Julie’s Bicycle will be holding an event that will look at how the literature sector is responding to environmental challenges. The event will create ambitious goals and address how the sector can lead on environmental innovation. The free, half-day event will take place from 10:30am – 2pm on Wednesday 25th June at Free Word, London. It is open to all literature organisations, publishers, development agencies, associations, venues and writers interested in shaping the role of literature in creating change.
Informative speakers and workshops will share best practice, resources, and opportunities to collectively reimagine a literature sector that’s fit for the future. Julie’s Bicycle will highlight examples of best practice in the industry and share results from D&AD’s annual audit.
Speakers include Andy Fryers, Director of Hay on Earth and Peter Hughes, Chair of the Publishers’ Action Group. Attendees will be invited to sign up to a workshop, based around the following topics:
*Publishing & Digital – with Peter Hughes, Chair of the Publishers’ Environmental Action Group.
*Sustainable Buildings – with Nick Murza, Director of Operations at Arvon.
Attendees have the chance of signing up to a taster session of ‘Paper Jam!’delivered by Calverts, specialists in the production of sustainable commercial print. The session will start at 2.30pm (1 hour), if you would like to book a place email Rachel@juliesbicycle.com.
Throughout November and December Julie’s Bicycles’ Environmental Sustainability team has been touring the UK, carrying out a series of workshops for Arts Council England organisations. Kicking off at the Shed at National Theatre London, they’ve been as far as Sage Gateshead, Leeds Art Gallery, mac Birmingham, Bristol Old Vic, Free Word London and Cornerhouse Manchester.
Feedback and results have been encouraging with 83% of attendees agreeing workshops were excellent or good. Thanks to everyone who has hosted or joined one of the 13 sessions across the country over this Autumn.
The team have also been sharing results and learnings from the first year of environmental reporting with Arts Council Relationship Managers, including next steps and how they can support organisations alongside Julie’s Bicycle. Julie’s Bicycle has already visited London, the North East, the West Midlands, Yorkshire and the North West, and will be visiting the East, South East and South West offices in early 2014.
Creu Cymru is the development agency for theatres and arts centres in Wales. It currently has 44 member organisations who pay an annual fee to receive a range of services. With support from the Welsh Government’s Support For Sustainable Living Fund, Creu Cymru is working with Cardiff University, Julie’s Bicycle and Cynnal Cymru-Sustain Wales to develop a project to support the theatres and arts centres of Wales in becoming more resilient in facing the challenges of the 21st Century, particularly addressing the following 3 areas: energy and waste – consumption & treatment, the supply chain – examining theatre production and touring, communicating to audiences the issues and potential solutions
This session is designed to give theatre makers and producers an opportunity to hear how the project is progressing and work together on collaborating over programming and artistic response. The event will be a learning seminar to share best practice and showcase this project to an international audience.
Daniel Bye receives the 2013 award for Sustainable Production from Creative Carbon Scotland’s Ben Twist.
Creative Carbon Scotland and the Center for Sustainable Practice in the Arts, in partnership with the List, presented Bye with Award at Fringe Central on August 23rd.
In a ceremony in the concourse at Fringe Central on Friday, August 23rd at 4:00 pm, Ben Twist of Creative Carbon Scotland awarded Daniel Bye the 2013 Award for Sustainable Production at the Edinburgh Festival Fringe after presentation by Ian Garrett of the Center for Sustainable Practice in the Arts and Sholeh Johnston of Julie’s Bicycle. This was the fourth year of the award’s presentation. Applicants and fringe participants alike enjoyed complimentary beverages and snacks with support from Vegware, producers of compostable food containers.
The Sustainable Production Award is an annual celebration of performance that’s working for an environmentally sustainable world. Open to all Fringe Festival productions by application, the award assesses all aspects of a production’s sustainability, from design to content. This award ceremony recognizes the best in this year’s sustainable productions, alongside inspiring presentations from Creative Carbon Scotland, the Center for Sustainable Practice in the Arts, and Julie’s Bicycle. The Sustainable Production Award is presented this year in partnership with The List, which is reviewing all shortlist shows and promoting the awards events.
The award is determined by the submission of a questionnaire about how the show was produced, and how environmental and sustainable themes were considered along the way. Assessors selected a short list of 23 productions, which appeared in the weekly editions of The List. These 23 shows were reviewed based on their questionnaires and the assessment team voted for the production which most aligned with the priorities of the award. Five finalists–Adventures of Alvin Sputnik: Deep Sea Explorer, The Garden, and Garden O’ Delight, How to Occupy An Oil Rig, Sacred Earth–were identified as outstanding entries before the winner was selected last week.
How to Occupy an Oil Rig was selected due to its conscientious production and themes related to sustainability in our present world. In their assessment the reviewer for the show said,”It tells stories of journeys through environmental activism engagingly, wittily, movingly… It’s all about sustainability, and is making very bold points about the scale of the problem and the necessity of radical solutions.” Also praised by the press, the Financial Times said that How to Occupy an Oil Rig was, “The real thing. Clever, engaging and important.” The Guardian said it is, “Fantastic work. Invigorating and playful. Both beautiful, and wants to change the world.” Accepting the award, Bye said “It’s great for the work to be recognized for its impact outside of the theatre itself, in the wider world.”
“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that,” adds CSPA Director Ian Garrett.
The award for Sustainable Production on the Fringe was first launched in 2010 at the Hollywood Fringe and Edinburgh Festival Fringe. Previous recipients include: The Pantry Shelf (Edinburgh 2010), a satirical comedy that takes place in any ordinary pantry shelf, produced by Team M&M at Sweet Grassmarket; Presque Pret a Porter (Hollywood 2010), produced by Dreams by Machine; and Allotment (Edinburgh 2011) by Jules Horne and directed by Kate Nelson, produced by nutshell productions at the Inverleith Allotments in co-production with Assembly. Last year recipients were D is for Dog by Katie Polebaum and the Rogue Artists ensemble, directed by Sean Calweti (Hollywood 2012) and The Man Who Planted Trees (Edinburgh 2012) adapted from Jean Giono’s story by Ailie Cohen, Richard Medrington, Rick Conte and directed by Ailie Cohen, produced by the Edinburgh’s Puppet State Theatre.
Ian Garrett and Miranda Wright founded the CSPA in early 2008. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theatre, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others.
Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. CCS believes cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.
Drawing on practical examples and research into sustainable production practice, Sholeh Johnston from pioneering group Julie’s Bicycle will discuss how designers and makers are developing new ways of working, using new materials and technologies, and engaging their supply chain to green their work.
Sholeh will be joined by expert speakers to explore what “eco design” means in practical terms, as well as the wider role of designers and makers in shaping a more sustainable performing arts sector.
Commissioned by On The Move to creative industries environmental experts Julie’s Bicycle, the Green Mobility Guide offers practical recommendations for professionals across the performing arts, case studies and resources, including the Julie’s Bicycle “IG tool” for tracking carbon emissions while on tour.
Available since 2011 in English language, and now also in: Chinese, French, German, Italian.
To find out more and download the guide in all 5 languages, click here.
Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.
Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.
The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:
– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)
Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21
Whether a former miners’ institute, an Edwardian theatre or modern iconic buildings such as the Wales Millennium Centre or Galeri Caernarfon, arts venues occupy an important place in the communities of Wales. Today sees the start of a major, ground-breaking initiative to support forty two arts venues in Wales to become greener and leaner.
The venues are all members of Creu Cymru – the development agency for theatres and arts venues in Wales. They will be asked about the way they manage their use of energy and water, their waste disposal and other environmental issues. Those who choose to will take part in a more detailed investigation with on-going support.
Based on the results of the investigation venues will be given the tools and advice needed to strengthen their environmental, social and economic sustainability. By becoming more energy and resource efficient, managers of the venues will be able to save money. They will be helped to develop new strategies and communicate these to staff, contractors, suppliers and audiences. Overall, this initiative will make them fit for the future and better able to respond to the challenges of a changing world.
The initiative will address three areas;
energy and waste (consumption and treatment)
the supply chain (theatre production and touring)
communicating to audiences the issues and potential solutions (imagining the future)
The initiative is part of Emergence – an on-going programme of work led by Cynnal Cymru-Sustain Wales and Volcano Theatre Company that aims to make sustainable development a core organising principle of the arts in Wales. This Creu Cymru Emergence initiative has been made possible by the Welsh Government’s Support For Sustainable Living grant scheme through a partnership comprising Creu Cymru, Cynnal Cymru-Sustain Wales, the ESRC BRASS Research Centre (Cardiff University) and London-based arts and environmental sustainability experts Julie’s Bicycle.
BRASS and Julie’s Bicycle will provide the technical expertise. Both organisations have a track record of success in investigating and offering solutions for the environmental and social sustainability of the arts. Cynnal Cymru-Sustain Wales will use the information and learning that comes from the work to inform consultation on the development of the Welsh Government’s Sustainable Development Bill.
The Creu Cymru membership consists of Wales’ most cherished theatres and arts venues that have for generations acted as hubs of social and cultural activity. With this initiative, they will be able to continue to do this in the context of a changing world and make an important contribution to the development of a sustainable Wales.
Julie’s Bicycle is recruiting three new staff members to join our team of arts and environment experts at an exciting time of expansion for the organisation:
Communications and Marketing Manager Music Coordinator
Download the full job descriptions and application packs by clicking the links below, and please share with your networks.
The JB Team
Communications and Marketing Manager
Full time Starting salary:
£30,000 – £35,000
(depending on experience)
A key member of the Management Team, this position will be responsible for development and implementation of an annual marketing and communications strategy. Application deadline: 5pm, Friday 24th August 2012
Part time, 3 days a week Starting salary:
£24,000 pro rata
The Music Coordinator will be responsible for supporting the design and coordination of an annual music programme focusing on the UK music industry, working closely with the Operations Director and the Chief Executive. Application deadline: 10am, Monday 30th July 2012
Full time Starting salary: £21,000
The Administrator will provide administrative support to the staff team and Chief Executive. This position will develop, implement and maintain accurate and efficient processes for all administrative activity. Application deadline: 10am, Monday 23rd July 2012
If you have any questions regarding our recruitment process please contact:
Yesterday saw the launch of our latest guide, Energising Culture, the first in a two-part guide on future energy strategies for cultural buildings, published in partnership with The Theatres Trust and Arts Council England.
Energising Culture aims to equip the leaders of cultural buildings with an understanding of the core issues around energy demand and supply, and implications for operational and investment decision-making. It makes the case for energy as a business-critical issue.
The guide covers practical and operational interventions, the current range of technological, compliancy and financial incentives, sources of funding and investment models available.
It also provides case study examples of innovative and bold responses to the energy challenge from the cultural sector.
Last Month a re-imagining of Strindberg’s cruelest love story, Miss Julie, opens at the Young Vic after a week of previews. Set in England, July 1945, After Miss Julie takes place during the celebrations of the Labour Party’s landslide election victory and follows events which, over the course of a single night, turn Miss Julie’s world head over heels.
Adapted from the original by Patrick Marber and directed by Natalie Abrahami, After Miss Julie is also a “Classics for a New Climate” production, which has been investigating approaches to making more ecologically sustainable theatre in partnership with Julie’s Bicycle. Prompted by the Mayor of London’s target to reduce London’s emissions by 60% before 2050, the Young Vic set out to reduce the energy used to produce After Miss Julie by 50% compared to other shows that have been staged in the Maria Theatre previously.
Heating, cooling and ventilating are the three systems that use up the most energy within the theatre space, and the Young Vic has an efficient system in place thanks to a refurbishment to the building which reopened in 2006. Initiatives that this production has put in place to reduce energy further have involved using natural ventilation as a substitute for heating and cooling as much as possible. This explains why the temperature in the auditorium varies slightly and why they’ve asked audience members to wear layers.