Writer Nick Hunt walked the invisible pathways of Europe’s named winds for Where the Wild Winds Are. Here he pursues Switzerland’s ‘snow-eating’ Foehn, which brings clear skies and wildfires — as well as insomnia, nosebleeds, anxiety and depression.
580 words: estimated reading time 2.5 minutes
Stepping outside was like being plunged into a warm, stormy sea. Channelled, diverted and rebuffed by the complexities of the slopes, the Foehn’s southerly flow was confused, broken into conflicting currents that rushed nervously against one another, so that one moment I was standing still and the next propelled alarmingly forward at speeds I could hardly control. The cable car was grounded, its gantry and trembling wires caught in one unending scream; the only alternative route was the three-hour trail down the mountain. The forest was a static roar, and the pines bent like rubber with the impact of each gust. When the world emerged below, it looked as if layers had been removed to reveal it for the first time.
The surrounding mountains had jumped closer, dabbed with Tippex-white snow, each crease and ripple illuminated to a hyperreal degree. The rooftops of Altdorf were so defined it was like looking through a telescope: every chimney, turret and tile had been tuned to perfect focus, giving everything an oddly computer-generated quality. Descending to the windswept town was like turning a dial and zooming in, the picture growing more precise with each step.
Loud with sunshine, bright with wind, Altdorf was a different town from the rain-streaked place I had left. The temperature had leapt ten degrees and warm air coursed the streets, flapping the shirtsleeves of gossiping elders, hurling the water from orderly fountains and driving tornadoes of leaves through the lanes. The keys, crowns and pretzels of ironwork shop-signs swung madly over doorways, and woodcock feathers vibrated in the brims of Alpine hats.
There was only one direction: blossom, leaves, litter, dust and plastic bags all chased north, and the clothes on washing lines had turned to weather vanes. I followed this flurried migration back to Flüelen and the lake, where the water had turned an unreal blue, flecked with magnesium flares. A steady procession of white horses roared offshore in repetitive ranks, divisions of cavalry on the move; on the quayside an elderly man sat watching the waves, wind-bathing.
The energy overwhelmed my senses, made me drunk with it. With the Foehn’s encouraging hand at my back I fairly flew along the trail, under the Ober Axen cliffs, through a tunnel in the rock where the air was funnelled so intensely it forced me into a clumsy jog, and soon I was back beside the lakeside chapel at Tellsplatte. Soon after that the black bull of Uri was replaced by a white cross on red: I had entered the canton of Schwyz, which gave Switzerland – Schwyzerland – its flag, and its name.
Writer Nick Hunt walked the invisible pathways of Europe’s named winds for Where the Wild Winds Are. In his third extract, Nick follows the freezing Bora –named for Boreas, the ice-bearded Greek god of the north wind.
510 words: estimated reading time 2 minutes
Gornje Sitno was the highest village, the end of the road. Six inches of powder snow squeaked under my boots as I climbed, snowballing at the tips of the laces, making lion’s tails. The snow had favoured the windward side of every leaf and blade of grass, while tree trunks and telephone poles were vertically scored with a furred white line angled precisely northeast, as if magnetised to a new pole. The world had been perfectly bisected, divided between spring and winter.
Sheltered by the slope at first, I could only hear it. But then I reached the top, and the Bora was upon me.
It was on my skin, freezing my face, blizzarding into my eyes. My eyelashes were frosted, my beard stiff with ice. I made the mistake of removing my mittens and my fingers throbbed so much it felt as if they’d been slammed in a door. The chill of it pushed me back, forced me to proceed in a crouch, as if advancing under fire. Or as if I was bowing.
It was in my ears, but it wasn’t blowing; nor was it moaning, whistling, howling, or any of the other words usually used to capture wind. It was less a sound than a sensation, a nameless energetic thing that erased the line between hearing and feeling; for the first time in my life, I understood sound as a physical force. It was in my lungs, under my skin. Like a religious maniac, I roared my appreciation.
The Bora roared right back at me, and the mountainside ignited. An eighty-mile-per-hour blast lifted veils of powder snow, frozen spindrift that swirled like smoke, spinning itself into ice tornadoes that leapt from slope to slope before blowing apart again in mists of agitated dust. It happened again and again as I watched, each white eruption spreading and merging to create gyrating clouds that travelled as fast as a forest fire, hurtling down the mountain. The Bora’s face was visible in each fleeting pattern of snow, each convolution and curlicue, each vortex, twist and coil. I saw the invisible appear, the formless given form.
What did the Bora say to me, on that frozen mountainside?
I could not read its words. Its language was too large.
Dramatist Julia Marques reflects on her research for an MA in Climate Change: Culture, History, Society, and the role that theatre can play in opening up space for us to take in what climate change means for us.
1,360 words: estimated reading time 5.5 minutes
“The sources of our disagreement about climate change lie deep within us, in our values and in our sense of identity and purpose.”
– Mike Hulme, Why We Disagree About Climate Change (2009)
Throughout the past year, when I tell people that I’ve been studying climate change, there have been some responses that have prevailed over others.
“What’s the conclusion – is climate change real?”
“What’s the solution?”
“Are you going to save the world?”
And, inevitably, certain world leaders also crop up fairly regularly. (On this point, I would like to quote Mike Hulme, who rightly states that “One man does not control the world’s climate”).
I want to discuss why these responses are difficult to give a simple and straightforward answer to, and also how they reflect why climate change is a complex concept that is more than just extreme weather.
Truth and values
First of all, the fact that people are still asking this (Question #1) — in spite of the fact that the majority of scientists agree that it is — indicates that there is more going on here than merely deciding on which side to support. People form beliefs according to their cultural values, and if an idea threatens those values, then people are, understandably, wary of it. Therefore, even if you trot out the mountains of evidence for climate change, this does not automatically result in a change in view on the matter. This is frustrating, of course, but, as Dan Kahan points out, more focus needs to be placed on how we communicate the science that will appeal to people from diverse cultures. Once this has been cracked, then we can better understand why people feel and react differently to climate change instead of simply rejecting those who do not agree with us.
“The prevailing approach is still simply to flood the public with as much sound data as possible on the assumption that the truth is bound, eventually, to drown out its competitors. If, however, the truth carries implications that threaten people’s cultural values, then holding their heads underwater is likely to harden their resistance and increase their willingness to support alternative arguments, no matter how lacking in evidence”
– Dan Kahan, Fixing the Communications Failure (2010)
Secondly, is climate change really a ‘problem’ that needs “solving” (Question #2)? Framed in this way, it is easy to talk of solutions to climate change, and to declare war on it as if it were a sentient being which had chosen to attack human beings in particular. This discourse of war appears to pervade into every sphere of life; the war on terror, the war on drugs, the war on poverty — to name but a few. For some reason, humans love declaring war on things. Especially large-scale hard-to-comprehend things.
Mike Hulme proposes climate change to be an idea, and, in this light, it certainly does not require any ‘solutions’. This somewhat relieves the pressure that climate change exerts whenever we see extreme weather events and melting ice as only more evidence of the destruction we are wreaking on the world. This is not to say that we can sit back and do nothing but, for me, constantly searching for a quick-fix solution is not helpful when it comes to climate change.
What we need is space to consider our options and what climate change means for us individually. Yes, we know about the stronger storms, the higher sea levels, the increasingly severe droughts, the mass migration, etc. But what does this mean to me, to you, to the person sitting next to you on the train, to the couple with the baby you passed in the park, to the old lady you saw at the bus stop? What meaning do all of these people give to climate change?
This ties in with my evolved focus of my research. In it, I ask myself if theatre can be an alternative site of meaning-making around climate change that allows people to have space to think about the idea of it that is being re-presented in the performance space. I want to get away from a didactic version of theatre, which is oh-so-easy to fall into when considering concepts as huge as climate change. I want to give people the option to decide, to make up their own mind about it, rather than offer solutions to it. We need to give ourselves space to think. I argue that both the plays I am using as empirical examples in my research create this space in different ways — whether through staging, lighting, sound, dialogue or action. This is the beauty of theatre — it offers the flexibility of its various techniques to be used in a multiplicity of ways to create manifold effects.
The two plays that I studied for empirical examples of this space were Greenland (2011) by Moira Buffini, Matt Charman, Penelope Skinner and Jack Thorne and Earthquakes in London (2010) by Mike Bartlett. Both plays did create space, but with differing techniques. As can be seen from the Greenland photos, the stage was a vacuous darkened space most of the time, thus creating physical space. Earthquakes, by contrast, is a chaotic play with little physical space, but pause in dialogue was the source of space for thought on climate change instead.
In a city like London, space is at a premium, and I’m sure most people would appreciate having a little more of it. We are constantly bombarded with information, advertising, people and sound. How can theatre be a place of respite from this, to focus our thoughts on one particular aspect of our intricate lives and allow us then to mull it over without the pressure to make an immediate decision on it?
To conclude, ‘saving the world’ is a rather grand and complex task (Question #3). My MA course was not, as I had hoped, a series of classes on how to stop environmental degradation and limit our carbon dioxide emissions. In fact, it presented me with far more questions than answers. Climate change tends to be a rather gloomy subject, I have found, but it also highlights the potential of what can be done.
As George Monbiot says, “What appear to be hopeless situations actually are not hopeless at all. All you need to do is to imagine a better future and then put that imagination into practice”. My aim is not quite to save the world, but to give it a chance to stop, take a breath and ponder what can be done. And then go out and do it.
“I know two days is just a blip but . . . that’s what it is, a pause, a breath, where we can look at it. Bear witness, my boss says – where we can really think, is this the future that we want?” (Lisa – student/activist – Greenland)
Dan Kahan‘s paper, Fixing the Communications Failure (2010, Nature 463, 296-297) is also available at Climate Access.
You can see George Monbiot talking about how “What appear to be hopeless situations actually are not hopeless at all” in his video on YouTube, which is well worth watching despite its unimaginative title, This is Why Donald Trump Can’t be Human.
A climate change dramatist and activist in social and cultural aspects of climate change who has worked in the nonprofit sector and combines arts and environmentalism. Read More
Questioning immediacy? Space for creative thinking..."How do you find or create space to help you or others to resist the 'pressure to make an immediate decision' on difficult questions? How would bring a predicament like 'climate change' into this space?" Share your thoughts - use the Contact Form or write a response on your own blog and send a link!
Writer Nick Hunt walked the invisible pathways of Europe’s named winds for Where the Wild Winds Are. Here, he’s on the trail of the Helm, which blows from desolate Cross Fell to wreak havoc in the Eden Valley.
680 words: estimated reading time 2.5 minutes
The view resembled a different country to the one I’d seen the morning before. There was no sodden cloud, no murk; the land was bright and loud again, the weather vane of the topmost pines twitching to the west. I made coffee in a pan, cowboy style — a mouthful of grits and a mule-kick to the heart — and as I was thinking of going out, the door banged open.
It was a cheerful pink woman who had hiked up from Kirkland. ‘You can hear the Helm up there,’ she announced breathlessly. ‘It’s horrible, howling and moaning and groaning. I was too scared to go up.’ I was already pulling on my boots, fumbling with the laces. ‘You know why it’s called Cross Fell?’ she continued, taking out her sandwiches. ‘It used to be called Fiends Fell. People thought that demons lived there, so they sent a holy man to bless it. He exorcised the evil spirits, built a cross to drive them away. But I don’t think it worked. It still sounds like it’s cursed.’ I was halfway through the door. I didn’t want to miss them.
It certainly looked like the home of fiends, despite the bright sunshine. Dramatic events were occurring above, in the fathomless workings of the clouds; it seemed that opposing weather systems were engaged in epic warfare. To the north and west a ragged mass scoured the lower slopes of the fell – Grey Scar, Black Doors, Man at Edge, said the place-names on my map — hazing the air with a smudge of rain, leaving shreds of itself behind. Autonomous mists of water vapour travelled in long vertical trails high above the Eden Valley, and grandiose crepuscular rays poured down on the mountains of the Northern Lakes, where Ullswater distantly shone as bright as a mirror. The Helm Bar was not in place, but developments were moving so rapidly it seemed that anything might happen. Scattering Swaledale ewes I hurried on the Pennine Way, up the long, deceptive rise that led towards the summit.
Who was this mysterious holy man? I wondered as I climbed. Unsurprisingly, research suggests that no one really knows; some say a bishop, some say a saint, some say a wandering monk. A local clergyman, the Reverend Robinson of Ousby, wrote in 1709 of the
evil Spirits which are said in former Times to have haunted the Top of this Mountain; and continued their Haunts and Nocturnal Vagaries upon it, until St. Austin, as is said, erected a Cross and built an Altar upon it, whereon he offered the Holy Eucharist, by which he countercharm’d those Hellish Fiends, and broke their Haunts. Since that time it has had the Name of Cross-Fell, and to this day there is a heap of stones which goes by the name of the Altar upon Cross-Fell.
What had the woman from Kirkland meant, talking about howling and moaning? Alone in that empty place I soon found out. Something must have shifted in the air, for the aural landscape suddenly changed: above the buffeting blows of gusts that banged recurrently on my ears, flatlining like microphone distortion, rose an unearthly whispering like dozens of tiny voices. It was a mischievous chattering accompanied by a hissing that suggested branches and spirals, complex patterns being woven in the air, and under it all a low moan, like an animal in distress.
Film-maker James Murray-White captures the energy and inspiration of a busy summer learning, engaging others and sharing their stories, recalling four very different events: a climate visuals workshop, a regenerative activism retreat, a performance and a coastal encounter.
1,810 words: estimated reading time 7 minutes
“I pondered all these things, and how people fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other people have to fight for what they meant under another name…..”
– William Morris, A Dream of John Ball, 1888
I’m writing after a stimulating Masterclass on Climate Visuals, run at the Thomson Reuters HQ in London by the Oxford-based climate NGO, Climate Outreach.
Visual language & regenerative activism
The event was titled ‘Catalysing a new visual language of climate change’, which is no small task, and by the day’s end the 30 or so participants had run the gamut of emotions examining a wide range of images, discussing them in small group exercises, and hearing from climate photographers and editors about finding and choosing stories and images.
I principally work with moving images these days, though my first creative medium was photography, and this masterclass again brought it home to me the importance of analysing images for human/non-human content, and how a story is told through the visual image.
Telling the story of climate change, with its impact upon the world and its tragic impact upon humans, often the world’s poorest and most vulnerable of society, needs to be done sensitively and with compassion; and the day kept coming back to both the ethics of featuring people caught up in the effects of climate change, and to the importance of understanding how the image and possible caption and accompanying article can find an audience. As journalists and creatives working to create change, we can ofttimes never know how an article, an image, a film or a play will land in the audience’s imagination, or what it may trigger.
Climate Outreach’s Research Director, Adam Corner, opened the day by setting the scene and mapping the landscape, through a diagram of the ecosystem of imagery: its generators and users. The NGO has excelled in its research in this area, outlined in a set of seven principles for climate change communication, from showing ‘real people’, through to ‘understanding your audience’. An ongoing debate, which continued with a colleague on the train home, was the use of polar bears in early and current images to represent the alienating effect through habitat destruction of climate change.
In any day-long course, or masterclass, there is always so much knowledge to share and stories to hear, and this was no exception. Climate Outreach and its dynamic team have been engaging deeply with this medium of knowledge transfer and change and, crucially, are creating the network to shape the future through careful and deliberate image choice and placement to sway opinions and support crucial debate and journalism.
At the other end of a spectrum of group dynamics, I was fortunate to attend a week-long retreat on Dartmoor in July titled ‘Regenerative Activism’, run by a team from the Buddhist Ecodharma centre in Spain.
This was a powerful group-learning experience – we were taken on a deep ride through our experiences as activists of all kinds and given powerful tools to support ourselves, understanding power in our groups and those we may stand against: burnout, privilege, inner criticism and everything that may stand in our way.
The week was at times challenging, but a crucial, urgent, regeneration. I was privileged to be in a group that included climate activists who have risked their lives and gone the extra mile for action and laws on climate change worldwide. Tried and tested exercises gave us all the chance to see and reflect upon our work and the passion that drives activism, testing this from many sides to see and feel both the flaws and the glorious altruism that drive our need for change, whether from hurt, weakness, or something else within. I’d highly recommend the work of the Ecodharma team – they are deeply engaged individuals who use the buddhadharma to enhance and enrich lives where they can.
The retreat was managed and hosted by a wonderful group of skilled meditators who offer retreats ‘freely’ to enable anyone to grow.
Back to my work, motivations and the place I work within, and the City of Cambridge remains a sphere of education, growth, and a catalyst of climate and social justice knowledge.
Pivotal — life in a flat land
It is a place of tradition and growth, but we live on flat land: an entire region of this tiny island that is highly susceptible to floods. The image below is a projected map of East Anglia, with coastal erosion taking away a huge swathe of Fenland from the Wash; cutting through Kings Lynn, Downham Market, Peterborough, the area where poet John Clare explored the treasures of nature, Chatteris, and the prime agricultural lands right up to the gates of the newly-titled ‘Silicon Glen’ that is Cambridgeshire. Only from the Ivory towers of academia will we be able to look out upon this once fertile landscape.
In the city, Pivotal is one initiative trying to bring together town and gown to find solutions and share experiences on climate and social justice, mainly using the prism of the arts. We’ve had lots of successful events and a mini Festival to find ways of engagement.
Pivotal is teaming up with many of the NGOs across the county who also look at issues of environment, community and sustainability, such as Transition Cambridge, Cambridge Carbon Footprint, Fulbourn Forum and other village parish councils and groups, to run a season of films, events and speakers in February 2018: ‘Films for our Future’. Watch this space for a full timetable. We’re finding that teaming up with all the expertise and crossover here, while learning from similar festivals in Totnes and Reading, brings a world of resource and energy into one concentrated space – to make change happen.
On darkness and doing
Over in Reading, I got to see Festival of the Darkness director Jennifer Leach’s performance piece Crow recently: “Whoah”, is all! This is a creation myth that hits you in the stomach; with searing sadness, and an eternity of tension between the figure of Crow and Hollow Man, I felt a personal sense of despair in looking at our humble humanness not felt since seeing a Samuel Beckett play. There are moments of beauty, and real insight: clowning; a chorus that observes, entices and engages. Crow’s mother, who sways through, brought up some grief for the loss of my mother this year, as well as a sadness at the sly dexterity that is at play amongst humans: we can love and laugh, cry and die, and can try to resolve and understand issues, though still we maraud and pillage natural resources as if we own them, and howl at the terrible consequences.
Thinking this thought further, I’m delighted to share that following our highly successful provocation at the life-changing TippingPoint Doing Nothing is Not an Option conference in Warwick last year, where so many of these connections were made and interlink across culture and activism, stage designer Andrea Carr and I have been talking about reprising our Doing Nothing is Sometimes an Option event – giving participants an opportunity to dump all their baggage at the door and enter a space of rest, mindful exploration and tuning in to sensory being. Participants at DNNO might well remember the glorious prism that showed up for us. Watch this space for more!
During a filming project recently, I visited the Norfolk village of Happisburgh, which has suffered the most extreme coastal erosion of our entire island, and successive governments ‘giving up’ on their efforts to protect the land from the violent surges. After an hour of filming in the iconic lighthouse, as the volunteer warden locked the door and I packed up cameras, I asked him “So what’s your take on the erosion here?” He pointed to the field we stood beside, and angrily responded “This was entirely flooded just three years ago. The next time the sea will wash into the Broads and contaminate that. These houses won’t be here. This lighthouse will be beaming its light as an island in the sea.”
This close-up and personal engagement with the reality of change, in the midst of doing other things, reinforces for me the need to keep making connections, writing and filming these issues, finding images and creating footage to highlight all the stories of our time. I went from this conversation to the church, and met a church warden who had moved into the village some seven years ago, in full knowledge and sight of the potent destruction of the sea defences, some of the cliffs and some of the property in the community. For her, faith and church involvement sustains.
“Caring for myself is not self-indulgence; it is self-preservation, and that is an act of political warfare.” – Audre Lorde, A Burst of Light, 1988
In the theme of spiritual inquiry and the buddhist practice of cultivating bodhicitta, I dedicate this writing to all those affected by climate change over the past few months, in the USA, India, and worldwide. May all beings find peace.
A writer and filmmaker linking art forms to dialogue around climate issues, whose practice stretches back to theatre-making. Read More
Questioning what sustains? Space for creative thinking..."James' post ends with an image of a stranded lighthouse and a note on faith. For you, what sustains your engagement with 'the reality of change, in the midst of doing other things'?"Share your thoughts - use the Contact Form or write a response on your own blog and send a link!