Podcasts about climate change theatre action

Stāsta teātra kritiķe, LU Literatūras, folkloras un mākslas institūta pētniece Kitija Balcare Par ekodrāmas darbiem ir uzskatāmas tās lugas, kurās nozīmīga loma ir atvēlēta dažādiem vides problēmjautājumiem. Piemēram, klimata pārmaiņām, mežiem un to izciršanas tematikai, sugu daudzveidības sarukumam, ūdens, gaisa, zemes piesārņojumam un citiem ar vidi saistītiem jautājumiem. Lai arī daudzi ekodramaturģiskie darbi pasaulē top tieši pēdējās desmitgadēs, tomēr ekodramaturģijai tās “vecvecāki” ir atrodami senākā pasaules un arī Latvijas dramaturģijas vēsturē. Pasaulē par ekodramaturģijas “vectētiņu” teātra zinātnieki dēvē Latvijā labi zināmo norvēģu dramaturgu Henriku Ibsenu (Henrik Ibsen). Un iemesls tam ir viņa 1882. gadā uzrakstītā luga “Tautas ienaidnieks” (En Folkefiende), kas savu aktualitāti, laikam ejot, ir tikai stiprinājusi. Lugā dakteris Tomass Stokmanis atklāj, ka kūrortpilsētas ūdeņi ir bīstami cilvēka veselībai, un nonāk ētiskas dilemmas priekšā. Ekoloģiskais konflikts lugā iet roku rokā ar sociālo konfliktu. Par radniecīgu šim Ibsena darbam Latvijā varam uzskatīt pašmāju dramaturga Rūdolfa Blaumaņa lugu “Indrāni”. Lai arī Blaumanis to uzrakstījis 1904. gadā, tā vēl aizvien ir dažādu paaudžu režisoru redzeslokā. Drāmā saduras paaudžu viedokļi par saimniekošanu, izraisot konfliktu par ekonomisku motīvu ietekmē pieņemtu lēmumu Indrānu māju apkaimē nocirst ošus, mainot apkaimes ainavu.  Ekodramaturģiskas un arī ekofeministiskas līnijas atrodamas arī Aspazijas lugās, kur savijas mītiskais ar fizisko. Piemēram, savā tā arī nepabeigtajā lugā “Ragana” (1895), kas tapusi teju desmit gadus pirms Blaumaņa “Indrāniem” un īsi pēc Ibsena “Tautas ienaidnieka”, Aspazija bija iecerējusi tās darbību no sendienām pārcelt uz 20. gadsimtu, lai tēlotu tā laika cilvēka cīņu ar dabu, vēršot uzmanību uz purvāju nosusināšanu. Ja šī doma nepaliktu tikai Aspazijas piezīmēs, tad Latvijas dramaturģijas vēsturē mums būtu pamats runāt par ekodramaturģijas “vecmāmiņu”. Ekodramaturģijā bieži klātesošs ir jautājums par dažādām paaudzēm un to skatījumu uz vides problēmām. Spilgts piemērs tam ir britu dramaturga Dankana Makmillana (Duncan Macmillan) luga “Plaušas” (Lungs, 2011). Tās centrā ir jauns pāris, kurš diskutē par to, cik atbildīgi vai bezatbildīgi ir laist pasaulē bērnu klimata krīzes priekšvakarā. Lugu Latvijā kā izrādi “Elpa” (2020) iestudēja režisors Dmitrijs Petrenko – Dailes teātra Lielajā zālē tukšajā skatuves “mutē” bez papildu scenogrāfijas eksistenciālo dialogu izspēlēja vien divi aktieru pāri. Iedvesmojoties no Makmillana lugas, savu versiju kā kustību teātra izrādi bez vārdiem “Plaušas” (2022) veidoja režisore Inese Mičule brīvdabas iestudējumā Gaujas stāvkrastā Valmierā. Aktīvi ekodramaturģijas laukā darbojas Jānis Balodis, Krista Burāne, Linda Rudene. Mūsdienās ekodramaturģijas radīšanā teātra praktiķi bieži izmanto koprades pieeju. Dramaturģiskais materiāls top sadarbībā ar citu jomu pārstāvjiem – kopā ar dabaszinātniekiem, vēsturniekiem, žurnālistiem, folkloristiem, kopienu pārstāvjiem, nereti iesaistot viņus arī iestudējumos kā performantus. Ekodramaturģija ne tikai izceļ vides problēmjautājumus, bet arī aicina paraudzīties uz pasauli tā, lai cilvēks nebūtu tās centrā, un piedāvā no ierastajiem atšķirīgus cilvēka un dabas līdzāspastāvēšanas veidus. Ekodramaturģija tiecas atteikties no dabas un kultūras pretstatījuma, ļaujot uzlūkot pasauli no vides taisnīguma skatupunkta. Kopš 2015. gada vienlaikus ar Apvienoto Nāciju Organizācijas Klimata pārmaiņu konferenci (UN Climate Change Conference) norisinās arī globāla dramaturgu iniciatīva “Teātra rīcība klimata pārmaiņām” (Climate Change Theatre Action). Piecdesmit profesionāli dramaturgi, kas pārstāv visus apdzīvotos kontinentus, katrs rada īsas lugas par kādu no klimata krīzes aspektiem un īsteno to lasījumus vai iestudējumus vienlaikus ar samita norisi paralēli lēmumpieņēmēju diskusijām par klimata mērķiem. Savukārt ekodramaturģijas mērķis ir pamodināt gan sabiedrībā, gan lēmumpieņēmējos nereti snaudošo ekoloģisko apziņu un atbildību par vidi.

A couple leave outraged reviews about products delivered by Amazon, while climate chaos swishes into their home. Their responses to their escalating crisis become increasingly absurd, topped only by the absurdity of Amazon's tactics to thwart them.Absolutely Nothing Of Any Meaning was written by Sunny Drake. Find the transcript here.Climate Change and Other Small Talk is  a worldwide tour for your ears - minus the carbon footprint and lost luggage. Audio dramas from 9 creative teams around the globe will entertain as well as explore our climate crisis. And maybe even what could get us out. --- FOLLOW US---Sign up for our newsletter to get bonus content including discussion guides and a listening party hosting guide: https://www.sunnydrake.com/climatechangeandothersmalltalkFollow Sunny, the series creator, on Instagram: instagram.com/sunny_drakeFollow Sunny Drake Productions on Facebook: facebook.com/sunnydrake.creationsTwitter: twitter.com/sunny_drake --- CREDITS ---Absolutely Nothing of Any MeaningWritten by SUNNY DRAKEDirected by WEYNI MENGESHA Starring:ANAND RAJARAMLIISA REPO-MARTELLand BAHAREH YARAGHI as Amazon Sound design and music by RICHARD FEREN and OLIVIA SHORTTDramaturgy by KATHLEEN FLAHERTY, WEYNI MENGESHA and DONNA-MICHELLE ST. BERNARD Episode produced by WHY NOT THEATRE and SUNNY DRAKE PRODUCTIONS with the generous support of SOULPEPPER THEATREEpisode Producer: MICHELLE YAGIEpisode Production Manager: CRYSTAL LEEAudio mixing by HEATHER BROWNRecording engineer MATT RIDEOUTSpecial thanks to the Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council, The Arctic Circle Residency Program and fellow residents, Climate Change Theatre Action, ACTRA Toronto, Canadian Actors' Equity Association, Volcano Theatre, Theatre Passe Muraille, Chantal Bilodeau, Chanelle Gallant, Alex Kelly and Isaac Lev Szmonko.This episode was recorded in Tkaronto, Toronto, which is Dish With One Spoon territory, the territory of many nations including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples. --- SERIES CREDITS for CLIMATE CHANGE AND OTHER SMALL TALK ---Created by SUNNY DRAKEProduced by SUNNY DRAKE PRODUCTIONS in association with WHY NOT THEATRELead Producers: FANNY MARTIN and NAJLA NUBYANLUVConcept Dramaturg: KEVIN MATTHEW WONGImpact Producer & Climate Dramaturg: CHAPRECE HENRY Communications Producer: DANIELA GERSTMANN Central Audio Producers: HEATHER BROWN and RICHARD FERENSeries funders: Canada Council for the Arts, Ontario Arts Council and Toronto Arts CouncilSee our website for full credits - it truly does take a village to raise a podcast.

Chantal Bilodeau has been addressing climate issues through playwriting for 20 years. She is an artistic director, producer of live events, editor of anthologies of plays about the climate, and winner of several awards such as the Woodward International Playwriting Prize. Chantal is also co-founder of Climate Change Theatre Action, which involves commissioning 50 playwrights every other year to write a short play about an aspect of the climate, and encouraging productions of these plays by everyday people all over the world. Interested in consuming “climate theater,” learning about climate playwriting, or getting involved in the 2023 Climate Change Theatre Action Festival? Check out climatechangetheatreaction.com and subscribe to the mailing list to be notified when the plays become available to the public. Reading recommendations from our guest: Works by Una Chaudhuri The Great Derangement by Amitav Ghosh The World As We Knew It edited by Amy Brady and Tajja Isen All We Can Save edited by Ayana Elizabeth Johnson and Katharine K. Wilkinson --- Support this podcast: https://anchor.fm/ideasforus/support

Hello listeners! This week's guest on the show is BEN STASNY! Ben is a second-year graduate student at CU Boulder. Ben's research is centered around queer theory, eco-criticism and performance studies. How can theatre act as a space for ethical action on queer and climate justice? Ben served as the Artistic Director for the opening fall show The Climate Cabaret--an evening of short plays about the climate crisis. We partnered with Climate Change Theatre Action out of New York City to bring this project to life. Ben worked with his/bevs advisor, Dr. Beth Osnes, this summer on an interspecies arts/science partnership between humans and barn swallows. They were led by a group of courageous youth which culminated in a film and public performance titled Side by Side. Ben was a recipient of the Hazel Barnes Flat which brought bev to London, UK in November. While there, Ben led workshops on climate comedy with a local arts/science organization, Your Canal Boat CIC. Ben served as the Artistic Director for the 6th Annual New Plays Festival at CU Boulder in Spring 2021. Ben graduated with a BFA in Acting from Minnesota State University, Mankato. Ben lived and worked as a professional actor for several years in New York City. New York credits include: Off-Broadway: Harry in When Harry Met Nancy (New York New Works Festival), Voice of Mayor Humdinger in Paw Patrol (Event Box). Other credits: The Narrator in The Soldier's Tale (Boulder Philharmonic), The Genie in Aladdin: A Musical Spectacular (Disney Cruise Line), Lumiere in Beauty and the Beast, Pirelli in Sweeney Todd, Henry Etches in Titanic (Arizona Broadway Theatre), Zach in A Chorus Line, Ernst Ludwig in Cabaret, Fred in A Christmas Carol (The Palace Theatre), Father in Ragtime (Interlakes Summer Theatre) Ernst Ludwig in Cabaret (Sierra Repertory Theatre), The Cat in the Hat in Seussical the Musical (Highland Summer Theatre). Touring Theatre: Punchin in A Commedia Cinderella (Sierra Repertory Theatre, Northern California), Shaggy in Scooby-Doo and the Mystery of the Pyramid, Maddie in Care Bears (Event Box in Saudi Arabia). Ben is filled with more questions than answers these days...which feels just about right for grad school. To learn more about Ben and his/bevs work, be sure to check out his/bevs instagram! https://www.instagram.com/snackfishbenji/ GLISTENS: Cho - AppleTV Show "Severance" Sam - Judge Ketanji Brown Jackson Ben - Rupaul's Drag Race and RuPaul's Drag Race: UK vs the World ________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends, or follow us on Instagram and Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting, and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com Theme Music: "Live Like the Kids" by Samuel Johnson, Laura Robertson, Luke O'Dea (APRA) --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Thinking about climate change can be overwhelming, even paralyzing. Attempting to solve this global crisis will take enormous efforts by politicians, companies and local leaders to reverse the negative effects on our planet.  On this global stage, where can artistic expression fit into our response and communication efforts? Enter climate change theater — an effort by playwrights, educators and scientists to spread information and awareness about the impacts of human behavior on the environment. While filled with serious themes of melting ice caps and polluted waterways, these plays also offer hope for a positive future. Join Scienceline reporter Hannah Loss on a trip up the Hudson Valley as she experiences a global series of storytelling and live performances organized by Climate Change Theatre Action. You can read more on our website: https://scienceline.org/2022/03/climate-change-on-the-global-stage/ Music: Bedtime Story for My (future) Daughter by Caity-Shea Violette, performed by Hudson River Playback Theatre The Oysters, by Miranda Rose Hall, performed by Andrew Brehm, Eric Magnus and Liz Zito

'Yes, we agree that anti-racism is important. Yes we agree that anti oppression is important. Yes, we agree that equity is important. Yes, we agree that sovereignty is important for indigenous peoples in particular and that decolonization is really important but to us, these are tools to get toward a new society, to transform the world in which we live. If I can refer to the panel that we had the other day that led off this conference, to get out of the social historical economic trap that we're currently in, that forces us to compete with each other, that forces us, as Peru ?? was saying, to ignore the land and what the land is trying to say to us, that forces us to treat certain arts as better than others, without truly understanding the artistic standards that some arts products are created to turn. To turn over the Massey Commission and say, you know what, that is the trap that we're also in. These historical institutions that have come out since the 1950s that basically are struggling with relevance this day and age.' (Charles C. Smith)'We hear conversations around this idea of back to normal and I beg to question: was it ever normal before? What's the better? Was it best before? We wanted to have a conversation around the state of how artists and arts organizations emerging out of a pandemic and also what it means in a time of planetary renewal, given also the racial reckoning about renewal that was going on, we felt it that there were assumptions being made about how we would begin again and so we wanted to make sure that we had our different panels and focus around this idea of starting back, but also addressing what was happening to artists and to organizations prior to the pandemic that led to some of the further marginalization of IBPOC artists and the further under sourcing of IBPOC artists so how do we begin to address that so that can be shifted or changed emerging out of the pandemic.' (Kevin A. Ormsby)My conversation with Cultural Pluralism in the Arts Movement Ontario (CPAMO) Executive Director Charles C. Smith and Program Manager Kevin A. Ormsby on Dec 10, 2021 about the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal. 1 of 6 episodes recorded at this event.  I was honoured when Cultural Pluralism in the Arts Movement Ontario (CPAMO) Program Manager Kevin A. Ormsby asked me to moderate a panel on National Cultural Policy and arts in Response to Climate Change at the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal in Toronto on December 10, 2021. Later on that day, I caught up with CPAMO Executive Director Charles C. Smith and Kevin to talk about their aspirations for the gathering and the state of IBPOC arts communities. This episode also includes excerpts from their keynote presentation earlier that day about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publication. Program Manager of Cultural Pluralism in the Arts Movement Ontario (CPAMO), Kevin A. Ormsby is also the Artistic Director of KasheDance, movement coach and Arts Marketing Consultant. The Ontario Arts Council's Chalmers Fellowship recipient (2017), KM Hunter Dance Award Nominee (2016), Toronto Arts Council's Cultural Leaders Lab Fellow (2015) and The Canada Council for the Arts' Victor Martyn Lynch – Staunton Award 2014 recipient for outstanding achievement by a mid-career artist, he has many interests in the creative practice and administration in dance. He has honed his passion for dance, advocacy, writing and education while performing with various companies and projects in Canada, the Caribbean and the United States.charles c. smith is a poet, playwright and essayist who has written and edited twelve books. He studied poetry and drama with William Packard, editor of the New York Quarterly Magazine, at New York University and Herbert Berghof Studios. He also studied drama at the Frank Silvera's Writers' Workshop in Harlem. He won second prize for his play Last Days for the Desperate from Black Theatre Canada, has edited three collections of poetry (including the works of Dionne Brand, Marlene Nourbese Phillips, Claire Harris, Cyril Dabydeen, Lillian Allen, George Elliot Clarke, Clifton Joseph), has four published books of poetry and his poetry has appeared in numerous journals and magazines, including Poetry Canada Review, the Quille and Quire, Descant, Dandelion, Fiddlehead, Anti-Racism in Education: Missing in Action (Canadian Centre for Policy Alternatives), the Amethyst Review, Bywords, Canadian Ethnic Studies and others.This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewalevent from December 8 to 10, 2021 in Toronto.The others are:episode 90, my conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 91, my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 92, a presentation (including audience questions) by Santee Smith, artistic director of Kaha:wi Dance Theatre from the National Cultural Policy and arts in Response to Climate Change panelepisode 93, a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94, a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelCharles C. Smith and Kevin A. Orsmby, December 10, 2021, Aki Studio, Toronto *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'We have a national data set that's about to emerge and that's a really powerful thing. If we can gather data from across the country from arts and culture organizations across the country and build a data set over time, then we'll actually be able to understand what kind of programming we need for environmental sustainability in the arts and culture sector. We can actually do that based on the demonstrated needs of the community.'I first met Devon when she was working freelance doing environmental assessment for theatre companies in Montreal. I was impressed by her commitment to both the arts and the sciences. Since then, we have had many conversations with Devon about her work with Creative Green tools adaptation project and the importance of measurement tools for the arts sector in the climate emergency. I wanted to share this knowledge with listeners, so I went for a walk with Devon in December 16th 2021 and combined this conversation with her presentation at the CPAMO National Cultural Policy and arts in Response to Climate Change panel on December 10. At the very end of the episode, you hear my phone ring. It was my daughter telling me about a Covid outbreak of the Omicron variant in her university. A sign of the times… Devon's educational background includes a bachelor's degree in Environmental Sciences and a master's degree in Integrated Water Resources Management (IWRM). For the last several years, she has been working to combine her technical knowledge of environmental sciences and impact measurement with her involvement in the arts community by collaborating on various sustainability initiatives in partnership with Ecosceno, the St-Ambroise Montreal FRINGE Festival, the Quebec Drama Federation, the Centre for Sustainable Practice in the Arts and Climatable, among others. She is currently manager of the Creative Green project. This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewalevent from December 8 to 10, 2021 in Toronto.The others are:episode 90, my conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 91, my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 92, a presentation (including audience questions) by Santee Smith, artistic director of Kaha:wi Dance Theatre from the National Cultural Policy and arts in Response to Climate Change panelepisode 93, a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 95, my conversation with CPAMO Executive Director Charles Smithand artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationSantee Smith, me (from laptop and room camera), Anthony Garoufalis-Auger and Devon Hardy *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'The economic models and the way that policy is guided in Canada and around the world at the moment assumes that culture will not change. It assumes that we're self interested individuals, which science is now showing us that that is not the case. We're actually very collaborative and that are ancient cultures and traditional cultures around the world already knew this but we're assuming we're continuing to plan the economy under these old assumptions, that are just no longer useful and no longer actually accurate. What needs to happen now is a massive culture change and what's interesting in from the lessons world war II is that we know that this has been done in the past and very rapidly. While we sometimes fall into cynicism and think that things can't change, in the face of this particular issue, these lessons, I think are very important to learn from and I think can be applied to national cultural policy.'I first met Anthony in my work with the Sectoral Climate Arts Leadership for the Emergency (SCALE) coordinating circle in April 2021. Since then, we have had many conversations about climate activism and art. Anthony is a Montreal-based climate emergency organizer and public affairs strategist. His work focuses on shifting the climate discourse in Canada from incrementalism to emergency-mode action. I had the honour of moderating the CPAMONational Cultural Policy and arts in Response to Climate Change panel with Anthony as one of the presenters on December 10, 2021 (along with Santee Smith, see episode 92 and Devon Hardy, see episode 94). Anthony shared his deep knowledge of cultural and climate policy and his passion for rapid and transformative change, notably lessons from Seth Klein's A Good War. I'm with you in that, Anthony! This Anthony's second conscient podcast episode. Our first conversation was in French, see https://www.conscient.ca/podcast/e56-garoufalis-auger-surmonter-les-injustices/ where we talked about sacrifice, injustices, strategies, activism, youth, art, culture, climate emergency and disaster. This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewalevent from December 8 to 10, 2021 in Toronto.The others are:episode 90, my conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 91, my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 92, a presentation (including audience questions) by Santee Smith, artistic director of Kaha:wi Dance Theatre from the National Cultural Policy and arts in Response to Climate Change panelepisode 94, a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95, my conversation with CPAMO Executive Director Charles Smith and artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationSantee Smith (see episode 92), me (from my laptop and the room), Anthony and Devon Hardy (see episode 94) at CPAMO National Cultural Policy and arts in Response to Climate Change panel, December 10, 2021 *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'The environment and sustainability is an integral, if not the founding process, of how we view the world: interconnectedness, responsibility as human beings, to be caretakers of the earth, to be forward thinkers about what we do now will affect seven generations later and that has always been our understanding since we can remember. It's written into our wampum belt designs and our pottery shards and all of those things that are encoded knowledge, is what I am using today and what my family has used to understand our responsibility.'Santee Smith (Tekaronhiáhkhwa/Picking Up The Sky) is a multidisciplinary artist from the Kahnyen'kehàka Nation, Turtle Clan, Six Nations of the Grand River. Transformation, energetic exchange and creating mind-heart connections through performance is her lifelong work. Santee trained at Canada's National Ballet School; holds Physical Education and Psychology degrees from McMaster University and a M.A. in Dance from York University. Premiering her first production Kaha:wi – a family creation story in 2004, one year later she founded Kaha:wi Dance Theatre which has grown into an internationally renowned company. Santee approaches her life and work in a sacred manner and the importance of sharing our gifts with others. Through her Onkwehonwe'neha creative process, Santee's work speaks to identity and humanity, role and responsibility of artists in community. She is a sought-after teacher and speaker on the performing arts, Indigenous performance and culture. Smith is the 19th Chancellor of McMaster University.I've known Santee over the years as a great dance artist, an exceptional leader and tireless advocate for indigenous arts and culture. I had the honour of moderating the CPAMO National Cultural Policy and arts in Response to Climate Change panel on December 10, 2021 (along with Anthony Garoufalis-Auger, episode 93 and Devon Hardy, episode 94).Santee spoke of her creative work in and around environmental issues, notably her new post-apocalyptic work in progress, SKéN:NEN and answered questions from the audience, including her use of ecological calendars and interest in permaculture. I would have liked to have a follow up conversation with Santee to enrich this episode, but this not possible at this time and will be for another day. For now, I invite you to listen in to this insightful presentation by Santee. Unfortunately, the audio quality is not optimal (recorded on a laptop via Zoom). Please note that there is a short passage at 8 minutes where Santee introduces herself that has some distortion that is resolved at 8 minutes 35 seconds. Please see the bio above for this missing information. This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal event from December 8 to 10, 2021 in Toronto.The others are:episode 90, a conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 91, my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 93, a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94, a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95, my conversation with CPAMO Executive Director Charles Smithand artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationLinks mentioned in this episode:Roxanne Swentzell, Flowering Tree Permaculture InstituteFlowering Tree Permaculture Institute - Patterns (video)Inviting the land to shape us, by kahawidance (video)Santee Smith. Claude Schryer, Anthony Garoufalis-Auger-Auger and Devon Hardy at CPAMO National Cultural Policy and arts in Response to Climate Change panel, December 10, 2021, Toronto *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'I look for stories that are not there just to educate people. If I tell a really good story and it happens to be about the global crisis, about global warming and about the effects on community, if I get your heart, then you're gonna go forward and look at other things, you're gonna start doing some research. It's like, I wanna look at and so to me, I always tell people, tell a really good story and get them on your side, and then they'll go and do their own work. As opposed to like, these are the seven things that are happening in the world right now, due to global warming. When people feel that they, they immediately start going to their shopping list or the things that they're gonna do, or if they feel they're being lectured but if you tell them a really good story, they're gonna be engaged in the story they're gonna, their heart's gonna be in, they'll have a nice little cry or they'll get angry and they'll, they'll walk outta that theatre and they will feel empowered to do something or maybe empowered to read something or to reach out to an MP and say, I gotta do something.'eith Barker is from the Métis Nation of Ontario and is artistic director of Native Earth Performing Arts in Tkaronto. He is the winner of the Dora Mavor Moore Award and the Playwrights Guild's Carol Bolt Award for best new play. He received a Saskatchewan and Area Theatre Award for Excellence in Playwriting for his play, The Hours That Remain, as well as a Yukon Arts Award for Best Art for Social Change.He's a kind, generous and thoughtful person. I met Keith while we were both working at the Canada Council in the mid 2010's. We reconnected at the National Arts Centre's 2019 Summit on Theatre and Climate Change presented at The Banff Centre. Our conversation touched upon indigenous theatre, the impact of telling a good story and the impact of placing artists in spaces with community members, telling their stories and talking about the crisis ands includes excerpts from e92 santee smith - about SKéN:NEN and interconnectedness and e44 bilodeau - the arts are good at changing culture. There were many memorable moments in our conversation. This quote in particular resonated with me: To me, artists being right in on the conversation, being present and actually pushing the agenda is absolutely the thing we need to be. That's where we need to be. Too many politicians and policy and all that stuff. You're watching that stuff fail right now and to put artists in spaces with community members, telling their stories and talking about the crisis… that's happening and engaging people, that's the power of theatre and that's the power of art. That, to me, is the thing that's gonna push people to make changes or to start talking or to enter into dialogue. Because right now we have a left and a right that isn't gonna speak. They don't like each other. They don't like their politics, but you get them in a room together and they actually break bread and start having food. They realize that both their kids go to the same school. They both drive the same car. They both love hockey. You know, if we start finding those connections through art, then they they're gonna engage. And it doesn't matter if it's an indigenous artist telling that story or you know, another, IBPOC person or anybody else. If you're telling a good story, people are gonna be engaged and, and it'll compel you to wanna do something.I also have a special treat for you in the last 5 minutes of this episode. You'll hear near the end of my conversation with Keith that I accepted to produce a radio version of his APOLOGY, MY play which was commissioned by the 2021 Climate Change Theatre Action (CCTA) project. You'll hear my son Riel playing a political advisor and my wife Sabrina Mathews playing the Prime Minister of Canada. Big thanks to Riel and Sabrina for this powerful reading of the play and big thanks to Keith and Climate Change Theatre Action for permission to produce this amazing play that anticipates a future we can still avoid.Note: Here is the APOLOGY, MY play by Keith Barker, performed by Riel Schryer and Sabrina Mathews as a stand alone audio file:This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal event from December 8 to 10, 2021 in Toronto.The others are:episode 90 is a conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 92 is a presentation (including audience questions) by Santee Smith from the National Cultural Policy and arts in Response to Climate Change panelepisode 93 is a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94 is a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95 is my conversation with CPAMO Executive Director Charles Smith and artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationLinks mentioned in this episode:https://nac-cna.ca/en/cycle/climatechangehttps://www.conscient.ca/podcast/e44-bilodeau/Script of APOLOGY, MY by Keith Barker(published with permission of the author) This play came out of exchanges I've had with my uncle over the years. He is a fervent climate change denier who believes it is a hoax drummed up by lefty pinkos. This play is me writing out my disillusion by imagining a revelation about the climate crisis through the eyes of a Prime Minister who finds himself (or herself) on the wrong side of history.I'm sorry. I truly am.You can't say that.Why not?You're making it personal. Don't do that.It's an apology.You need to think bigger picture here.Fine…On behalf of the country--The country, the people, whatever you want to call them, are not the ones who aresorry, the government is.…On behalf of the party--Whoa whoa whoa, it's not one party's fault, it's every party's fault. Got it?(Prime Minister sighs)Mr. Speaker I stand before you today to offer an official apology.There you go.The denial of climate change is a sad and regrettable chapter in our history.I like the chapters – That was a sad chapter. This? This is a new chapter.In the last hundred-and-fifty years populations were introduced to widespreadelectrification, internal combustion engines, the car, and the airplane.Sweet. Keep it in the past, stay away from the future.This massive shift to fossil fuels exponentially increased material prosperity andmeasures of well-being. But we were wrong.We're never wrong.It was a mistake.Mistakes are just as bad as being wrong. Neither will get you votes.It was regrettable.Mm, better.We are past the tipping point of climate change. Now we must deal with the fullconsequences of government failure.Way too negative.Now we must deal with the consequences of inaction… and a multi-generational cultureof denial to maintain the status quo.Cut the last part.I think we need it.And I think we don't. Keep going.…Unprecedented warming cycles have melted the ice caps, causing the mass extinctionof species. The acidification of the oceans has destroyed the majority of marine andmammal food chains. The occurrence of extreme weather events has vastly increased assea levels continue to rise.You can't say all that.People already know this.Then why are we saying it again?Because it's true.Truth is overrated.Then why am I even giving this speech?Because, politically it's a smart move if we do it right. It also makes you look like aPrime Minister--I am the Prime MinisterYeah, well, you know what I mean.I don't think I do.Listen, don't focus on the small stuff. You need to ignore your instincts. Whateverfeels right, is wrong. You won't win this if you repeat mistakes.Don't put this all on me.Says the guy who stood up in the House of Commons and denied the existence ofclimate change on the same day scientists announced the Arctic Circle was ice-free.They did that on purpose to make me look bad.What, melt the Arctic Circle?You know what I mean.I don't think I do.You really think you can fix this?What do you think?You always answer a question with a question?Only the dumb ones.Right…Where were we?Somewhere between mass extinction and extreme weather conditions.…Today, we recognize the denial of climate change was wrongNot wrong but -Regrettable.Beauty.I've already said regrettable...Yeah, and you're going to say it a hundred more times so get used to it.…The fossil fuel industry actively misled the public and is largely to blame for theinaction on climate change with capitalism being the driving force.Don't say the C word.Why not?You can't be seen placing the blame on industry.Just over a hundred companies are responsible for 71% of all the Global GreenhouseGas Emissions.That is debatable.Not if we're using science it's not.Wow, and where was this guy a few years ago?I am trying to make up for my past mistakes.And that my friend is how you kill your political career.I need to say this.No, you don't. You're talking to the base. Card carrying members. They voted for youbecause of your ideology. You can't just bait and switch these folks. Do that and youcan kiss the election goodbye.You're right. Thank you for that.For what?It didn't really hit me until you said my words back to me.What'd I say? Sorry, I've said a lot.Mass extinction.Oh come on. I'm just trying to get you re-elected here.This isn't about politics anymore.Everything is about politics.Sorry, but I need to do this.Let me do my job here. I'm a fixer, it's what I'm paid to do. Fix things. And if you want this fixed Mr. Prime Minister, then you need to start listening to me pronto. Do.  Not. Apologize. These altruistic feelings are fleeting. Trust me. You think you've found some clarity, but you haven't. And when those feelings pass, and they will pass, you will regret having made a decision in a moment of weakness. You understand me?Perfectly. I think you need to go.You're making a big mistake.Maybe, maybe not.Let me help you.No, I think you've helped enough. Now if you'll excuse me, I've got a speech to write.Last chance… Really? Fine, it's your funeral… You know what? I wasn't going vote foryou anyways.Aww, you broke your own rule.And what is that?Don't make it personal.END *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Citizens' Climate Radio is a monthly podcast hosted by CCLer Peterson Toscano. Browse all our past episode recaps here, or listen to past episodes here, and check out the latest episode in the post below.  How can we help the public embrace the science that reveals our climate has been changing dramatically and very quickly? And more than that, how do we make them feel and experience the data so profoundly that it causes them to respond?  These are the questions UK-born artist Caroline Roberts brings to this month's episode of Citizens' Climate Radio, and to her art installation, the present of my life looks different under trees. This piece is an immersive installation of cyanotypes that has been exhibited at BOX13 ArtSpace and HCC Southwest in Houston, TX. Originally from the UK, Caroline moved to Houston, Texas, 18 years ago. She explains that a story about drowned forest thousands of years ago in the UK, along with recent flooding in her city, inspires and informs her artistic work.  “The installation consists of 60 11-feet high panels, each one representing a year of Houston weather data and encircling the Back BOX like a grove of trees. Each varies in width based on the rainfall intensity, as measured by the number of days on which the total rainfall was greater than three inches: the point at which street flooding occurs. The panel color, from ice-blue to blue-black, represents the average nighttime temperature for that year. At first glance the immersive nature of this cyanotype installation provides a cool environment as Houston temperatures fall into autumn. However, a closer look gives the bigger picture: more shocking than any graph, this forest-like environment shows the story of rising temperatures and intensifying rain events.” While Caroline started her career as a chemical engineer with the faith that science would save the environment, she soon realized that many fields and talents could contribute to environmental advocacy.  Caroline has always relied on science, and after crunching the numbers about the future of the country's coastline due to climate-related flooding, she found herself in a state of horror and shock for weeks. Caroline wanted people's jaws to drop when they saw her art, which visualizes the overwhelming information she has seen predicted for the near future. As environmental conditions over time have grown worse, her installation's fabric coincides, growing heavy and darker and colder as the fabric winds through history and to the present. Caroline says that viewers were “gobsmacked” by her forest of fabric, and hopes that all who see her piece will contemplate the view of their own life under trees. For more information on the data behind this installation please continue to the story and data page. The Art House For this month's segment, you will hear a dramatic reading of Kamil Haque's play, “Confessions of the Little Match Girl to the Star.” Kamil explains that in creating this piece, he chose to fracture a fairy tale, a nursery rhyme and the calling out to one's “mama.” These common symbols of innocence form the spine of the play.  To create the heart and soul of this piece, Kamil examined and extracted pieces from the transcripts of Greta Thunberg's 2019 U.N.'s Climate Action Summit and George Floyd's final moments in 2020. Through these channels he explores how two people on opposite ends of the age and racial spectrum express grief and anguish at their circumstances. How might their spirit and the spirit of their message live on literally and metaphorically? “Confessions of the Little Match Girl to the Star” was performed at The BTS Center's Climate Change Theatre Action 2021 event. It is read by Dr. Natasha DeJarnett, a public health expert and the chair of Citizens' Climate Education board.  You can hear standalone versions of The Art House at Artists and Climate Change. Good News Report Our good news story this month comes from Solemi Herandez, the Southeast coordinator for Citizens' Climate Lobby. She tells us about her experiences at COP26 and shares good news about Climate Empowerment Article 12 of the Paris agreement. Solemi is hopeful for the future because of the involvement that she saw at COP26, and is hoping that more citizens will get engaged in climate work.  We always welcome your thoughts, questions, suggestions, good news, and recommendations for the show. Leave a voice mail at (518) 595-9414 (+1 if calling from outside the USA). You can email your answers to radio @ citizensclimate.org.   You can hear Citizens' Climate Radio on: iTunes Spotify SoundCloud Podbean Stitcher Radio Northern Spirit Radio PlayerFM TuneIn Radio Also, feel free to connect with other listeners, suggest program ideas, and respond to programs in the Citizens' Climate Radio Facebook group or on Twitter at @CitizensCRadio.

Originally from the UK, Caroline moved to Houston, Texas, 18 years ago. She explains that a story about drowned forest thousands of years ago in the UK, along with recent flooding in her city, inspires and informs her artistic work. “The installation consists of 60 11-feet high panels, each one representing a year of Houston weather data and encircling the Back BOX like a grove of trees. Each varies in width based on the rainfall intensity, as measured by the number of days on which the total rainfall was greater than three inches: the point at which street flooding occurs. The panel color, from ice-blue to blue-black, represents the average nighttime temperature for that year. At first glance the immersive nature of this cyanotype installation provides a cool environment as Houston temperatures fall into autumn. However, a closer look gives the bigger picture: more shocking than any graph, this forest-like environment shows the story of rising temperatures and intensifying rain events.” While Caroline started her career as a chemical engineer with the faith that science would save the environment, she soon realized that many fields and talents could contribute to environmental advocacy. Caroline has always relied on science, and after crunching the numbers about the future of the country's coastline due to climate-related flooding, she found herself in a state of horror and shock for weeks. Caroline wanted people's jaws to drop when they saw her art, which visualizes the overwhelming information she has seen predicted for the near future. As environmental conditions over time have grown worse, her installation's fabric coincides, growing heavy and darker and colder as the fabric winds through history and to the present. Caroline says that viewers were “gobsmacked” by her forest of fabric, and hopes that all who see her piece will contemplate the view of their own life under trees. For more information on the data behind this installation please continue to the story and data page. The Art House For this month's segment, you will hear a dramatic reading of Kamil Haque's play, “Confessions of the Little Match Girl to the Star.” Kamil explains that in creating this piece, he chose to fracture a fairy tale, a nursery rhyme and the calling out to one's “mama.” These common symbols of innocence form the spine of the play. To create the heart and soul of this piece, Kamil examined and extracted pieces from the transcripts of Greta Thunberg's 2019 U.N.'s Climate Action Summit and George Floyd's final moments in 2020. Through these channels he explores how two people on opposite ends of the age and racial spectrum express grief and anguish at their circumstances. How might their spirit and the spirit of their message live on literally and metaphorically? “Confessions of the Little Match Girl to the Star” was performed at The BTS Center's Climate Change Theatre Action 2021 event. It is read by Dr. Natasha DeJarnett, a public health expert and the chair of Citizens' Climate Education board. Our good news story this month comes from Solemi Herandez, the Southeast coordinator for Citizens' Climate Lobby. She tells us about her experiences at COP26 and shares good news about Climate Empowerment Article 12 of the Paris agreement. Solemi is hopeful for the future because of the involvement that she saw at COP26, and is hoping that more citizens will get engaged in climate work.

Airing this Friday (12/17) on KKFI 90.1 FM, Kansas City Actors Radio Theatre presents four short plays as a part of Climate Change Theatre Action. "The Oysters" by Miranda Rose Hall brings attention to the plight of the oysters in the Chesapeake Bay. Filtering the water and building reefs the Eastern Oyster is plagued by overharvesting and the pollution of the bay. http://www.mirandarosehall.com/ "all of us were born in the crisis" by Australian playwright David Finnigan is a poetic look at the super volcano that erupted 75,000 years ago, and how humanity bands together to persevere. https://davidfinig.com/ "The Penguin" by Canadian playwright Nicolas Billon is a comedic short play about cognitive dissonance and the mental gymnastics climate deniers put themselves through. https://nicolasbillon.com/ "What We Give Back" by Madeline Sayet is a critique of how saving the planet has become incentivized, rather than something we all must do to truly heal our planet. https://www.madelinesayet.com/ Featuring Karla Fennick, Ellen Kirk, Freddy Acevedo, Teisha Bankston, Merle Moores, Bri Woods, and Weiyi Zhang. Directed by Jan Rogge, John Rensenhouse, Jerry Mañan, and Gary Heisserer. Hosted by John Rensenhouse. Sound engineering by Gianna Agostina with sound supervision by Mary Robinson. Climate Change Theatre Action is a worldwide series of play readings and performances of short climate change plays presented in support of the United Nations COP meetings. Don't miss this special KCART production! http://www.climatechangetheatreaction.com/ — KCART is made possible in-part by the Richard J. Stern Foundation for the Arts, the Estelle S. and Robert A. Long Ellis Foundation, the Miller-Nichols Foundation, the Kansas City Neighborhood Tourist Development Fund, ArtsKC, the Missouri Arts Council, Theatre League, and the Breidenthal-Snyder Foundation.

'I would first and foremost love to see artists really lean into experimentation with their creative practices and to share what comes out of those practices - the learning and experimentation - with each other. I think that's something that even as a community of art makers we can get better at, but what that then also does is it starts to socialize learning about what art as a system of knowledge production is and this is how we start to disentangle ourselves from the ways that we're trying to solve this challenge, or the ways that we're even thinking about what is happening right now as a problem to fix, is maybe part of the dilemma to begin with and that art, as a way of knowing, is so critical.'In her State of Emergence: Why We Need Artists Right Now essay Shannon Litzenberger shares her thoughts about the state of the arts and the state of artists where she hopes her perspective as an artist on the current crisis might resonate for other artists who still need to give voice to their experiences in this time of great disruption. You'll hear Shannon read the entire 17-page essay, which is four parts: The Alienated State of the Artist: An Emergency and a Revolution-in-the-MakingFrom Culture as a Colonial Project to Culture as a Lever for ChangeArtists as World-MakersFrom Emergency to Emergence: Detaching from the Current System to Build the Next OneOur conversation touched upon the origins of the essay, it's intended audience, my thoughts on why it is a timely and provocative essay, precarity, empathy and Shannon's embodiment work. This is the first of 6 episodes recorded at the Gathering Divergence event from December 8 to 10, 2021:episode 91 is my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 92 is a presentation (including audience questions) by Santee Smith from the recording of a panel I moderated called National Cultural Policy and arts in Response to Climate Changeepisode 93 is a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94 is a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95 is my conversation with CPAMO Executive Director Charles Smith and artistic programmer Kevin Ormsby including excerpts from their talk about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationShannon's essay is available on Medium. For more information about Shannon's work see http://www.shannonlitzenberger.com/. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Our show today comes in three parts 1. Poet Craig Santos Perez read Thanksgiving in the Plantationocene. It appears in his book of poetry Habitat Thresholds. http://craigsantosperez.com 2. Mentoring Session #4 An original radio play written by Peterson Toscano for Climate Change Theatre Action. The play takes place more than 100 years in the future. Characters are Elder performed by Peterson and Younger performed by Max Currie. Max recently graduated from Emerson College, receiving a BFA in Musical Theatre and currently lives in New York City. http://www.climatechangetheatreaction.com Max Currie on Instagram @maxccurrie 3. The premiere of a new song by taXda. It is Undercover from the brand new album Kuvaka Muchina. Look for it on Spotify or wherever you stream music. https://orcd.co/xopk5vb Smart link for the music https://www.instagram.com/_taxda https://www.facebook.com/taTENdaGOAT The Bubble & Squeak Theme song is Worthless by The jellyrox from the Bang and a whimper album. You also heard ELFL performing Temple of Runha. It is available at Epidemicsound.com

Lauren Bone Noble, assistant professor of movement for the actor, talks about "Dreaming Green," our part in the global event Climate Change Theatre Action 2021.For more information about Climate Change Theatre Action, please visit: http://www.climatechangetheatreaction.com/To learn more about the Yoknapatawpha Arts Council's Goodnight Market, visit: https://oxfordarts.com/shop/event-tickets/product/3454-dreaming-green-at-the-goodnight-marketWe talked about a piece of devised theater called "Near/Far" that Lauren directed and created with our students last fall; if you haven't seen "Near/Far," you can watch it here: https://youtu.be/TAYcLtW8rX8Also, if you missed our previous interview with Lauren, check it out here: https://stageandscreen.simplecast.com/episodes/the-poetic-body-with-lauren-bone-noble-assistant-professor-of-movement-for-the-actor    

Chantal Bilodeau tells us about Climate Change Theatre Action (CCTA) 2021. Founded in 2015, CCTA is a worldwide series of readings and performances of short climate change plays presented biennially to coincide with the United Nations COP meetings. CCTA was originally founded by Elaine Ávila, Chantal Bilodeau, Roberta Levitow, and Caridad Svich following a model pioneered by NoPassport Theatre Alliance. It has since evolved into a U.S.-Canada collaboration between The Arctic Cycle and the Centre for Sustainable Practice in the Arts. Chantal is a playwright and translator originally from Tiohtiá:ke/Montreal, but now based in New York City, the traditional land of the Lenape People. In her capacity as artistic director of The Arctic Cycle, she has been instrumental in getting the theatre and academic communities, as well as audiences in the U.S. and abroad, to engage in climate action through programming that includes live events, talks, publications, workshops, national and international convenings, and a worldwide distributed theatre festival. To tell us about one of the plays is Dr Zoë Svendsen, Lecturer in Drama and Performance in the Faculty of English, University of Cambridge. Dr. Svendson's play comes out of a larger project called Love Letter to a Livable Planet. Through collaboration with members of METIS Arts, Zoe created a short play called Love Out of Ruins, where we get to decide many of the details. Think of it as a much more sophisticated version of Mad-Libs with the aim to create a vision of the future worth pursuing. The play begins in the present time and moves forward. You get to decide the details that shape the character's world. You can read Love Out of Ruins by Zoë Svendsen at one of your CCL events. In fact, having a group of friends, students, or climate advocates sit and each fill in the lines can be a mind and heart expanding activity. Then you can share the results at a Climate Change Theatre Action event you host and read some of the plays by the 49 other playwrights from around the world. Learn more about how you can get your hands on these plays and host your own event. Visit climatechangetheatreaction.com. As a podcaster and radio producer, our host, Peterson Toscano listens to many climate change podcasts. Every now and then though he hears a well designed podcast that hits him in the heart and the gut. It becomes a transformative audio experience. This is exactly what happened when he first listened to Claude Schryer's Conscient podcast. As a sound designer, he is able to reach deep into a listener's mind and even our bodies. Sound has that power. Peterson chatted with Claude about his podcast and his own journey as an artist addressing climate change. From that recorded conversation, Claude wove in sound effects and personal reflection. We encourage you to listen with headphones on. The conscient podcast / balado conscient is a bilingual series of conversations about arts, conscience and the ecological crisis.You will find it wherever you listen to podcasts. You can hear standalone versions of The Art House at Artists and Climate Change Good News Report Our good news story this month comes from the US State of Utah. Tom Moyer shares How 25 Republicans in Utah came to endorse carbon fee and dividend. If you have good news to share, email us radio @ citizensclimate.org

Chantal Bilodeau tells us about Climate Change Theatre Action (CCTA) 2021. Founded in 2015, CCTA is a worldwide series of readings and performances of short climate change plays presented biennially to coincide with the United Nations COP meetings.  CCTA was originally founded by Elaine Ávila, Chantal Bilodeau, Roberta Levitow, and Caridad Svich following a model pioneered by NoPassport Theatre Alliance. It has since evolved into a U.S.-Canada collaboration between The Arctic Cycle and the Centre for Sustainable Practice in the Arts. Chantal is a playwright and translator originally from Tiohtiá:ke/Montreal, but now based in New York City, the traditional land of the Lenape People. In her capacity as artistic director of The Arctic Cycle, she has been instrumental in getting the theatre and academic communities, as well as audiences in the U.S. and abroad, to engage in climate action through programming that includes live events, talks, publications, workshops, national and international convenings, and a worldwide distributed theatre festival. To tell us about one of the plays is Dr Zoë Svendsen, Lecturer in Drama and Performance in the Faculty of English, University of Cambridge. Dr. Svendson's play comes out of a larger project called Love Letter to a Livable Planet. Through collaboration with members of METIS Arts, Zoe created a short play called Love Out of Ruins, where we get to decide many of the details.  Think of it as a much more sophisticated version of Mad-Libs with the aim to create a vision of the future worth pursuing. The play begins in the present time and moves forward. You get to decide the details that shape the character's world. You can read Love Out of Ruins by Zoë Svendsen at one of your CCL events. In fact, having a group of friends, students, or climate advocates sit and each fill in the lines can be a mind and heart expanding activity.  Then you can share the results at a Climate Change Theatre Action event you host and read some of the plays by the 49 other playwrights from around the world.  Learn more about how you can get your hands on these plays and host your own event. Visit climatechangetheatreaction.com.  The Art House As a podcaster and radio producer, our host, Peterson Toscano listens to many climate change podcasts. Every now and then though he hears a well designed podcast that hits him in the heart and the gut. It becomes a transformative audio experience. This is exactly what happened when he first listened to Claude Schryer's Conscient podcast. As a sound designer, he is able to reach deep into a listener's mind and even our bodies. Sound has that power. Peterson chatted with Claude about his podcast and his own journey as an artist addressing climate change. From that recorded conversation, Claude wove in sound effects and personal reflection.  We encourage you to listen with headphones on.  The conscient podcast / balado conscient is a bilingual series of conversations about arts, conscience and the ecological crisis.You will find it wherever you listen to podcasts.  You can hear standalone versions of The Art House at Artists and Climate Change Good News Report Our good news story this month comes from the US State of Utah. Tom Moyer shares How 25 Republicans in Utah came to endorse carbon fee and dividend.  If you have good news to share, email us radio @ citizensclimate.org We always welcome your thoughts, questions, suggestions, and recommendations for the show. Leave a voice mail at 518.595.9414. (+1 if calling from outside the USA.) You can email your answers to radio @ citizensclimate.org   You can hear Citizens' Climate Radio on iTunes, Spotify, Stitcher Radio, SoundCloud, Podbean, Northern Spirit Radio, Google Play, PlayerFM, and TuneIn Radio. Also, feel free to connect with other listeners, suggest program ideas, and respond to programs in the Citizens' Climate Radio Facebook group or on Twitter at @CitizensCRadio.  

In this episode you will meet a fellow climate action figure. Solemi Hernandez finds great joy and fulfillment in the climate work she does. In hearing some of her own story, we hope it inspires you in your own. Originally from Venezuela, Solemi has lived in the US state of Florida for the past 17 years. She seeks to improve conditions for immigrant farm workers. She is also raising her two sons, and Solemi has taken on a very big mission. She wants to save the world starting in her own community. Like her father and grandfather before her, Solemi worked for the oil industry in Venezuela. In fact, she grew up in an oil town and saw firsthand the environmental and health hazards that came with the well-paid oil jobs. Once the oil industry became nationalized, Solemi moved to the USA and started on a very different pat—as a social justice minded environmentalist. She began to volunteer with various groups including the Water Keepers Alliance and the Sierra Club. She helped create a local chapter of The Pachamama alliance, an umbrella organization that connects environmental and social justice organizations to work in the community. She also volunteered for Citizens Climate Lobby. Her concerns for her community and her passion to address climate change deepened in 2017 when she and her family endured a category 5 storm, Hurricane Irma. For three days the family lived in an emergency shelter in a public school that eventually also flooded. They returned to a devastated neighborhood. Their house survived the storm the region was without electricity for three weeks. With sweltering temperatures and limited supplies and resources, she and her community worked together to take care of each other. Solemi speaks about the added risks marginalized people face who do not have the income and mobility necessary to escape the storms and then to rebuild. Solemi admits that climate work is challenging, but she has found purpose and meaning in the climate work she is doing. Her enthusiasm is contagious, and her story is inspiring. The Art House Playwright Chantal Bilodeau returns to the Art House. Every two years to coincide with the UN COP meetings, Chantal and her team organizes an international event, Climate Change Theatre Action. They select 50 short climate change themed plays from 50 playwrights around the world. This fall over 200 communities organized events in 30 countries where they read some of these plays. Chantal shares highlights along with good news about how the movement is growing both in and outside of the theatre community. A book with all 50 of the 2019 plays will be published in 2020. The collection of 50 plays from 2017 is available now. Puzzler Question We hear your answers to a question about what household might do with a carbon dividend. Your friend Darren thinks given out a dividend is a bad idea. He says, "People will just use the dividend they get to continue paying for fossil fuels. Giving them money enables them to stay in their fossil fuel lifestyles. Hear what listeners had to say. New Puzzler Question You are at a political rally chatting with a new friend. Let’s call her Heather. When you ask her if she wants to join your climate group, she says, “Don’t take this the wrong way, but I don’t have time for climate work. I feel bad saying that but I work full time and two children still in school, I don’t have time for protesting right now. How would you respond to Heather? Send Peterson your answer by January 15, 2020, along with your name, contact info, and where you are from. You can email your answers to radio @ citizensclimate.org or leave a voicemail of 3 minutes or less at 518.595.9414. (+1 if calling from outside the USA.)

Part One: An original radio play commissioned by Climate Change Theatre Action. They selected 50 short plays by 50 playwrights. This autumn groups around the world organized readings of these plays to coincide with COP 2019, the UN Climate Change Conference. You will hear Peterson Toscano perform a radio adaptation of "Dust" by Marcus Youssef. Part Two: Peterson Toscano's Climate Change Theatre Action play, "Bigger Love." It is set in the New York City apartment of a gay couple sometime in the near future. Jordan Sanderson and Israel Collazo, students at Susquehanna University, play the parts of Kyle and Joey. Part Three: a Sound Slice created for us by listener Daniel Gonzales. Bubble&Squeak is a podcast with uncanny sounds, funny interludes, and stories—most weird, many true. Created by Peterson Toscano and for his husband, Glen Retief, his soulmate and fellow traveler. Learn more about Climate Change Theatre Action on their Facebook page or their website climatechangetheatreaction.com Marcus Youseff ,who wrote Dust lives in Vancouver British Columbia. Learn more about his plays and other work over at www.Marcusyoussef.com See photos from Daniel Gonzales’ trip to Taiwan and much more over on on Instagram: @SCModStyle that’s SC MOD Style. Our theme song is Worthless by The Jellyrox from the Bang & Whimper album. You can find these songs on iTunes, Spotify, of wherever you listen to music. Peterson on Twitter @p2son Logo design by Christine Bakke Bubble&Squeak is part of the Rock Candy Network www.rockcandyrecordings.com Learn more about Peterson at www.petersontoscano.com

There is overwhelming scientific consensus that climate change is real, human-caused, and will have catastrophic effects. Yet it is still a struggle to educate and motivate the public to take action. Theatre has the power to inform and move people. Climate Change Theatre Action 2017 was a world-wide series of performances of short plays inspired by climate change and prevailing attitudes toward science.This special Arts Festival Platform will reprise several of the vignettes and performances seen at the Ethical Society last fall, produced by That Uppity Theatre Company Producing Artistic Director Joan Lipkin (Ethical Society Ethical Humanist of the Year Awardee) and Pamela Reckamp. Read by some of the leading actors in St Louis, the plays were selected from over 25 cultures, including perspectives from low-lying nations threatened by sea-level change and countries facing severe heat-waves, floods, or droughts. The Platform will also include a performance from Ashley Tate of Ashleyliane Dance Company. “Climate change is one of the greatest challenges facing us as a global community. Scientists estimate that we have 15 years to de-carbonize the economy if we want to stave off the worse impacts of climate change."—Joan Lipkin

Grant Samms was curious about the expansion of wind energy in Western Oklahoma, especially in the oil town of Woodward. He expected to see a lot of conflict there. Turns out there was no conflict. Because of their identity as energy producers, the citizens of Woodward found a way to weave wind energy extraction into their lives and enconomy. Grant is currently at Washington College's Center for Environment and Society in Chestertown, Maryland, where he is witnessing tensions in rural Maryland over proposed windmill farms. He chats with Citizens' Climate Radio host, Peterson Toscano, about what he learned in Western Oklahoma and how it essential for climate advocates to understand how "sense of place" plays a major role in affecting how communities respond to new ideas. Art House Sila_hunting.jpgChantal Bilodeau is a playwright originally from Quebec Province in Canada. Her award winning plays take on climate change. Set in the Arctic, they are beautiful, original, and are moving audiences all over the world. In her Arctic Cycle plays, she has roles for human and non-human characters. Chantal believes live theater experiences create special opportunities for audiences. In order to address the lonliness and isolation that can come with doing creative work around global warming, Chantal created Artists and Climate Change, a website that is connecting artists all over the world and making their work known to climate advocates. She is also committed to bringing original quality climate theater to many communities. She talks about Climate Change Theatre Action. Learn how you can easily and inexpensively host a reading of short climate plays. Puzzler Question The Puzzler is BACK! Our latest question is one that often is thrown in the face of climate advocates in order to silence us. You are at a community event talking to a neighbor, let's call him Greg. You reveal your passion about climate change and climate solutions. Greg looks you up and down and says, "So I guess you don't use any fossils fuels yourself. You don't drive a car, travel by plane, or heat and cool your home? What are you actually doing to address climate change in your life?" Greg's question sounds more like an accusation. How do you answer the question while also addressing the accusation? Send Peterson your answers. Leave your name, contact info, and where you are from. Respond by February, 15, 2018. Email radio @ citizensclimate.org or leave a voicemail of three minutes or less at 570.483.8194. (+1 if calling from outside the USA.) Listen, Rate, and Share! You can hear Citizens’ Climate Radio on iTunes, Stitcher Radio, Podbean, Northern Spirit Radio, Google Play, and TuneIn Radio. Also, feel free to connect with other listeners, suggest program ideas, and respond to programs in the Citizens’ Climate Radio Facebook groupor on Twitter at @CitizensCRadio. If you listen on iTunes, please consider rating and reviewing us! All music is royalty free and purchased thorough PremiumBeat.com and AudioBlocks

www.LetsTalkAboutTheWeather.org and www.EcoArtsFoundation.org Julia Levine is a playwright, creative collaborator and vegetarian. Planted in the New York City downtown theatre realm, she is on the Marketing team at HERE, the Producing team for the International Human Rights Art Festival, the organizing team for Climate Change Theatre Action, and writes for the blog series Artists & Climate Change. Julia creates new performance pieces as part of The Food Plays, an initiative she founded to raise questions about food, climate, and justice through theatre. Links mentioned The Food Plays on Facebook Book: Eating Animals by Jonathan Safran Foer     Play: UPROOT at "Here" by Julia Levine Climate Change Theatre Action website Climate Change Theatre Action on Facebook International Human Rights Art Festival Artists in Climate Change blog The Tent of Casually Observed Phenologies by artist James Leonard The Red Line Project by environmental artists Daron Gazetz Capitalism vs. the Environment Guest Contact information Julia Levine www.JuliaSLevine.com The Food Plays on Facebook Instagram Twitter Purchase the podcast’s namesake Eco Music album "Let’s Talk About The Weather" on iTunes or Bandcamp.

www.LetsTalkAboutTheWeather.org Chantal Bilodeau is a playwright and translator whose work focuses on the intersection of science, policy, culture, and climate change. She is the Artistic Director of The Arctic Cycle - an organization created to support the writing, development and production of eight plays that look at the social and environmental changes taking place in the eight countries of the Arctic - and the founder of the blog and international network Artists & Climate Change. She is a co-organizer of the biennial Climate Change Theatre Action, a worldwide series of readings and performances of short climate change plays presented in support of the United Nations COP meetings. Links mentioned The Arctic Cycle The Arctic Cycle on Facebook Artists and Climate Change Artists and Climate Change on Facebook Chantal's Contact information Chantal's website Chantal on Facebook Other Social Profiles: @cbilodeau1402, @TheArcticCycle, @ArtistsAndClimateChange