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!

By Understanding COP23, We Can Help COP24 Succeed

— approx reading time: 3 minutes

One of the great benefits of working with TippingPoint on its final set of events over the past couple of years was meeting such a number and diversity of great people, all working in their different ways on the creative challenges of environmental and climate change. This is a theme which James Murray-White picks up in this joint Members' Post by him, Lola Perrin and Paul Allen. 

In their video, James and Lola discuss with Paul his experiences at the COP23 climate change conference in Bonn - which also featured in his recent ClimateCultures post, where he looked ahead to COP24 in 2018. As Lola says here, "it’s vital to know what happened at COP23 so we can make our strategies on how to work towards making COP24 a success;" and this three-way discussion - with others' questions posed via Facebook - is a valuable insight for those of us who couldn't be there in person.

One weekend in November, film maker James Murray-White and composer Lola Perrin travelled to the Centre for Alternative Technology in Wales and met with Paul Allen, Project Director for CAT’s Zero Carbon Britain research. With live questions from a Facebook audience, the three discussed the highs and lows of COP23 and what is possible in the transformation to a post-carbon world. This is the short video of their conversation.

Lola Perrin

“I followed COP23 quite closely on Twitter, watching live video events, and reading blogs and Facebook posts from attendees. What could be possibly be missing from this list… Mainstream media? You’re right. Despite the very survival of our civilisation being at risk, mainstream media seemed not to care very much about COP23 during the whole two weeks of the event, with very little coverage of the work going on in Bonn. Yet it’s vital to know what happened at COP23 so we can make our strategies on how to work towards making COP24 a success.

“Holding a Facebook live Q&A with Paul was a good opportunity to find out more about what went on in Bonn and share that conversation with others. Before the interview started, we made the decision to keep it short. Although we could have spoken for an hour or more, by keeping the film to fifteen or twenty minutes, we felt more people would watch the whole of it, and perhaps we would take care not to be repetitive. This was a good decision; on listening back I think the conversation is concise and to the point. People sent in questions in advance or also during the live video feed.

“And as a bonus, we sat in my favourite room at CAT – although it was cold it didn’t matter much; there was an aroma of wood in the air, and gorgeous views of slate on one side and forest on the other – an inspiring environment for sharp, hopefully positive, thinking.”

James Murray-White

“I’m delighted that Doing Nothing is Not an Option – TippingPoint’s 2016 conference at Warwick Arts Centre – gave me the opportunity to meet inspiring creative activists. This recent weekend is just one example of a positive outcome from that gathering: travelling to Wales with Lola to interview Paul at the awesome Centre for Alternative Technology near Machynlleth, and then hosting the video of that here on ClimateCultures – created by Mark, who was such a key part of DNNO’s organisation.

“The issue of climate change is tough and throws up daily challenges – in seeing its effects, trying to communicate ways to respond, and simply by carrying around the knowledge of human impact upon planet Earth. But here is a small example of a few folk coming together to discuss, dissect and communicate, and then using this platform to put our efforts into the world and explore practical, creative and positive opportunities rather than spreading doom and gloom. I’m grateful for it, and for the warm, committed people who I’m proud to call my friends in this shared effort.”

 

Find out more

You can read more about Paul’s recent experiences at COP23 at the Centre for Alternative Technology blog – and about the challenges for next year’s talks in his recent ClimateCultures post, The Beating Heart of COP24

You can download Zero Carbon Britain resources and sign up for the next Zero Carbon Britain training course.

Explore the official UN climate negotiations process at the UN Framework Convention on Climate Change.

COP ClimateCultures Callout 

Were you at COP23 or related events here in your community? Do you have experiences, arts ideas or creative suggestions about what we can take from COP23 - or what was missing - and could help make COP24 what we need it to be? Use the Contact Form to send in comments or contributions for more COP-related posts and content here at ClimateCultures. And check out our 'Questioning the COPs' creative challenge with Paul's recent post, The Beating Heart of COP24

 

The Beating Heart of COP24

— approx reading time: 4 minutes

ClimateCultures welcomes a new voice to the blog, with Paul Allen sharing his reflections after taking part in the COP23 talks in Bonn - and looking ahead to the cultural challenges for COP24 next year. Paul is Project Director of the Centre for Alternative Terchnology's Zero Carbon Britain programme.

We humans live by our values, shaped through, communities, experiences and culture. Our communities and our experiences are increasingly compelled to engage with climate change, but can our culture also grasp it?

At the next year’s UN climate summit, we will have reached a point in the negotiations where all nations must raise their ambition if we are to deliver on the Paris Agreement. As we prepare, it is vital we recognise the influence of culture; in helping us grasp exactly where we are in the world and the scale and speed of the actions we must take. The arts and creative community, in many ways the beating heart of culture, has a powerful role to play in this.

From the bubble of forgetting where we are …

From shifting seasons to wild weather, communities across the UK now experience both the large and small effects of climate change in their own back yards. On top of this, as we watch the global news, we see increasingly frequent extreme weather events, such as forest fires, floods, hurricanes and droughts, hitting communities in other parts of the globe. But then, as the news ends, and normal TV  returns, the characters in our films, soaps, dramas and reality TV series simply never discuss this. They never take any of the actions we know we must all take; they never discuss any of the changes we know we are seeing. This creates a bubble in which we have forgotten where we actually are in the world, where we can ignore what we know we need to do, and where we never witness the positive co-benefits that rising to our challenge could offer.

To make matters worse, every time contemporary culture tells a story of human interactions set a decade or two into the future, we paint it against a background of ecological collapse and zombie-ridden dystopia. Turning us into zombies works well to dehumanise society in ‘collapse’ scenarios, so making the mass-extinction narratives more palatable. Be it a novel, theatre, film, a TV or the gaming world, any future setting is dark – and a whole new generation is now growing up within this, transforming the way we think. We have shifted from that exciting 1960s vision of progress and anticipation, to a dark, uncertain and fearful future; which makes us easier to manage. If we only tell future stories set against chaos, collapse and devastation, no one can imagine positive solutions, so nothing happens.

So, as we move towards COP24, with its urgent need for ambition, it’s time to re-think the future. Evidence-based art, firmly rooted in the reality of where we are and what we must achieve, can bring to life exciting new stories. In stories of a future where humanity has delivered on Paris, and is enjoying the co-benefits – what would change and what would remain? What would we be doing, wearing or eating? How would we get around? Where and how would we spend our holidays or leisure time? What will drive our happiness in this new chapter of our story?

To visualising a climate safe future

A decade of Zero Carbon Britain research from the Centre for Alternative Technology has clearly demonstrated that we have all the tools and technologies we require. Powerful research is now emerging from across the globe at an accelerating rate, offering the hard data and confidence required to visualise what a climate safe future might actually be like. Rather than an unresolved technical challenge, it is increasingly accepted that what we actually face, is a mix of political and cultural barriers.

In the run-up to this year’s COP23 climate negotiations in Bonn, I was heartened to see Julie’s Bicycle working in collaboration with the UNFCCC to offer a weekly spotlight on arts and cultural responses  to climate. It is now time to build way beyond the scale of arts engagement achieved at COP21 in Paris. As we prepare for COP24, our cultural community needs to engage deeper with this process. This does not necessarily mean being on-site during the negotiations; ongoing engagement connecting local and community actions with the global process is every bit as important.

Giving a Hand to Nature
Artist: Pedro Mazorati © 2017
http://pedromarzorati.com

Since the Paris Agreement, mainstream UK media has barely engaged with the COP process, so few are able to connect with what goes on. Surely progress in providing a safe niche for future generations is every bit as important as the latest X Factor or Bake Off? So, to help explore new approaches, in the run up to COP24 I am seeking collaborations across the creative community to build on our Zero Carbon Britain work, and have pulled together a short film to offer a glimpse into my engagement with COP23 in Bonn in November this year. 

Find out more

You can read more about Paul’s recent experiences at COP23 at the Centre for Alternative Technology blog.

You can download Zero Carbon Britain resources and sign up for the next Zero Carbon Britain training course.

Explore the official UN climate negotiations process at the UN Framework Convention on Climate Change.

You can see more images such as Pedro Mazorati’s from the Art4Climate series at the UNFCC Climate Action pages.

Questioning the COPs? Space for creative thinking... 
 
Bali, Berlin, Bonn, Buenos Aires, Cancun, Copenhagen, Doha, Durban, Geneva, The Hague, Kyoto, Lima, Marrakech, Milan, Montreal, Nairobi, New Delhi, Paris, Poznan, Warsaw... We've had 23 'Conferences of the Parties', with next year's in Katowice, Poland. Where, when and how would you hold the COP where the world celebrates delivering on 'Paris 2015'? Why there? Sketch out a 'creative timeline', mapping out how you think we might get there... 

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

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!

 

“Water’s Rising, at Their Ankles Now…”

— approx reading time: 6 minutes

For our latest Members' Post, we see James Murray-White return to ClimateCultures fresh from a trip to Hull, City of Culture 2017. James brings us his review of the remarkable and immersive performance of 'FLOOD', a production "stimulating and prodding and exploring our humanity and responses to the world."

This past weekend I happened to be in Hull, City of Culture 2017, and stumbled upon an extraordinary multi-media and immersive piece of theatre about climate change and the human condition. ‘FLOOD’ is a year-long project, written by James Phillips and produced by Slung Low, a theatre company based in Leeds that ‘specialise in making unlikely, original and ambitious adventures for audiences.’ And they excelled with this production, told in a dock on the edge of Hull.

Part climate change drama, part biblical parable of human foibles and virtues and community self-determination, and chiefly a story of humanity telling its story in and about a “city by the sea”, ‘FLOOD’ is a captivating, urgent, and sometimes mesmerising drama, told in the water it tells of. 

‘FLOOD’ Omnibus opening night Photograph: James Phillips © 2017 http://flood.hull2017.co.uk/flood-omnibus-opening-night/_mj47736/

Setting it and performing it in the dock – with the audience clustered round the railings looking down into it and the action happening on a floating set tied together and sometimes coming apart, with little boats navigating to and from them, and even actors in the salty brine, “near drownded” – makes this a literally immersive piece, engaging the audience’s senses while we huddled and shivered as one in awe, and a lot of sadness.

“A drowned girl but….”

The drama takes us into several characters’ experiences of sudden, violent change. It’s held by a central character, who we come to know as Gloriana. We first meet her as she’s ferried into dock by a fisherman and his son, telling of “one net empty of all fish. In it, one hundred life jackets. Orange like those migrants leave on beaches. One hundred life jackets and a girl. Curled pale naked, just bandages on hands. A drowned girl but….”

Gloriana is very much living flesh and blood, but after her ordeal has resurrected into a reflection back upon each characters’ motivation and input into life. She’s received by Jack, an officer in a detention centre, and their lives become interlinked. Gloriana meets Johanna in the centre, described as an Iraqi Christian; and then Natasha – former Overseas Minister and now Lady Mayor – and her daughter Kathryn. These and the fisherman and his son Sam all hold the drama fast and furiously, bound to each other as water to land, and sea to sky, as humans caught in trauma, seeking salvation.

Slung Low’s Flood Part Two: Abundance By James Phillips Gets Underway Image: Hu17.net © 2017 http://www.hu17.net/2017/04/13/slung-lows-flood-part-two-abundance-by-james-phillips-gets-underway/

The drama reaches into our current migrant crisis, and the ex-Minister’s role is partly to provide an exploration of guilt and political responsibility around this issue. This theatre piece took place in a city covered in statues to its former ‘great and the good’, from Ferens and Wilberforce to De La Pole, all of whom are honoured but who all might now be seen to be culpable in the light of current political thinking, be it on votes for war, whaling, lack of action on carbon measures, or similar. The presence of a character who has sanctioned wars, who now has the opprobrium of her daughter and protestors outside her house and who takes a role as a leader when the floating islands become a necessity, opens up a whole strand of moral dialogue, guilt, and responsibility. Like writer James Phillips, I’ve also spent time volunteering at the Calais Jungle, where many thousands of refugees have headed in the hope of getting to the UK; once you witness such a place and hear some of the stories about fleeing atrocities, both human and climate-caused, then the full spectrum of humanity gets peeled back, and any response is a response.

A thing worth living for

Once the characters are afloat on the islands, bound together in tents, nailed together with pallets and bodged together as a refuge, then we see three different and distinct camps. The first, led by Johanna, uses faith to hold itself together, even evolves to sending out missionaries in boats to proselytise that faith to other survivors (which then horribly backfires). The second, led by Natasha, is titled Renaissance as a bastion of ‘law and order’, despite the Government in the South falling and power being shown to be nothing other than what we construct it to be. And in the third camp Sam, the fisherman’s son, gains power by violence and control; torture and murder dominate on his island. None of these three options appeal to me – so I would be a lone wolf, snaking between them all in my kayak, bartering fish in exchange for human contact and a little piece of the values that each offers.

Gloriana lives, and is either revered (by Johanna) or feared and hated (by Sam), and tries to reflect back to every character their inner nature; including Kathryn, with whom she falls in love. Her journey as a presumed fleeing migrant, with letters carved into her fingers and signs of torture upon her body, to death in the water, resurrection in the net and then becoming an angel upon the water – and literally sailing off into the rising sun – is the redeemer’s journey. The arc of the entire play is that all we have as humans is love. Faith may sometimes help, and faith will bring troubles upon us, but love will give us something worth living for. An unusual thread of lost love between the fisherman and the Lady Mayor brings an extra complexity that weaves within the narrative.

The night I saw FLOOD was the omnibus event, so we saw part two on the water, were herded to a nearby marquee to watch part three on a screen, then returned to the dock for part four. This helped to engage us further, pulling us together with the bribery of heat and tea and food, reminding us of communality and needs, while the characters were suffering the greatest calamity known to humankind.

‘Thousands Of Life Jackets Laid Out In Parliament Square In Moving Tribute To Refugees’ Image: SWNS news agency © 2016 Source: https://www.buzzfeed.com

“Where we are, we are, and on we must go.”

Part one of this epic had already been screened online, and I understand that part three will be available for a limited time on BBC iPlayer, and clips are on the FLOOD website. So the scope of the production is being mediated both live and online and I hope it reaches a wide audience, as it needs to be seen. Standing watching the drama – encompassing back-projection onto water, water sprayed as rain above the actors, fire on stage, and the constructed encampment-islands amidst the water, as the characters become migrants on the world’s seas – is a visceral experience which will forever bind me to the story and the experiences being told. That is very different to watching anything on a screen, but the two ways of experiencing this drama make for a very powerful and urgent experience.

For me personally, as a graduate from Hull University’s drama department, which I left many years ago to head off into a career in the arts and became disillusioned by a theatre system that seemed dull and even unconscious during the 90’s and noughties, seeing this production in Hull, amidst a vibrant year of culture – stimulating and prodding and exploring our humanity and responses to the world – is joyous and so exciting.

The bigger picture, well – where will we go from here? As creatives, mediating dialogues and inquiry across artforms, as leaders, as animals within a system, and as a species afoot in the world? We may be bringing the rains down upon our heads, and there may be individuals or systems we can follow, and there will always be love.

“One dawn sailing far out towards the rising sun.
Where we are we should not be and yet
Where we are, we are, and on we must go,
What new world lay ahead we did not know,
Eyes facing front, vanishing world behind.”
 - FLOOD, by James Phillips

And the last line of stage directions from the play: ‘A little boat disappearing into the light. ‘

Find out more

You can catch up with the FLOOD story and watch videos at its official Hull 2017 site, and with other Hull UK City of Culture 2017 activities.

The BBC’s showing of Part 3 wasn’t available at the time of publishing this post – but it’s the BBC, so it will no doubt be round again before you know it! Check out the episode page on their site.

You can see ‘FLOOD – the story so far’ on YouTube

You can explore some of the issues around sea level rise, coastal change and flooding affecting the Humber region, including Hull, at the EU FloodProBE site.

You can find out about the work of the UNHCR  the UN’s refugee agancy – on climate change and refugees.

Questioning the camps? Space for creative thinking...  

"In FLOOD, the people divide into three camps - faith, law and violence. Snaking your way between these camps and more, belonging to none, what tangible things would you kayak between them to show each a broader way?"  

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