ClimateKeys – Moving Climate Conversations Centre Stage

— approx reading time: 11 minutes

Composer Lola Perrin returns to ClimateCultures with this round up of her own and many others' experiences of ClimateKeys - the major, global initiative she set up to bring together musicians, experts and audiences to engage in climate change conversations.

The latest ClimateKeys concert took place at the end of November in a candlelit art gallery under the arches in Waterloo as part of PowPowPower, a month-long series of arts events linked to climate change. Violin and cello duo, Fran & Flora, performed their virtuosic style of sonorous Eastern European folk music, at times bursting into truly beautiful acapella singing. Their set was followed with a talk by Nolan MacGregor whose premise was that the increasingly absurd system of commodity production is one of the chief factors in driving climate change. MacGregor then facilitated a conversation, with audience members sharing comments and ideas. Afterwards we were treated to a final piece of music before viewing the climate change art in the gallery and retiring to the bar where conversation about climate change, and the music, continued. 

Performers Fran & Flora with ClimateKeys guest speaker, Social Theorist Nolan MacGregor at PowPowPower

ClimateKeys is an initiative I founded that pairs concert musicians with climate change experts across the world to provide new opportunities for conversations. At the October gala launch in London ten pianists performed to a full house, with the music being interspersed with talks by Sir Jonathon Porritt, the Truth about Zane campaign and Hannah van den Brul. During October and November thirty-three concerts took place in nine countries. The speakers were scientists, policy experts, physicians, economists, radio journalists, legal experts, ecologists, psychologists and other specialists, all giving talks within the setting of a concert performance. Comments, photos, videos have been coming in to give a snapshot view of the concerts, for example;

“The audience members really wanted to talk and learn, and the discussion lasted longer than I thought it would … for me personally, this was incredibly rewarding.” (Political Science Professor Matt Hoffmann, who collaborated with pianist Erika Crino in Toronto.)

“Helping spark discussion and lay the foundation for civic engagement among my peers tonight made me feel like I was making a tangible difference in the world.” (Caroline, performer and audience member at a Syracuse University London ClimateKeys concert.)

“It’s important to think, talk and do something for future generations. The unusual blend of music and ecology is a good environment to make the audience think about climate change, everyday local problems (plastic bags, biodiesel, heating …). Thanks to ClimateKeys we have this wonderful collaboration of our Music and Technical Schools.” (Speaker Jovanka Vicentic, Ecology teacher, who collaborated with young pianists in Serbia.)

“One audience question was on how prepared we should be to compromise. If we choose to be vegan, does that mean we can continue to fly around the world?” (Extract from description of the conversation at Cynefin’s concert in London with guest speaker Julia Marques, climate change dramatist.)

“The general manager from the venue was very happy too and was also interested in more projects with us.” (Pianist Neslihan Schmidt, who performed with Dr Andrzej Ancygier in Berlin.)

Pianist composer Marija Ligeti Balint’s ClimateKeys concert in Pancevo, Serbia made the pages of local newspaper Pancevac, 17th November 2017 www.pancevac-online.rs

Excitingly, musicians responded in ways I hadn’t anticipated; creating inspired programmes around what climate change means to them and choosing works reflecting nature, the chaos of climate change and the constancy of the Holocene. Composer Alexander Schwarzkopf was inspired to complete and perform his work Liquid Piano, which “investigates evaporation, drought, flood, frost, birdsong and imaginary radio waves from outer space. Repetition is an important element of these compositions as it is integral to the processes of the natural and manmade world.”  Liquid Piano caught the imagination of local news media and triggered further climate change discussions.

New work is also emerging from the concerts. Florida ClimateKeys speaker, physician Dr John Strasswimmer, who collaborated with Duo Gastesi-Bezerra and artist Justin Guariglia, produced an imaginative video in response to both ClimateKeys and his research using spectroscopy.

Opportunities to imagine, to begin talking

The ClimateKeys concept grew out of my ninth suite, Significantus, for piano, a guest speaker (who gives a talk on positive response to climate change) and a conversation with the audience. Climate Outreach founder George Marshall kindly brainstormed with me and told me that “two thirds of people who are asked when they last had a conversation about climate change say they’ve never had a conversation about climate change.” This made me think that moving the conversation into the centre of whatever we do in life is vital, so I moved it into the centre of my concerts. I’ve been performing Significantus since September 2016 and have collaborated so far with nearly twenty speakers, reached around 600 audience members and possibly created over 1,500 conversations due to the ripple effect. Now that other musicians are using that same concert formula in ClimateKeys, many hundreds more climate conversations are taking place than I alone can achieve. 

ClimateKeys talks are given without projections or PowerPoint presentations, leaving the imagination free to roam. The audience may get a surge of images running through their minds, perhaps the lobster with a Pepsi logo tattoo, or the plastic islands in the seas, or the recent fire in California that burned an area larger than the size of New York City, or the millions of homeless Bangladeshis wading through floodwaters, or shrinking, low lying coastlines in the global South, or oil spills in Dakota, or Black Friday over-consumption, or Chinese smog, or children in the Democratic Republic of Congo mining minerals for our smartphones … the list goes on. Such overwhelm can create a catatonia, but the job of the guest speaker is to negotiate around our potential stupor and suggest positive directions in which to engage; for example, revising our rate of meat consumption, or re-designing our economy so that we live within nature and not at its expense, or putting renewable energy into place in developing nations to fight poverty without increasing warming emissions, or the role of digital innovation in environmental justice, or lobbying politicians around carbon pricing … The speaker synopses on the ClimateKeys website give an overview of the talks.    

“Fremd” (strange)
Exhibited at PowPowPower, London, November 2017
Artist: Frederik Marks © 2017
https://www.instagram.com/sh0tkiller

In every corner of the global effort is a myriad of features, responses, ideas, solutions, proposals, foundations, experts, schemes, charities, activist groups. Each day, if we choose to seek it out, and especially by searching on social media, we see more analysis, more reports, more research papers, more conferences, more expertise, more comment. Navigating around increasing flows of information on climate change, choosing what to focus on, trying not to miss the glaringly important, attempting to marry big solutions with individual choices: it is complicated.  

ClimateKeys concerts are opportunities to practice talking – or in some cases, to begin talking – about climate change. The first wave of concerts was timed to take place during COP23, to raise public engagement with Bonn. To some extent this was successful as several concerts got  local newspaper, TV and  radio features, including front page coverage in Trump’s local paper, Palm Beach Daily News (I understand that he  does read this one!). It was noticeable that there was no coverage by the BBC and UK press, despite numerous efforts. Two ClimateKeys speakers were COP23 delegates; Banja Luka’s Professor Goran Trbic and Berlin’s Dr Andrzej Ancygier.

Local coverage by the Palm Beach Daily News, 4th November 2017 www.palmbeachdailynews.com

Necessary, desirable and achievable

Ancygier is a policy analyst and a contributor to a new report, 2020 The Climate Turning Point, which took centre stage at COP23. I watched the livestream from the session, 2020: The necessary, desirable and achievable turning point to safeguard our climate. Chaired by Mary Robinson, former President of Ireland, heavyweight panelists Christiana Figueres (former UNFCCC Executive Secretary), Johan  Rockström (Director of the Stockholm Resilience Centre), Hans Joachim Schnellnhuber (founding director of the Potsdam Institute for Climate Impact Research), and Kevin Anderson (Chair of Energy and Climate Change at the Tyndall Centre), made presentations on how, if global CO2 emissions continue to rise beyond 2020, or even remain level, the temperature commitments set in Paris and the Sustainable Development Goals the world agreed to in 2015 become unattainable. The speakers agreed on outcomes although there was some disagreement on methodology. Good questions came from the audience and online viewers.

I recommend watching this session in its entirety (see link below). But to briefly summarise the ten-minute presentations: 
  • Figueres spoke of 2020 being a critical turning point in which we reach peak emissions and thereafter drive emissions into a steadily descending curve to avoid a much steeper rate of reductions later on. In this latter scenario, the curve will look more like a cliff edge and in such a speedy transition society would not be able to support citizens; numerous, sudden job losses would make for social upheaval and unrest. Although she actively engages with an increasing number of corporations, not enough businesses currently work from this perspective.  
  • Anderson argued for mitigation (emissions reduction) to become a COP focus through the top 10% of individual emitters in the world (climatologists are in this 10%) reducing their emissions to the level of the average European and thereby lowering global carbon emissions by 33% straight away. He believes COP itself should “lead by example” and reduce its own footprint. Anderson suggested that the requirement of a zero carbon energy system is a lower total energy consumption (or ‘smart 21st Century energy use’ as Zero Carbon Britain describes this), and so fundamental systemic change is needed in which we all must start playing our part now.
  • Rockström detailed clear technological steps to keeping within the 1.5°C limit, and argued for the removal of fossil fuel subsidies as an immediate priority.
  • Schnellnhuber suggested new private-public partnerships to fund the transition away from employment in dirty energy, proposing that money in tax havens be put to better use and liberated into new investments in clean energy. Schnellnhuber is an adviser to Chancellor Angela Merkel and so it’s revealing to think that this type of debate might be happening in the German government.

Repeated themes ran through the session; “it’s all about Time”, “don’t be late”, “we’ve known what it is we must do”, “we’re saying we must start doing this by 2020”, and “the procrastination must stop.” So, what will happen if, despite COP outcomes, the procrastination does not stop?

Taking on procrastination

Shortly after signing the Paris Agreement in 2015, in a gut-wrenching moment, British Prime Minister David Cameron slashed subsidies for solar panels. In the Budget right after this year’s COP and its focus on the year 2020, Chancellor of the Exchequer Philip Hammond announced tax incentives prolonging North Sea oil and gas investment. A month earlier, Brazil announced it was proposing a bill to give subsidies worth $300 billion to oil companies to drill off its shores. Given that the clear message from Bonn is that emissions need to peak two years from now and then go into a steady decline of 6% per year to stay under the carbon budget and have the chance of meeting the 1.5°C limit by mid-century, we don’t have time to sit around just in case, miraculously, in the next twenty-four months, the required amount of political will somehow shows up.  

When political processes fail, the next step is to turn to the law. Perhaps that next step has already arrived. More and more, we see litigation around the world: the UK government being sued for illegal pollution levels; the US government for stealing a stable climate from American teenagers; 47 countries for not protecting Portuguese schoolchildren from climate change. In a brand new case, Plan B (co-founded by a former government lawyer) is suing the UK government for climate inaction, in a move that has recently drawn support from leading doctors who published a letter in the British Medical Journal on 7th December 2017. Helpfully, Plan B has also made its website into a source of litigation information for the international community. And at the Cambridge Literary Festival in November, ClientEarth founder James Thornton spoke of how the Chinese government is currently training lawyers to sue the Chinese government (yes, you read that correctly!) if it doesn’t meet its own targets.   

The day after the M2020 presentation in Bonn, climatologist and founder of the innovative televised Global Weirding series Katharine Hayhoe was in conversation with George Marshall at University Church of St Mary in Oxford. Hayhoe was there to talk about her work communicating climate change to ‘dismissers’ (her preferred term for deniers) in the heartland of Republican Texas. I attended and was glad to bump into fellow ClimateCultures member, author Deborah Tomkins, as well as Cardiff ClimateKeys speaker, environmental psychologist Dr Stuart Capstick. Deborah and I had a conversation a few days later. We discovered we’d both been inspired by Hayhoe’s account of having been invited to present a one-hour talk to an oil company in Texas; after two and a half hours they still didn’t want to let her go, asking what they should do to become part of the solution rather than remain part of the problem.

This Texan tale, along with the need to stop the political procrastination and immediately remove fossil fuel subsidies described by the panel at COP23, and the role of litigation are four guides to lead my development of ClimateKeys into 2018.

Moving out of the concert hall

After such a strong start, courtesy of the many musicians and speakers who gave concerts in October and November, ClimateKeys is set to carry on initiating more such collaborations in 2018. However it was always the plan, once ClimateKeys was established, to add new types of concerts. Inviting musicians with portable instruments means that concerts can be performed anywhere, not just in music spaces. This has started to happen quite naturally, for example with musicians such as Fran & Flora performing ClimateKeys in an art gallery. So, why not follow Hayhoe’s lead and aim for a concert in the Shell Building in collaboration with their Chief Climate Change Advisor, perhaps with a performance by a string quartet? Or in Tesco’s head office with their packaging planners? Or at the British Museum in partnership with board members to discuss fossil fuel subsidies, their own link with the industry, and climate change? Perhaps such cultural events are opportunities for new leaders to emerge within companies, and this will inspire new collaborations with ClimateKeys.

ClimateKeys at Syracuse University London, 14th November 2017

It’s widely recognised how the activities of the high carbon world cause climate change and how the impacts are greater on the low carbon world. Tragically, recent statistics suggest that around four environmental defenders in indigenous regions are killed each week. When Pope Francis states in his Encyclical that we “have to save Creation”, he is surely including those courageous activists standing up to the causes of climate change and being killed in the process. All who are standing up, from the indigenous defenders, to the Pope, to treehouse dwellers in Germany preventing an expansion of lignite mining, to Mary Robinson and the M2020 panelists, to school children taking governments to court, to authors of climate change novels, to climatologists speaking to communities, all are in the same wide mass movement I increasingly see as a form of international service (that I, for one, wish was compulsory). ClimateKeys hopes to play a part in bringing more corporations to this service. They are urgently needed.

Find out more

You can catch up with the speaker synopses and other news from the performances so far, and with new developments, at the ClimateKeys site.

There is a video from the ClimateKeys concert in Istanbul on 14th November, where guest speaker Ömer Madra, former lecturer of humanitarian law and co-founder of Açık Radyo” (Open Radio), said “As an academic, a writer, a broadcaster and a grandfather, I humbly feel that it is my utmost duty to ‘take arms against a sea of troubles’ and fight with this ‘ultimate absurdity’ to the end. This is the demand which originates from the responsibility of the intellectual.” Pianist Birsen Ulucan said “The people who surround me in Istanbul, where I will perform ClimateKeys, are not actually aware of the consequences of climate change.” 

Check out PowPowPower for more on their recent climate change arts events.

You can read about the Truth about Zane campaign, which is calling for an Independent Panel Inquiry into the death of 7 year old Zane during the February 2014 floods in Surrey, UK, and to protect the public.

You can watch the video of the COP23 seminar, 2020: the necessary, desirable and achievable turning point to safeguard our climate, on the Uppsala Centre for Sustainable Development website – and read about and download the 2020: The Climate Turning Point report at the M2020 site.

You can read about Plan B and their actions to sue the UK government, as well as other legal actions and resources, at the Plan B site. There is an article, Leading doctors back legal action to force UK government to cut carbon emission, at the website of the British Medical Journal.

Katharine Hayhoe’s TV series is available on the Global Weirding YouTube channel, and you can watch a film of Katharine talking with George Marshall at the ClimateOutreach site – where, of course, there is loads more about COP23 and communicating climate change.

Visit the Palm Beach Daily News site for their coverage of ClimateKeys – as possibly read by Donald Trump. The article states that “the concert ties in with Earth Works: Mapping the Anthropocene, an exhibition featuring works that evolved from artist Justin Brice Guariglia’s flights over Greenland with NASA scientists studying the effect of melting glaciers on sea level rise” and that local ClimateKeys presenter Dr John Strasswimmer “is a dermatologist who is researching a tool that could be used to detect skin cancer using spectroscopy, a technology employed by NASA to measure the contents of the Earth’s atmosphere.”

The Guardian reports on Environmental defenders being killed in record numbers globally and you can watch a film, “Keep It in the Ground”: As COP23 Ends, Activists Protest at Europe’s Largest Open-Pit Coal Mine, at the Democracy Now website.

The full text of Pope Francis’ Encyclical, Laudato ‘Si, is available at the Vatican site.

Questioning Venue? Space for creative thinking...  

Where would you take ClimateKeys to engage a new audience? Be specific -- choose your venue. Would it be at a company, a council, a call centre, a cultural hub, or a countryside location? And who would be your local expert, and your preferred musician?

Share your thoughts - use the Contact Form, visit the ClimateCultures Facebook page or write a response on your own blog and send a link!

ClimateCultures interview

— approx reading time: 1 minute

One of our Subscribers passed on one of our recent Re:Culture mailings to the folks at Manchester Climate Monthly - MCFly. Marc Hudson, MCFly editor and climate change policy researcher, contacted me for an interview.

Manchester Climate Monthly – or MCFly – “exists to inform and inspire and connect people in (Greater) Manchester who are taking or who want to take action to improve the quality of their lives and communities and to prepare for the changes that are coming because of climate change and energy price rises.” There’s all sorts of interesting and useful stuff on their site.

You can read my interview here. And Marc sent me this link to a fascinating interview he did a few years back with psychotherapist Rosemary Randall, which he rightly thought would be in tune with ClimateCultures: highly recommended.

Thank you, Marc – and thank you, mystery subscriber.

The moral of the story? Do pass on ClimateCultures info wherever you think it might strike a chord!

Keyboard Conversations Across the World

— approx reading time: 7 minutes

For our new Members' Post, Julia Marques offers a preview of ClimateKeys, the ambitious and visionary global initiative from fellow ClimateCultures Member Lola Perrin. ClimateKeys opens with its Gala Performance in London next Wednesday evening, 25th October, and Julia's post looks at the space it offers us for a more relaxed - but still urgent - sharing of thought and dialogue on the predicament of our times.

ClimateKeys, as with climate change, has spread and become a world event. This can only be seen as a reflection of how connected we all are as humans on this beautiful planet. COP is coming, and so is ClimateKeys. In these keyboard conversations around the world people will be afforded the space to think about climate change, and the opportunity to talk about it with others. Thus is the combination of music and speech; using music as an introduction to the topic gives people the chance to think about this all-encompassing phenomenon as well as settling us down into a state of relaxed (rather than frantic) thought in order to have a more positive dialogue about climate change.

“I’m in ClimateKeys because the power of this format lies in the unique capability to attract both music lovers and environment enthusiasts, and then engage in a language that is less jargon ridden and more public.” Shruti Shiva (ClimateCultures Member) – speaker in India

“Two years ago, my country was hit by catastrophic floods . . .” Biljana Jasic Radovanovic – pianist in Bosnia 
The London Gala performance of ClimateKeys, October 2017 Photo within piano “Children play in Central Java” © Kemal Jufri/Greenpeace; Artwork: Eleonore Pironneau © 2017 eleonore.pironneau@gmail.com

The London launch of ClimateKeys is a gala of music and speech. Ten pianists will perform, interspersed with three sections of the spoken word. Hannah van den Brul, who has herself written academically about music and climate change, will discuss ClimateKeys’ collaborative efforts with experts to spark conversations about climate change, as well as the “glocal” aim of local keyboard conversations happening across the globe. ClimateKeys is also honoured to have Kye Gbangbola and Nicole Lawler, the parents of Zane Gbangbola, as its special guests for the launch, who will speak about their campaign for the truth about the death of their son as the result of landfill poisons coming into their  home during the 2014 floods in the UK (with suggested links to climate change). Guest Speaker Sir Jonathon Porritt will refer to the diversity of speeches, ranging from re-orienting communities and behaviour modification to inter-disciplinary solutions and climate change art – a real reflection of how climate change touches all aspects of society and human life. Porritt will also draw a connection between the London launch and a ClimateKeys concert taking place simultaneously in Bosnia where Professor of Climatology and COP delegate Goran Trbic will emphasise the importance of international common aims in order to build on the Paris Agreement. This not only highlights the significance of the event and the topic to that country, but also demonstrates the interconnectivity that climate change brings with it; our actions will affect others, including ourselves.

“I’m part of ClimateKeys because I know the arts and creativity are tools for positive global change.” Becca Farnum – speaker in the UK 

“I tried to find pieces to perform that will stimulate the imagination of the audience and get them more aware of the UN climate change conference, COP23. Music has the power to enter mind, creating windows into the soul and the spirit.” Alex Lenarduzzi – pianist in France
Poster for Bosnia ClimateKeys concert
Artwork: Credit: Stefan Mijic © 2017

The fact that pianists have come forward to take part in ClimateKeys is, in itself, no small achievement. Concert pianist training can necessarily go hand in hand with a self-focussed approach which favours a concert being purely about a pianist’s mastery of the instrument. However, the power of climate change to bring people together and push them out of their comfort zones and normal routines is such that here we are with over 60 concert pianists to date ready and willing to give up the spotlight and share the stage with speakers and even audience members. This is to be applauded. But this also means that the road to ClimateKeys has not always been a smooth one. On average, only one in every fifty pianists contacted responds. As such, ClimateKeys is still missing a world-renowned concert pianist. An international piano star joining ClimateKeys would make the initiative more visible on the world stage (visibility itself being a barrier to awareness on climate change as it is arguably tricky for anyone to actually “see” the climate). If there are any climate change activist-musicians out there who know of such a pianist, then kindly connect them to Lola Perrin (lola@climatekeys.com).

“Part of the reason I am interested in this project is to be able to bring an informed discussion to the fore: it seems to me that many people form an opinion without exploring the topic and I welcome the opportunity to inform, myself first, on what I feel is an issue that effects every single person who shares this planet.” Eriko Crino – pianist in Canada

“I hope that together we can make the change, to leave our children a planet of hope and joy of life!” Marija Ligeti Balint – pianist composer in Serbia

In contrast to the pianists, speakers have been coming in thick and fast. It seems as though there are climate change experts across the disciplines who sense the potential of this forum for positive conversations about climate change and they embrace the invitation to give a talk without the use of projection or PowerPoint: a ClimateKeys principle, in order to avoid academic presentations. In the words of George Marshall, “The single most powerful thing an individual can do about climate change is to talk about it,” and this is what ClimateKeys proposes to instigate. Some of the best thinkers in the world are on board with the concept, and are keen not only to give talks in a cultural context, but also to facilitate genuine conversations (not Q&As) with the audience. This only serves to strengthen the resolve of all involved and heighten the excitement of this particular artistic response to COP23 and climate change.

“ClimateKeys brings together two of the interests closest to my heart: communication through music and care for the environment.” Sachit Ajmani – pianist in India

“Musicians have been given the gift of a platform and we can choose whether or not to use it.” Mikael Petterson – pianist in the UK
Lola performing ClimateKeys in Oxford, with speakers Tim Jackson and Kate Raworth Photo: Kellie C. Payne © 2017

When I spoke with Lola about her project she said “It’s always brilliant when pianists come forward, they all say the same thing, they’re really concerned about the environment and it’s great to know they can do something about it through their piano work. Then the long road starts. Finding a venue, looking for a speaker (I do this for them in the majority of cases), sorting out the publicity.

“What I’m really, really concerned about is the distillation of the ClimateKeys format which is carefully designed to feature the audience participation. I worry I will alienate pianists if I’m too dogmatic about the concert format, but I’ve now decided that the dogma is really important. They must know that it’s only a ClimateKeys concert if it follows the core principles. So I’ve recently created a document to physically post (yes – using the postal system!) to each pianist to draw their attention once again to my principles. I’ve also included a specially written overview of how we get to zero carbon by around 2040 – principally guided by the work of Zero Carbon Britain and Sir David King. This is because I’ve had to put a lot of my music activities on hold in order to find the time to get my head around climate change solutions, and I can’t possibly expect the pianists to find time to do this. So I hope my document will be useful to them.

“I’m collecting a range of memorabilia from each concert and this includes summaries from the pianists to describe how the concerts went, I hope all this will go towards a future post which will be full of the different experiences the performers had.”

“I’m in ClimateKeys because I love nature and animals and it is great to express my concerns about nature issues through the language of music. For me the occupation with nature is essential. It is a bridge between music and spirituality.” Anna Sutyagina – pianist in Germany

“The tides are much higher in Florida than they used to be, especially in Miami. Even conservatives are talking about climate change . . .” Bezerra Gastesi – piano duo in the USA

With over thirty concerts in nine countries throughout October and November 2017, and over one hundred concert musicians and guest speakers in twenty countries currently signed up, ClimateKeys is a truly “glocal” affair. The appeal and the need for alternative ways of considering climate change are apparent from this response. We are all creative beings, and we all create in different ways. This is why scientific data appeals to some and art appeals to others, why numbers attract some and music attracts others. ClimateKeys is part of the new artistic collaboration with science that opens an alternative way to action on climate change, and the launch is the first step on our journey to increasing our environmental awareness and positive response to climate change.

Find out more

The Gala performance of ClimateKeys in London on 25th October 2017 and Lola will perform ClimateKeys concerts in Reading on Nov 8th with Jennifer Leach/Festival of the Dark and Cardiff on November 10th with Dr Stuart Capstick and Dr Adam Corner. Julia Marques is ClimateKeys guest speaker in London on Nov 11th and the performance on London on Nov 14th will involve various collaborators.

You can find more information at the ClimateKeys website along with the worldwide calendar of performances.

You can read about the story of Zane Gbangbola at Truth About Zane.  

For a UK perspective on the 2014 floods mentioned in the post, you can see a Met Office piece and report. And you can find out about the work of Zero Carbon Britain at their website.

Questioning our conversations? Space for creative thinking... 

Julia quotes George Marshall: "The single most powerful thing an individual can do about climate change is to talk about it," and this is the response that ClimateKeys inspires (and ClimateCultures invites). What was the most recent positive conversation you had about climate change, and the most negative? What made the difference? And what can you create with one other person - a story, an image, a sound or song or a setting -  to make (both) your conversations more positive?" 

Share your thoughts - use the Contact Form, visit the ClimateCultures Facebook page or write a response on your own blog and send a link!

 

A Razor-Sharp Fragility

— approx reading time: 5 minutes

In our latest Members' Post, composer pianist Lola Perrin, in the first of three blogs for ClimateCultures, shares some musings on isolation.

Last September I started touring my latest piano suite; ‘Significantus’, a keyboard conversation about climate change. The idea was that I would perform specially composed solo piano music, a guest speaker would talk and then facilitate a conversation with the audience about positive response to climate change. My aim was to stimulate audience members to carry the conversation into their communities after the concert.

It was during a post-performance debrief, at the request of post-graduate composer Kate Honey who had invited me to perform the ninth date on this tour at Conservatorium van Amsterdam, that I admitted to a lack of satisfaction from performing this work. I wished none of it was necessary, that I wouldn’t have to look into the eyes of twenty-something year old research students studying Significantus and think how they, along with my sons of similar ages, would be facing unimaginable challenges in their later lives. During our debrief I realised how much I craved a return to my old simple ways where ambition lay in the same space as the notes, where satisfaction naturally followed from simply completing the work and the act of sharing my music was the point of my concerts.

For many of us, to create we need to be alone, if not physically, then at least mentally. We have to cut ourselves off and live in our heads. It’s generally an unpleasant process for me and may well be for you too; insecurity, doubt, lack of self-understanding, worry that it’s a repeat of your previous work or a copy of someone else’s, or just that it’s not very good …. the list goes on. Yet we carry on creating because we don’t know any other way of being, and suppressing that creativity is even more unpleasant; without our work processes we’ve lost so much of our identity and meaning.

Whiteread was in the Arctic at the time, on a trip with Cape Farewell

I found my real identity with my first piano suite. I’d been up all night at the window, watching a south London road gradually transform and as the dawn arrived, it began to morph into a favourite Hopper painting of an empty street at dawn. I decided to compose a set of pieces about the people behind the windows in that painting; people we can sense but not see. I made up their lives and dreams and found a compositional sound I hadn’t heard before. Inspired, I was soon onto my second suite, this time working from memories of how Ansel Adams photographs had made me feel. Later, after witnessing children set free at the piano, I copied their abandonment to write my third suite.

Then came an idea to follow Rachel Whiteread’s casting of physical spaces (such as in  Untitled (Black Bed) 1991 where she captured the shape of the space beneath a bed). I wanted to see if I could do something similar in music. Whiteread was in the Arctic at the time on a trip with Cape Farewell, so I decided to imagine the changing shapes within icebergs and allow the peaks and troughs of those imagined shapes to dictate the musical lines.

Untitled (Black Bed), 1991
Urethane, 30 x 213 x 137 cm
Artist: Rachel Whiteread © 1991 Image credit: Rachel Whiteread & Luhring Augustine
http://www.luhringaugustine.com/artists/rachel-whiteread/artworks/series#34

Writing this fourth piano suite was difficult. The three beforehand weren’t easy but I hadn’t become stuck the way I was stuck writing this one. It was 2005 and I was not yet clued up on climate change. That I was composing directly from Whiteread while she was in the Arctic cast a shadow over me. I was uncomfortable and resistant to learning much about the terrible reason for her journey. The feelings of Whiteread visiting ice because the ice was melting had the effect of blocking me. I tried hard, but for six months I couldn’t make the music work and felt disturbed. Finally, I turned to photographic sources also preoccupied with the depiction of spaces; six light drawings by Nazarin Montag revealing a hidden world, and cloud stories travelling the world by Roberto Battista. During a few short days the ideas finally joined up and ‘Music from Fragile Light Spaces’ was rapidly completed.

There’s a different challenge, a razor-sharp fragility

That first experience of engaging in climate change, albeit inadvertently, was like a warning for my subsequent climate-engaged compositions. There’s a different challenge, a razor-sharp fragility when you’re creating work in response to the climate emergency. Each time I’ve become greatly blocked during, and often after, the externalising process of giving artistic expression to the inner world of dealing with climate change.

Inside of an iceberg: image from Brown Bluff, Antarctica
Photographer Boris Kester © 2011 www.traveladventures.org

While touring Significantus, I’m learning about the extent to which we are living the climate change story in our heads. During one performance, a close relative contributed to the audience conversation and this moved me in a way I didn’t recognise. How could it be that we had not ever spoken together about anything to do with climate change? Yet there he was, in the public space of a performance venue, sharing with the strangers around him his carefully thought-through ideas for how to how to make things better. But in our walks around Dovestone Reservoir and on trips to the Moors we had never thought to delve into the climate change story permeating our internal lives, no matter how much each of us might be swallowed up by it.

Two extremes in a story of extremes

For my forthcoming initiative, ClimateKeys, due to take place around COP23 (more about that in the next blog), I’m reaching out to people all over the world and encountering a myriad of responses; from a call centre worker in the Philippines who speaks of how the crops have recently and unseasonably frozen, to a Chinese geologist who speaks of his jaw-dropping invention to clean up toxic water by utilising carbon dioxide. Two extremes in a story of extremes which we cannot afford to see in any other way but as the Number One Global Emergency if we are to rescue our civilisation from the consequences of our dwindling carbon budget. That’s what needs much more talking about and of course, much more acting upon. And soon, I will be returning for another walk around Dovestone Reservoir with my relative and will try to remember to break my own silence and really talk with him about what matters.

 

Find out more:

Listen to Lola Perrin’s Music for Fragile Light Spaces on SoundCloud.

Read more about Significantus and ClimateKeys at Lola’s websites.

Read a Guardian profile of Rachel Whiteread: A Life in Art

Explore Nazarin Montag’s six light drawings at her website.

Explore Roberto Battista’s cloud photography on Flickr.