Where Is The Hope : An Anthology Of Short Climate Change Plays
Where is the Hope? An Anthology of Short Climate Change Plays is a collection of 50 short plays by writers from all over the world, commissioned for Climate Change Theatre Action 2017. A creative response to the question “How can we inspire people and turn the challenges of climate change into opportunities?” the plays offer a diversity of perspectives and artistic approaches in telling stories that may point to a just and sustainable future.
Included in this anthology are works by Hassan Abdulrazzak, Keith Josef Adkins, Reneltta Arluk, Elaine Ávila, Catherine Banks, Chantal Bilodeau, Philip Braithwaite, Jody Christopherson & Ryan McCurdy, Mindi Dickstein, Clare Duffy, Angella Emurwon, Kendra Fanconi, Lanxing Fu & Jeremy Pickard, David Geary, Mīria George, Jordan Hall, Vinicius Jatobá, C. A. Johnson, Marcia Johnson, Hiro Kanagawa, MaryAnn Karanja, Amahl Khouri, Catherine Léger, Ian Lesā, E. M. Lewis, Jessica Litwak, Kevin Loring, Abhishek Majumdar, Anita Majumdar, Kasaya Manulevu, Shahid Nadeem, Sharleen Ndlovu, Dave Ojay, Achiro P. Olwoch, Giovanni Ortega, David Paquet, Sarena Parmar, Katie Pearl, Elyne Quan, Lynn Rosen, Ian Rowlands, Lisa Schlesinger, Stephen Sewell, Saviana Stanescu, Caridad Svich, Jordan Tannahill, Elspeth Tilley, Meaza Worku, Nathan Yungerberg, and Maya Zbib.
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CSPA Sustainability Survey: Fusebox Festival
The Centre for Sustainable Practice in the Arts partnered with the Fusebox Festival for their 2012 program to creatively evaluate and explore both the environmental and cultural impacts of producing a festival. The project involved members of the festival’s community, including the festival’s directors, audience members, visiting artists, and staff. Data was gathered primarily to produce a dynamic data visualization to be accessible online and in tangible form at the festival hub.
Through surveys, direct observation, and box office data, we set out to examine the relationship between festival activities, cultural interest and infrastructure, and hints of economic effects of the festival. In short, we were interested in the idea of ‘cultural off-setting.’ Is producing an inter/national arts festival locally beneficial, both culturally and economically? And, what are the costs to the environment to produce such a festival?
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