capacité à agir sont remarquables et contagieux. Notre promenade le long de la rivière Rideau, à Ottawa, m’a fait du bien et je pense que vous en ferez autant. 

Je tiens à remercier Judi d’avoir pris le temps de me parler, de m’avoir fait part de sa passion pour le théâtre et l’environnement, de son profond engagement en faveur de la justice climatique et de ses compétences exceptionnelles en tant qu’organisatrice et leader des arts écologiques. 

Pour plus d’informations sur certains des travaux de Judi, voir https://nac-cna.ca/en/englishtheatre

Liens

The post e59 pearl – positive tipping points appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

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About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

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e58 huddart – the arts show us what is possible

This is now an existential crisis, and we have in a way, a conceptual crisis, but just understanding we are and what this is, this moment, all of history is behind us: every book you’ve ever read, every battle, every empire, all of that is just there, right, just right behind us. And now we, we are in this position of emerging awareness that in order to have this civilization, in some form, continue we have to move quickly, and the arts can help us do that by giving us a shared sense of this moment and its gravity, but also what’s possible and how quickly that tipping point could be reached.

stephen huddart, conscient podcast, june 17, 2021, montreal

https://vimeo.com/581218622

Stephen Huddart’s career spans several fields and includes leadership positions in the private, public and non-profit sectors. He recently retired as president and CEO of the J.W. McConnell Family Foundation, a national private foundation whose head office is in Montreal. Prior to that he worked as an educator and program developer specializing in human/animal issues – including a humane food certification and labeling program, animal-assisted therapy, and humane education in schools. His private sector experience includes co-founding the Alma Street Café – a community-based natural foods restaurant and jazz venue in Vancouver and running a triple-bottom-line music and publishing company in association with children’s folksinger Raffi. 

I’ve known Stephen for many years and have had the pleasure of working with him on various projects and strategic gatherings including the (Re) Conciliation Initiative. His ideas have influenced me deeply and his presence as mentor and collaborator has been greatly appreciated. Though he is recently retired, he continues to be a leading voice, and dare I say, an activist, for social innovation and fiscal reform. 

We went for a 90-minute sound walk along the Lachine Canal near his home in St-Henry, Montreal on June 18, 2021. In order to respect my 55-minute episode limit I had to cut out some great stories about Gabriel Roy, the impact of the ArtSmarts program on indigenous learners and his early days as a socially engaged filmmaker but there is more than enough for you to sink your teeth into : Huddart is a force of nature. 

There are many quotes from this conversation that resonated with me, including:  

On Dematerialization

  • I think we have to more broadly, dematerialize and move from a more material culture to some more spiritual culture, a culture that is able to enjoy being here, that experiences an evolutionary shift towards connection with nature, with all of that it entails with the human beings and the enjoyment and celebration of culture and so I think those two perspectives that the arts have an essential and so important and yet difficult challenge before them.

On Gabrielle Roy and the arts

  • Let’s just say that on the previous $20 bill, there’s a quote from Gabrielle Roy. It’s in micro-type, but it’s basically says : ‘how could we have the slightest chance of knowing each other without the arts’. That struck me when I read that and thought about the distances, that have grown up between us, the polarization, the prejudices, all of those things, and how the arts create this bridge between peoples, between lonely people, between dreamers and all people and that the arts have that ability to link us together in a very personal and profound and important ways. 

On Capital 

  • A lot of my time is really now on how do we influence capital flows? How do we integrate the granting economy with all that it has and all of its limits with the rest of the economy: pension funds, institutional investors of various kinds, family offices and so on, because we need all of these resources to be lining up and integrated in a way that can enable grassroots activity to be seen, supported, nurtured, linked to the broader systems change that we urgently need, and that takes the big capital moving so that’s a space that I’m currently exploring and I’m looking for ways to have that conversation.

I would like to thank Stephen for taking the time to speak with me, for sharing his deep knowledge of social innovation systems, his ‘big picture’ view, his inspiring optimism, his strategic thinking about the arts and his ongoing commitment to systems change and sustainability. 

For more information on Stephen’s work, see https://www.linkedin.com/in/stephen-huddart-0b516119/

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(traduction)

C’est maintenant une crise existentielle, et nous avons, d’une certaine manière, une crise conceptuelle, mais le simple fait de comprendre ce que nous sommes et ce que c’est, ce moment, toute l’histoire est derrière nous : chaque livre que vous avez lu, chaque bataille, chaque empire, tout cela est juste là, juste, juste derrière nous. Et maintenant, nous sommes dans cette position de prise de conscience émergente que pour que cette civilisation, sous une certaine forme, continue, nous devons agir rapidement, et les arts peuvent nous aider à le faire en nous donnant un sens partagé de ce moment et de sa gravité, mais aussi de ce qui est possible et de la rapidité avec laquelle ce point de basculement pourrait être atteint.

stephen huddart, balado conscient, 17 juin 2021, montréal

La carrière de Stephen Huddart couvre plusieurs domaines et comprend des postes de direction dans les secteurs privé, public et sans but lucratif. Il a récemment pris sa retraite en tant que président et directeur général de la Fondation de la famille J.W. McConnell, une fondation privée nationale dont le siège social est à Montréal. Avant cela, il a travaillé comme éducateur et développeur de programmes spécialisés dans les questions liées aux animaux et aux êtres humains – notamment un programme de certification et d’étiquetage humanitaire des aliments, la thérapie assistée par les animaux et l’éducation humaine dans les écoles. Dans le secteur privé, il a notamment cofondé l’Alma Street Café, un restaurant communautaire d’aliments naturels et une salle de concert de jazz à Vancouver, et dirigé une entreprise de musique et d’édition à trois chiffres en association avec le chanteur pour enfants Raffi. 

Je connais Stephen depuis de nombreuses années et j’ai eu le plaisir de travailler avec lui sur divers projets et rassemblements stratégiques, dont l’initiative (re)conciliation. Ses idées m’ont profondément influencé et sa présence en tant que mentor et collaborateur a été très appréciée. Bien qu’il ait récemment pris sa retraite, il continue d’être une voix de premier plan, et j’ose dire, un activiste, pour l’innovation sociale et la réforme fiscale. 

Nous avons fait une promenade sonore de 90 minutes le long du Canal Lachine, près de sa maison à St-Henri, Montréal, le 18 juin 2021. Afin de respecter la limite de 55 minutes fixée pour l’épisode, j’ai dû supprimer certaines histoires intéressantes sur Gabriel Roy, l’impact du programme GénieArts sur les apprenants autochtones et ses débuts en tant que cinéaste engagé, mais il y a plus qu’assez pour que vous puissiez vous y plonger : Huddart est une force de la nature. 

De nombreuses citations de cette conversation ont résonné en moi, notamment : 

Sur la dématérialisation

Je pense que nous devons, de manière plus générale, nous dématérialiser et passer d’une culture plus matérielle à une culture plus spirituelle, une culture capable d’apprécier le fait d’être ici, qui connaît un changement évolutif vers la connexion avec la nature, avec tout ce que cela implique pour les êtres humains, ainsi que le plaisir et la célébration de la culture, et donc je pense que ces deux perspectives que les arts ont un défi essentiel et tellement important et pourtant difficile à relever.

Sur Gabrielle Roy et les arts

Disons que sur le précédent billet de 20 dollars, il y a une citation de Gabrielle Roy. Elle est en très petits caractères, mais elle dit en substance : “comment pourrions-nous avoir la moindre chance de nous connaître sans les arts”. Cela m’a frappé lorsque j’ai lu cette citation et que j’ai pensé aux distances qui se sont creusées entre nous, à la polarisation, aux préjugés, à toutes ces choses, et au fait que les arts créent ce pont entre les peuples, entre les personnes seules, entre les rêveurs et tous les gens, et que les arts ont cette capacité de nous relier les uns aux autres d’une manière très personnelle, profonde et importante. 

Sur le capital 

Je consacre maintenant beaucoup de temps à la question de savoir comment influencer les flux de capitaux. Comment intégrer l’économie de la subvention, avec tout ce qu’elle a et toutes ses limites, au reste de l’économie : les fonds de pension, les investisseurs institutionnels de toutes sortes, les bureaux de famille et ainsi de suite, parce que nous avons besoin que toutes ces ressources s’alignent et s’intègrent de manière à permettre aux activités de base d’être vues, soutenues, nourries, liées au changement de système plus large dont nous avons besoin de toute urgence, et cela nécessite le déplacement du grand capital.

Je tiens à remercier Stephen d’avoir pris le temps de me parler, d’avoir partagé sa connaissance approfondie des systèmes d’innovation sociale, sa vision d’ensemble, son optimisme inspirant, sa réflexion stratégique sur les arts et son engagement permanent en faveur du changement systémique et de la durabilité. 

Pour plus d’informations sur le travail de Stephen, consultez https://www.linkedin.com/in/stephen-huddart-0b516119/ . 

The post e58 huddart – the arts show us what is possible appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.

———-

About the Concient Podcast from Claude Schryer

The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.

I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.

The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.

Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.

Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.

my professional services

I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca

acknowledgement of eco-responsibility

I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.

a word about privilege and bias

While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.

Go to conscient.ca

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An Interview with Author Matt Bell

By Amy Brady

This month, I’m delighted to share with you an interview with novelist Matt Bell, whose latest novel, Appleseed, hit shelves earlier this month. The novel spans centuries, touching upon how climate change, colonialism, capitalism, and other forces have shaped – and re-shaped – the Earth and our societies. Matt’s also the author of the novels Scrapper and In the House Upon the Dirt Between the Lake and the Woods. His short story collection is called A Tree or a Person or a Wall, and he’s also the author of a non-fiction book about the video game Baldur’s Gate II. He currently teaches creative writing at Arizona State University.

What drew you to the subject of climate change, and what inspires you to explore it in your work?

At this stage, it seems impossible to write a novel without writing about climate change, but I know that’s not what you’re asking! As a teacher, I often tell students that one way to subvert the clichéd writing advice of “writing what you know” is to “write what you’re afraid to know,” and there’s an aspect of that to Appleseed, I’m sure. I grew up in rural Michigan among people who loved the outdoors, and have spent so much of my life in nature at home and in state and national parks, hiking and backpacking and trail running. Wildlife has been a source of wonder and imagination for me as long as I can remember – one of my most treasured childhood possessions was an illustrated encyclopedia of animals that I read A-Z, over and over – and the prospect of a world without such life thriving in abundance is truly one of the worst outcomes I can imagine.

I think there was a time when climate change and all the problems associated with it were so overwhelming that I felt a kind of nihilistic paralysis whenever I thought about it. But one reason to write a novel is to think and feel your way through a problem, and I do feel like writing Appleseed made me feel productively engaged (in my own way) in necessary learning and thought instead of indulging in further avoidance or denial.

Your novel spans more than 1,000 years. Please discuss this artistic decision. What are you hoping to show readers? 

I began with the 1799 storyline, with the idea to retell Johnny Appleseed as a half-human, half-animal faun or satyr, but as I continued writing about the wilderness of that time (and about that era’s settler colonialism), I began drafting parts set in the future as well. One of my fascinations is the inexhaustibility of myths and fairy tales and folk tales, the way retelling them in no way diminishes them – there’s an immortality to such stories, and so maybe also to their characters, who can often be put in stories set in different times and different places than they originally did without any lessening of effect. I was also thinking about Timothy Morton’s hyperobjects, one of the most useful ideas I’ve come across in the last ten years: for anyone reading this who hasn’t heard the term before, it’s essentially any event or phenomenon that is massively dispersed through space and time, impossible to know in its entirety from any one place or moment. Obviously, climate change is one such hyperobject, as are unlimited growth capitalism, manifest destiny, settler colonialism, industrial agriculture, the fossil fuel economy, and other topics Appleseed touches on. Writing a longer time span lets me show those forces as they appeared in different times and places, linking their different manifestations to each other.

It was also, of course, fun to write a thousand-year-long book! It was an exciting problem to tackle, and hopefully it makes for an entertaining read. 

You’re originally from Michigan but live now in Arizona. Has living in the Southwest shaped how you think of nature or humanity’s relationship to the environment?

When we moved to Arizona, I had to relearn the seasons, the plants and animals, even how just to be outside during the day. Living near Phoenix changed my whole routine: in the summer here, I get up at 4am to go running in the dark, something I never would’ve done in Michigan, which means I’ve probably seen more sunrises in seven years in Arizona than in the rest of my life combined. But the real shaping happened when my wife Jessica and I started spending a lot of time in the Sonoran Desert, trying to learn as much as we could about the plants and animals here. At first, it was as much about trying to feel at home here as anything, but we quickly discovered how the more you learn to see about a particular landscape, the more you see: as you learn the names of the most obvious plants and animals, you start to see the next layer, and then the next and the next. Jess is a birder and a certified master naturalist, and getting to spend time in the desert alongside her particular form of attention and knowledge has helped me see more of it too. Later, when we returned to visit Michigan, we found that our newly trained attention came home with us, and made additional things visible even in the places we’d spent most of our lives. It’s been a transformative experience, and I’m so glad to continue to get to know both of these landscapes I think of as home.

Do you think about climate change beyond what you write in your novels?

I don’t know how anyone alive in this moment could honestly avoid thinking about climate change. Where I live in Arizona, there’s been a wildfire burning more than fifty miles away for weeks now, filling the air with brown smoke: I smell it when I go out running, even though it’s so dark out I can’t see the smoke yet. How could I not think about it? Living in Phoenix the past few years has been an obvious place to think and write about climate from, because causes and costs are so apparent here, but being back home in Michigan for part of the summer didn’t mean getting to avoid it. I’m writing this from my in-laws’ place in Michigan’s Thumb, where a tornado last week hit a lakeside town that has never had tornado damage before: afterward, I watched the fire chief on the news talking about how they would change the way they prepared and responded to extreme weather in the future. That’s climate change too, even if no one involved says the words.

Appleseed also touches on genetic engineering of food. As someone from Kansas who protested Monsanto in high school, I understand the issue is complex. What did you learn about this subject while writing the novel? Did writing Appleseed change how you think of genetic engineering?

You probably knew more as an engaged high schooler than I did starting out: I had a lot of things I thought I knew, but it was a jumble of news stories, things people I grew up with said back in Michigan, and scattered bits of reading. I’ve been a vegetarian for a little over a decade now, a decision I made because I decided I no longer wanted to eat factory-farmed meat, but for a long time I didn’t look into where the plants or processed products I was eating instead came from.

In the year before I started Appleseed, I started reading a lot more about industrialized agriculture in general, research that eventually provided a good chunk of the plot and the political worldbuilding in the near-future storyline. Among other questions, I earnestly wondered how companies might try to drastically engineer crops or even animals to survive in the future we were making, because it seems so likely that it has been done and will be done to greater degrees in the future. So maybe now I know more than I did when I started, but I think there are still a lot of complexities I don’t see easy answers to, especially as the climate crisis brings new challenges to agriculture everywhere. All those complexities, however, don’t change how angry I feel about companies like Monsanto trying to be sure they control the future, in effect deciding these questions for everyone else.

I realize this is a funny question for someone whose book is just hitting shelves, but what’s next for you? 

Next up for me is a craft book on novel writing, rewriting, and revision titled Refuse to Be Done, which will be out from Soho Press in March 2022. After that? Hopefully the novel I’m writing now, if all goes according to plan.

This article is part of the Climate Art Interviews series. It was originally published in Amy Brady’s “Burning Worlds” newsletter. Subscribe to get Amy’s newsletter delivered straight to your inbox.

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Amy Brady is the Deputy Publisher of Guernica magazine and Senior Editor of the Chicago Review of Books. Her writing about art, culture, and climate has appeared in the Village Voice, the Los Angeles TimesPacific Standard, the New Republic, and other places. She is also the editor of the monthly newsletter “Burning Worlds,” which explores how artists and writers are thinking about climate change. She holds a PHD in English and is the recipient of a CLIR/Mellon Library of Congress Fellowship. Read more of her work at AmyBradyWrites.com at and follow her on Twitter at @ingredient_x.

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Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

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The Green Sessions – Prepare for Action! September 21 & 22

Canada’s performing arts community is invited to a FREE online gathering of some of Canada’s most knowledgeable and inspiring climate leaders, activists and educators. We believe that artists have an essential part to play in the climate battle. We know that our role as storytellers and communicators can be instrumental in delivering a societal shift.

Following on from the wonderful energy generated at June’s Green Sessions: Day of Learning, we are delighted to bring you the training sessions. We have been overwhelmed by the extraordinary speakers who have stepped forward to take part. This Training phase of the Green Sessions will be split over two afternoons, on September 21 and 22, 2021.

As pressure mounts towards a general election and COP 26, there has never been such an important moment to recognize that Art is Activism! Or at least it can be, if we choose to make it so.

Join us to be inspired by the thinkers who are mapping out a more climate conscious world, and then be ready to get to work as we understand, together, how to hone our policy demands, shape our message, build our collective strength and deliver extraordinary, uplifting, future-shaping art in both the public and virtual space.

Speakers joining for The Green Sessions include Kate Raworth and Yannick Beaudoin on September 21 and Naomi Klein on September 22. More exciting speakers to come!

The climate emergency is clearly a cultural challenge.  It’s about who we are and how we live. Never have we needed more the persuasive vision of artists to inspire us towards a greener, greater world. So join us at The Green Sessions as we shoulder our responsibilities, and get creative about how we might change the world.

We’ve planted the seeds and we hope you can join us for an inspiring day where we work the soil of this movement. And join us for the Day of Action when we harvest our collective work.

MORE INFO AND TICKETS HERE


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Opportunity: Regen artist in residence

Regen Art Lab offers a residency opportunity for an artist to collaborate with clean energy experts.

Regen is a not-for-profit centre of energy expertise and market insight whose mission is to transform our energy system for a zero-carbon future.

The Regen Art Lab (RAL) is a new programme for interdisciplinary collaborations to take place between our clean energy experts and artists from underrepresented backgrounds in the energy sector (ie. BIPOC, ethnic minorities, people from low-income backgrounds, and the LGBTQ+ community), to create innovative visions of our low carbon future.

The RAL Residency 1 will take place online from October 11th until December 17th 2021 for an artist to produce new work(s) that engagingly relate to the issue of decarbonising how we heat our homes and businesses. There is no centralised or like-for-like solution, making this the greatest challenge the UK faces to become a net zero carbon economy.

The artist will be an early career practitioner or recent arts graduate (up to three years out of education), with an interest in and/or some familiarity with issues exploring our climate emergency and wider societal transformation.

We are open to consider various preferred mediums, and particularly keen to hear from:
• Visual artists, digital artists and graphic designers
• Renewable energy artists, or more general installation artists
• Computer programming coders and creative media technologists with an interest in immersive technologies

Visual artists who are interested in working with data are especially encouraged to apply.

The resulting work will be exhibited on our digital platform, in the University of Plymouth’s Sustainability Centre, and shared with our extensive networks of cultural and industry partners.

Regen will provide:
• An artist fee of £1500 (15h a week commitment)
• Budget for materials of £300
• A digital residency site
• Technical support in achieving the aims of the online residency
• Support and promotion of the artist and their work through our networks

For more information on the residency, and details on how to apply please visit our website here: https://www.regen.co.uk/regen-art-lab-residency/

Deadline: 19th September 2021

The post Opportunity: Regen artist in residence appeared first on Creative Carbon Scotland.

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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

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Hosting a climate justice guest

GLASGOW: Nov. 1-12, 2021
Open your home to a visiting activist, scientist, or policymaker.

Help support the movement by hosting a climate justice guest with the COP26 Homestay Network.

Why should I become a host?
Support climate action by housing activists and scientists overnight. Not only will you be supporting the international climate movement’s remarkable efforts, but housing a guest can reduce accommodation emissions by more than 80% and energy usage by more than 70%* compared to a hotel stay.

Fair and affordable pricing for all.
People from countries least responsible for, and most affected by, the climate crisis are often unable to attend important conferences due to lack of resources.

Make sure that everyone has the best chance of being there to make their voices heard by providing free or low-cost accommodation for those who really need it.

Be human, not a hotel.
We expect our hosts to be natural, respectful and authentic to themselves and to their guests. There’s absolutely no pressure for you to act like a hotel. Basic comfort and basic kindness. A sofa or mattress on the floor is great.

Meet remarkable people from around the world and connect with this truly international movement.

Go to https://www.humanhotel.com/cop26/be-a-host/ to learn everything there is to know about hosting.

The post Hosting a climate justice guest appeared first on Creative Carbon Scotland.

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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

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Opportunity: 1.5° Films – 90-second climate film challenge

Film Access Scotland has launched a climate Film Challenge in Scotland to draw focus on climate crisis.

We are calling out to people based anywhere in Scotland to submit 90-second films to express reactions and reflections on how climate change is affecting us as individuals, our surroundings, families and communities.

Regardless of background, age or filmmaking experience, anyone can submit a film to the challenge, with resources available online to help people get started.

The first deadline for film submissions is midnight on 24th October 2021.

The final deadline is midnight on 24th November 2021.

A selection of filmmakers based in Scotland that meet the first submissions deadline will be invited to screen their work at the New York Times Climate Hub Open House on 7th November 2021.

As part of the project Film Access Scotland is running free online workshops, which is a great opportunity for professional development and training of staff members or volunteers. These are delivered in collaboration with organisations across Scotland.

Read more about the project here: https://filmaccess.scot/climate-challenge-1-5-degrees-films/

The post Opportunity: 1.5° Films – 90-second climate film challenge appeared first on Creative Carbon Scotland.

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

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

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

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

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

Go to Creative Carbon Scotland

Powered by WPeMatico

Opportunity: Subsidised places on The Circle’s social entrepreneurship programme

The Circle is offering 25 subsidised spaces on their accredited social entrepreneurship training

The Circle, a multi-award-winning social enterprise, has received Scottish Government funding to provide 25 subsidised places, aimed at giving business and social entrepreneurship training to young people under-30, people in rural communities, and those working in the environmental space.

The training, given by The Circle Academy, is a 12-week online programme for individuals, start-ups and organisations, who want their business to have a social impact, while operating in a commercially sustainable way.

The Circle Academy is an accredited programme focused on developing skills in business planning, governance, finance, marketing, funding and pitching – with social impact.

Participants will graduate with a business plan and a marketing strategy. They will also have the chance to receive an SCQF level 7 qualification in social entrepreneurship, and the opportunity to pitch for investment for their business.

The groups targeted by the funding, are in line with key areas identified in Scotland’s Social Enterprise Action Plan.

The Circle’s Academy Manager, Jenny McCarthy said: “We’re delighted to be able to offer these free spaces thanks to the support of The Scottish Government. This is a great opportunity for us to help people build organisations that can make a long-lasting impact and to support with the recovery and rebuilding of the third sector.”

Academy graduate and Dundee gallery owner, Kathryn Rattray (of Kathryn Rattray Gallery) said: “The Circle Academy changed my thinking, in fact, I would go so far as to say it changed my life”.

Social Justice Secretary Shona Robison said: “The Circle Academy has a reputation for developing the skills and experiences of our social entrepreneurs and we look forward to seeing them progress as their businesses and enterprises launch and grow”.

The Circle are now accepting applications online: https://freeonlinesurveys.com/s/xvaIzlBO#/0

You can find out more about the programme by contacting The Circle’s Academy Manager at academy@thecircledundee.org.uk

The post Opportunity: Subsidised places on The Circle’s social entrepreneurship programme appeared first on Creative Carbon Scotland.

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

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

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

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

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

Go to Creative Carbon Scotland

Powered by WPeMatico

Chance to win a £50 M&S voucher – complete our survey

Our survey – monitoring audience engagement with climate change is now open. Available to complete in English or Gaelic.

Please take eight minutes to help us by completing the survey here (English version). Or, the Gaelic version here.

Climate Beacons for COP26 is a pioneering project that aims to inspire deep-rooted public engagement with climate change. Seven hubs, or ‘Climate Beacons’, have been established, in Argyll, Caithness & East Sutherland, Fife, Inverclyde, Midlothian, the Outer Hebrides, and Tayside.   

As part of the project, Creative Carbon Scotland and the seven Climate Beacons are conducting research to monitor audience engagement with climate change. We intend to survey in the lead-up to, during and after COP26 to understand the success of the Beacons project in delivering lasting public engagement.

We ask questions about your knowledge of climate change, emotions and day-to-day behaviours, as well as about your level of familiarity with the Beacons project.

Take the survey in English.

If you prefer, please complete the survey in Gaelic: Gabh 8 mionaidean gus an t-suirbhidh seo a lìonadh.

For the opportunity to win a Â£50 M&S gift card, please leave your email address in response to the final survey question. 

The post Chance to win a £50 M&S voucher – complete our survey appeared first on Creative Carbon Scotland.

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

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

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

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

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

Go to Creative Carbon Scotland

Powered by WPeMatico