Conversations with Work That Connects

Climate change dramatist and activist Julia Marques introduces a series of lively and engaging conversations she has recorded with fellow members. Artists and researchers explore their experiences with wide-ranging topics which inform the creative work that ClimateCultures celebrates.


2,970 words: estimated reading time 12 minutes + videos


The inspiration for this journey into podcasting came from the imposed self-isolation that we are all currently facing because of the Covid-19 pandemic, and that we have faced (on and off) for nearly a year now. As a fairly extroverted human, I miss connecting. I miss collaborating. I miss conversing in 3D; the whole-body language that cannot be translated through a flat screen, no matter how hard we try. As a human being, there is also a need to create. So, working within the current limitations, I decided to set about creating a podcast for ClimateCultures members to become more acquainted with each other. I started with a small pilot group of five members all linked to theatre practice in some way: Daniel Bye, Tessa Gordziejko, Matt Law, Jennifer Leach and Andrea Carr.

I am myself a theatre maker, mainly with amateur groups at a community level, and I discovered the melding of the two worlds of theatre and environmentalism during my climate change studies at King’s College in London a few years ago. I also directed and produced The Children by Lucy Kirkwood in 2019 with my local theatre group. Having worked in the environmental NGO sector for a bit, I decided to foray into the business startup world last year and set up a business with a team-mate that aimed to connect media professionals with environmental community stories.

As well as being interested in why people have joined ClimateCultures, when they first decided to combine art and environmentalism and what they are working on now, our conversations explored what art and environmentalism bring to each other – and more along the way.

I’ve included a short clip from each conversation, with links to the full interviews in the notes and in their ClimateCultures member profiles.

“Galvanising the faithful”

‘Preaching to the choir’ is a common criticism in environmental circles. However, writer and performer Daniel Bye doesn’t think this is a problem because even among the broadly like-minded each person brings their own interpretation of a situation and how to take it from here to there. As Dan points out, there would never be another rally or march if all you were trying to do each time was convert people who don’t share your views. There is power in gathering with like-minded people who are also individuals nonetheless and carry their own life history and views and opinions with them. Everyone can bring something to the table.

Daniel Bye on ‘galvanising the faithful’

I think there is a lot still to be learnt from faith communities and religion – often overlooked in the climate change discussion. For many years they have successfully galvanised the faithful and ‘preached to the choir’ to great effect. The ‘guardians of the Earth’ narrative is one that many people will identify with — we have been given this wonderful planet by a higher power and we need to take care of it.

Dan spoke to me about How to Occupy an Oil Rig, and his more recent piece These Hills Are Ours made with Boff Whalley of the band Chumbawamba. The first is more overtly political and has very clear links to climate change. The second is more subtle about the subject matter, but it is very much linked to our connection with the natural world — walking the path between urban and country with different groups of singers.

How to Occupy an Oil Rig
Photograph: Reed Ingram Weir © 2013

There is something about walking that has magical properties; we step on the ground in order to walk — “that patch of ground upon which you tread to go to the local shops” as writer, performer and storyteller Jennifer Leach put it in our discussion. Walking is our constant connection to the physical earth that we live on. We also walk on marches — to have our voices heard. We walk to get us somewhere, but also as a leisure activity. Walking slows us down, we have time to appreciate what’s around us. With no other means of transport, we walk. There is huge potential in walking too, as initiatives like Slow Ways are showing – walking connects us.

When watching the videos of the walks that the choirs were able to do with Dan and Boff, you get a sense of something powerful in a group of people all singing together on top of a hill. Voices into the wind, feet planted on the ground, nothing else around but grass and stones. They have made a journey, and this journey has brought them here — but the journey is not yet finished. The art is in the process, not the product. They hope to make more performative journeys later this year.

“Just enough beauty to stay with the darkness”

As you watch the singers trudge up the hills with Dan, you can see the hardship that must be gone through before they reach the peak and sing for joy. You must go through the darkness to reach the light — there cannot be light without darkness. Jennifer and writer, performer and creative producer Tessa Gordziejko are sure of this. If we cannot stay with the darkness then we will forever be chasing the light. Tessa quotes Dougald Hine, co-founder of The Dark Mountain Project: “Art can give us just enough beauty to stay with the darkness, rather than flee or shut down.” This reminds me of Donna Harraway’s Staying with the Trouble and the work of Joanna Macy — climate work very much rooted in psychology. Tessa is in fact connected to the Climate Psychology Alliance and has started to weave tapestries using social dreaming — untethering what is sitting on the bottom of our lakes of consciousness and letting it ‘bob to the surface’.

Tessa Gordziejko on ‘Facing the darkness’:

Tessa also likes to weave music into her work; she says it helps to immerse people in the work so they feel part of it. There is also an element of dance – she misses dancing with people – as a way of connecting when words run out, and of circus performance via her collaborations with circus artist Mish Weaver. Dancing, music, song — these elements run throughout Tessa’s work, and Dan’s too.

Breath[e]LESS – a blend of spoken word, soundscape, projection and dance music on environmental themes that Tessa Gordzjieko collaborated on.

“You learn as much as you teach”

We all go into situations with preconceived ideas of how things will be. What art does is make it okay for us to be uncomfortable with the way things actually turn out — as we figure out what’s really going on. Art embraces uncertainty, as does science. The not knowing is what drives both pursuits. And for both, the process is as important as the results. It would make sense then that the two join forces so that we can all welcome the unknown with open arms.

As a geographer, Matt Law has been introduced to the power of art as connector. He is crossing disciplinary borders within Bath Spa University and has co-created a piece of theatre with the drama department that addresses environmental issues. The Last Hurrah (and the Long Haul) is the result; a piece very much focussed on the community level of climate change and how incremental changes can unravel but also eventually strengthen a tightly-knit group. Plans to tour it have been put on hold but will hopefully go ahead later this year.

The Last Hurrah (and the Long Haul)
Photograph: Matt Law © 2020

Being an educator, Matt really feels as though the process of using art to communicate science has been as much of a learning process for him as it has been for any of the students he has taught. His work on the project Future Animals with Professor Jaqui Mulville from the archaeology department at Cardiff University was the spark that ignited his interest in merging art and geography to make sense of climate change.

Matt Law on ‘You learn as you teach’:

“Ecology begins on your doorstep”

Jennifer Leach looks out of her window at a holly tree and tells me that if everyone could see this tree then there would be no need for words to explain the beauty of the natural world in which we live. The beauty lies in the ordinariness of the thing. The everyday ecology.

I really think this is crucial for that all-important shift in consciousness from understanding something with our heads to really feeling it with our hearts. Big, lofty ideas are not going to get us far — ordinary, everyday things are what will change hearts and minds. And art has a way of celebrating the ordinary, of holding it up to the light so that we can really see it for the beautiful thing that it is. Jennifer identifies this in the work of American visual artist Joan Jonas who celebrates the ordinary, albeit in a thorough and intentional way.

Jennifer Leach on ‘Ecology on your doorstep’:

Jennifer herself has made canvasses out of plastic bags used in an art exhibition and organised the Festival of the Dark, where people were encouraged to re-embrace the seasonal cycles of dark and light. As she puts it:

“It’s only by being still, by being quiet and by completely embracing the fact that death and decay – endings – are part of our cycle that you learn to live in harmony with everything else that lives within the seasons of nature. We are the only species that don’t.”

Showing the gathering for The Night Breathes Us In, part of Festival of the Dark, . Photograph by Georgia Wingfield-Hayes
The Night Breathes Us In – part of Festival of the Dark, March 2017
Photograph: Georgia Wingfield-Hayes © 2017 georgiawingfieldhayes.org

She’s currently working on Duende with fellow ClimateCultures member Andrea Carr — a project that came to life through one of those preciously ordinary things that we now crave; a chance meeting on a staircase, and a conversation about Federico Garcia Lorca at a TippingPoint gathering. The unnamed catastrophe in Duende has forced two insects to hide underground — a strange portent of what became reality in 2020 for many of us. This piece is still a work in progress, and Jennifer and Andrea are looking to collaborate with others who appear in connection with this project. However, as Jennifer says, “what’s become super clear to me now is that my work is not about product, it is about process”, so you could say that the art has already been created.

“Our new brief”

So, what is the way forward for environmental theatre? For designer and scenographer Andrea Carr, it is the vision that all artistic practice will hold the environment at the centre of all it does — so the prefix ‘eco’ will no longer be needed. She has pioneered this approach to making theatre, and now she has joined forces with other scenographers and created Eco-stage, a soon-to-relaunch platform which will serve as a library of eco-theatre work and a space for dialogue on the topic.

Orlando after Virginia Woolf
Photograph: Andrea Carr © 2019

Andrea has her own set of values which she has defined on her own terms, and she encourages others to really think about what these highly generalised words mean to them as well:

Creativity – “cultivating curiosity”
Sustainability – “where the dreamer … the idealist and the pragmatist will work together”
Collaboration – “active listening”, “developing openness”, “pooling expertise”, “welcoming and honouring diversity”
Radical optimism – “celebrating and noticing what works and doing more of it”

She also speaks of honouring the materials that we use to create art — these things that we regard as single-use but have a life that extends far beyond our imagination.

Andrea presents us with our new brief: to place the ‘eco’ at the heart of everything we do.

Andrea Carr on ‘Our new brief’

One thing that really inspired me in my conversations with these five people was that each was proud of all of their work, large and small, and no one was afraid of making something that may or may not fly. All creative work is valid. Having spent a year in the business incubator world where you are constantly asked how ‘scalable’ your idea is, it was really nice to be reminded that ‘small and quiet’ is also worth something and this is where change starts — at the local, smaller, community level. This has inspired me to pursue more of my own environmental community theatre work, to put something out there and see where it goes. After all, if we don’t act now, then when will we?

I would like to thank Dan, Tessa, Matt, Jennifer and Andrea for their time and their great insights into making environmental art, and life more generally! The videos of my conversations with them are all available below, and in their profiles in the ClimateCultures Directory.

Conversations such as these are part of the bigger conversation on art and climate change and how to make sense of the world we live in. The idea is also that they will become part of a spiderweb of conversations starting with the ClimateCultures community, reaching further and further out until they include all members and eventually beyond. So I’m hoping this first set will also spark more conversations and collaborations within our community. If you’d like to be part of future discussions – just let me or Mark know!


Find out more

Julia Marques
Julia Marques
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.
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You can read about Julia’s production of Lucy Kirkwood’s play in her post Directing The Children.

Do watch Julia’s full conversations with Dan, Tessa, Matt, Jennifer and Andrea below. This post and our brief summaries here give just a flavour of what they discussed!

Theatre writer and performer Daniel Bye discusses the value of dialogue with the community of other makers, and shares his experience of creating work (including How to Occupy an Oil Rig and, more recently, These Hills Are Ours) as starting points to bring people together, galvanise those with existing environmental awareness, reach new audiences and have impact beyond the performance, expanding the opportunity for activism.

Writer, performer, creative producer and activist Tessa Gordziejko discusses her involvement with the Climate Psychology Alliance and Dark Mountain Project as inspirations for work such as Breath[e]:LESS and The Divided and explorations of ‘social dreaming’ as ways to address our emotional responses to climate crisis. Tessa also shares plans for a deep adaptation project working with the land and conversations around the campfire.

Environmental change and sustainability researcher Matt Law shares his experience of crossing academic boundaries, coming to climate theatre as a geographer and bringing arts and geography students together for The Last Hurrah (and the Long Haul). He also discusses art, music and performance as ways to explore ways of engaging people with environmental histories and futures, and being connected to a community.
   

Artist, writer, performer and storyteller Jennifer Leach shares her environmental passion as a creator of projects such as The Festival of the Dark, reconnecting with nature’s cycles of life and death, and learning how the process is as important as the product. She shares ideas behind Duende, her new collaborative project with Andrea Carr, and the importance of finding what feeds you rather than what drains you.

Designer and scenographer Andrea Carr shares her childhood model for environmental action, developing her core values through works such as Orlando after Virginia Woolf, Stuck and The Chairs, working on eco-scenography with other designers to directly incorporate ecological thinking into theatre and make activism visible. She also discusses Duende, her new collaborative project with Jennifer Leach as hybrid encounters with times of ecological uncertainty through stories, song, imagery and myth.

As well as exploring these members’ activities via their ClimateCultures profiles, you can explore the following links for film and other materials from some of their theatrical works mentioned in the post: Daniel Bye — How to Occupy an Oil Rig and  These Hills Are Ours; Tessa Gordziejko — Breath[e]:LESS; Matt Law — The Last Hurrah (and the Long Haul); and Andrea Carr — Stuck. And you can read about Jennifer Leach’s journey from a ‘sharing of darkness’ at a climate conference for artists and scientists, and the year-long festival she created in its honour, to her recent book in her post Dancing with Darkness.

Slow Ways is a project to create a network of walking routes that connect all of Great Britain’s towns and cities as well as thousands of villages. 

The Dark Mountain Project is making art that doesn’t take the centrality of humans for granted, tracing the deep cultural roots of the mess the world is in, and looking for stories that can help us make sense of a time of disruption and uncertainty. 

In Staying with the Trouble: Making Kin in the Chthulucene (Duke University Press, 2016) Donna Harraway offers provocative new ways to reconfigure our relations to the earth and all its inhabitants. 

Joanna Macy is the root teacher of The Work That Reconnects, a framework for personal and social change, as well as a powerful workshop methodology for its application.  

The Climate Psychology Alliance is a network focusing on climate change not as a scientific problem waiting for a technical solution, but as a systemic problem that engenders fear, denial and despair, forces uncomfortable dilemmas about justice, nature and equality into consciousness and challenges all of us in modern societies both personally and politically. 

The Future Animals project on art, Darwin and archaeology included artist Paul Evans, Ciara Charnley from the National Museum, Wales and bioarchaeologist Jacqui Mulville from Cardiff University. 

Eco-stage is a public commitment and positive declaration to work ecologically in the performing arts sector. It includes a set of intersecting values, objectives and provocations for engaging with ecological practice. The pledge is envisioned as a conversation starter to help bring an ecological ethic to performance production and as a tool for motivating action. 

A Personal History of the Anthropocene – Three Objects #2

Artist Julien Masson explores memory, material transience and meaning in his an intriguing response to our ClimateCultures challenge to share three objects with personal significance and illustrate the past, present and future of the emerging ‘Age of Human’.


670 words: estimated reading time 2.5 minutes 


The challenge: the Anthropocene – the suggested Age of Human that our species has initiated – has a complex past, present and future, and there are many versions. What three objects evoke the unfolding of human-caused environmental and climate change for you? View other contributions at A History of the Anthropocene in 50 Objects.

***

When worlds collide…

Clash of two worlds
Photograph: Julien Masson © 2017
http://www.jfmmasson.com

The first object I selected is an amalgam of objects that were given to me in the past. This 3D collage of disparate elements that I would compare to a melange of old memories that have merged into a sort of mnemonic chimera. The use of contrasting material such as mineral and the manmade industrial metal alludes to the clash of the natural world and the manmade activity.

A disposable present

Voltaic throwaway
Photograph: Julien Masson © 2017
http://www.jfmmasson.com

The ubiquitous battery has a limited life span and in many ways symbolises the transience of our contemporary lives… the battery is a container, a vessel to convey energy to devices. In this case, a camera. When its power is spent, it is rendered useless and is disposed of in landfills or recycled. Its shape is simple and functional and I often wonder at the technical codes on these objects. Their meaning is lost to me and they might as well be some long lost cabalistic language.

Offered up to the future

Votive artefact
Photograph: Julien Masson © 2017
http://www.jfmmasson.com

The third object represents our future. My selection suggests a dystopian vision of the future, where virtual experiences replace our spirituality. What will future generation of archaeologists think of such a device in centuries to come? Out of meaning and out of network, maybe it is some sort of votive artefact? An empty shell for the virtual ghost of our times…


Find out more

You can see a short animation Julien has made, Funland: An Anthropocene amusement park, and more of his artworks at macuse.com and jfmasson.com 

Each post that appears in the sequence of A History of the Anthropocene in 50 Objects earns its author a copy of a book that had an impact on my thinking about our topics here – whether fiction, poetry or non-fiction – and which I’ve recently rediscovered in a charity shop. (Delivery in the UK only, sadly!) For his post, Julien receives a copy of William Golding’s classic novel, The Inheritors, “a startling recreation of the lost world of the Neanderthals and a frightening vision of the beginnings of a new age.”

Julien Masson
Julien Masson
An artist whose works are all, in some way, related to technology and our relation with it and wishes to expand notions of what is art.
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Your personal Anthropocene? Space for creative thinking...

"What three objects illustrate a personal timeline for the Anthropocene for you? See the original 'guidelines' at ClimateCultures' A History of the Anthropocene in 50 Objects, and share your objects and associations in your own post." 

At its heart, the Anthropocene idea seems simple (if staggering): that as a species (but far from equally as generations, countries or communities) humankind has become such a profligate consumer, reprocessor and trasher of planetary resources that we've now left (and will continue to leave) our mark on the ecological, hydrological and geological systems that other species and generations will have to live within. In reality though, the Anthropocene is a complex and highly contested concept. ClimateCultures will explore some of the ideas, tensions and possibilities that it involves - including the ways the idea resonates with (and maybe troubles) us, personally.

Your objects could be anything, from the mundane to the mystical, 'manmade', 'natural', 'hybrid', physical or digital, real or imaginary. What matters are the emotional significance each object has for you - whether positive, negative or a troubling mix of colours along that spectrum - and the story it suggests or hints at, again for you. Whether your three 'past', 'present' and 'future' objects are identifiably connected in some way or float in apparent isolation from each other is another open question.