The reports gathered here document the implementation of the Cultural Adaptations Project which brought together leading cultural organisations and their innovative local partners from Belgium, Ireland, Scotland and Sweden. There were two main strands of the project: the development of adaptation strategies as part of new business models for cultural SMEs; and the embedded artist projects which placed artists within adaptation projects run by climate or sustainability organisations. The strands were realised through ongoing collaborative working between a cultural organisation, a sustainability organisation and an embedded artist in each of the four cities across the project span; and transnational meetings. The aim of the meetings was to facilitate mutual learning and sharing of progress between the project partners (combining meeting-type sessions with site visits), as well as to engage other cultural SMEs and climate/sustainability organisations working in each city in thinking about the interface between culture and climate change adaptation through half-day workshops combining talks/lectures and discussion activities.

In 2022, Creative Scotland published their Climate Emergency and Sustainability Plan which set out a programme of action for the agency to achieve the targets within the Climate Change Scotland Act. The implementation of the Plan amplifies the key role that culture and creativity already play in helping address the climate emergency, both in terms of the actions being taken and the ability for creative practice, in all its forms, to tell the story of the climate emergency, to influence and inspire others to take action. In 2024 Creative Scotland has published their first Annual Review of progress on the actions contained within the plan (2023/24), and also their organisational emissions (2022/23), Regularly Funded Organisations (RFO) emissions (2022/23) and examples of work they fund which deliver on their environmental sustainability funding criteria (2023/24). The report increases the visibility of the work the sector is undertaking as agents of transformational change but also delivers on one of the actions within the Plan to report progress annually.

ENCC has conducted research on transformative power of socio-cultural centres in close collaboration with their members. The aim of the research was to identify, develop, and amplify roles that align with and contribute to just sustainability transitions and are related to socio-cultural centres, which are uniquely positioned to play a pivotal role in steering these transitions in a manner that is impactful and lasting. Socio-cultural centres serve as vibrant hubs where culture, community, and sustainability converge. They possess the potential to act as catalysts for dialogue, knowledge sharing, and collective action, making them indispensable in addressing the multifaceted challenges confronting our global society. By employing collaborative action-led research involving socio-cultural centres across Europe, the organic emergence of these roles was co-created and facilitated aiming to provide actionable results.

With the goal of showing leadership from the cultural sector ahead of COP26, Season for Change was conceived as a UK- wide programme of culture and the arts, led by Artsadmin and Julie’s Bicycle, with the goal of responding to (and inspiring action on) climate change. Using Season for Change as a case study, this report by Briony Latter and Adam Corner offers a social science perspective on how cultural events seek to build public engagement with climate change. At the centre of this report is a ‘two-way question’: on the one hand, do the Season for Change commissions embody or represent principles of effective public engagement; and on the other hand, do the social/ psychological concepts that underpin public engagement make sense in this creative, cultural context?

This report explores the roles of arts and culture around COP26, the United Nations climate conference held in Glasgow in November 2021, and why COPs provide a unique context for arts and culture to work in. The report includes detailed case studies of some representative projects and offers tips and advice. This report was created by Lewis Coenen-Rowe, culture/SHIFT Producer at Creative Carbon Scotland, and researcher and artist Wallace Heim. It was commissioned by CreaTures (Creative Practices for Transformational Futures), a project investigating the power of creative practices to move the world towards socio-ecological sustainability.

The Act Green reports published in 2022 and 2023, and produced by Indigo along with partners, present the results of Act Green research, which was created to gain a greater understanding of cultural audience attitudes towards the role of cultural organisations in tackling the climate emergency. The survey was sent out by cultural organisations in the UK to their previous attenders in 2022 and 2023. Participating organisations included theatres, arts centres, festivals, touring companies, museums and galleries. Both reports show that audiences expect the cultural organisations they visit to reduce their own carbon emissions, facilitate conversations and inspire action in their communities.

Commissioned by Hivos under its Voices for Just Climate Action (VCA) programme, the study explores the power of art in climate justice advocacy. It recognises that while science and jargon are essential for understanding climate change, art plays a crucial role in communicating its urgency to diverse audiences. The report examines the ways in which art serves as a catalyst for social change, a platform for communication, and a means to emotionally engage people. It highlights the ability of art to bridge divides, break language barriers, and make climate change tangible. It also presents ten case studies and concludes with opportunities, challenges and recommendations to foster ‘artivism’ for climate justice. However, the report also acknowledges the challenges that artists face and the need for greater support and integration of artists into climate justice initiatives. By embracing art, climate justice movements can create innovative solutions and capture the attention of policymakers with unique communication approaches.

Istanbul Foundation for Culture and Arts (İKSV) has published its ninth report titled “Arts and Culture for Ecological Transformation” in the scope of its cultural policy studies. Drafted by Associate Professor Hande Paker, the report draws attention to the ecological crisis, which is one of the most urgent issues confronting humanity. It invites the world of arts and culture to ponder the issue together to construct creative change. The report discusses the climate emergency with respect to its social, political, economic and cultural aspects and focuses on the response of arts and culture actors for an ecological transformation. Presenting an analysis that makes a comprehensive assessment of ecological problems, the report emphasises the important role that the arts milieu can play towards transformation.

The Salzburg Global Seminar edition “Beyond Green: The Arts as a Catalyst for Sustainability “(February 19 to 24, 2016) took up the question of the arts’ role in advancing sustainability at international, national, and local levels. The goals of this session were to build on path-breaking initiatives that are advancing cross-sectoral links between arts and sustainability around the world, encourage bolder efforts, and recommend strategic approaches for taking innovative grassroots initiatives to scale for more significant, longer-term impact. Sixty arts-based practitioners and thinkers committed to promoting social, economic, and environmental sustainability gathered in Salzburg in February 2016. Participants from 27 different countries included artists, designers, architects, creative entrepreneurs, politicians and policymakers, environmentalists, urban planners, educators, scientists, game developers, philanthropists, scholars, and business leaders. Attendees represented a broad spectrum of cultural expression and artistic endeavour (including visual and performing arts, literature, cultural heritage, food, fashion, architecture, and design) and came from diverse arts organisations, including theatres, music organisations, museums, and cultural heritage groups, as well as business start-ups, academic institutions, national and international policymaking bodies, and advocacy organisations.

“Culture and Creative Sectors and Industries Driving Green Transition and Facing the Energy Crisis” is a brainstorming report published by Voices of Culture (a structured dialogue between the European Commission and the cultural sector). It recommends that the European Commission introduce new institutional forms of support and funding structures to empower culture and creative sectors and industries (CCSI) to do what it can do best: to break with tradition and expectation, break rules, habits, and practices, and replace them with new perspectives and forms. CCSI needs courageous, competent funding and policy enablement to offer the brave cultural interventions that a complex, multi-dimensional strategy such as the European Green Deal needs. The Brainstorming Report findings reveal a wealth of European initiatives to support the greening of CCSI, and present several recommendations to build on and extend the effectiveness of those initiatives. The report is aimed at both cultural practitioners on local and national levels and policymakers.

Reducing emissions from audience travel is a music industry-wide challenge. In a 2022 report, researchers Briony Latter and Adam Corner made recommendations for communicating more effectively with audiences on sustainable travel choices, and leveraging the cultural influence of events to create wider change. In 2023, working with five UK festival and venue partners, these ideas were trialled and tested in a project supported by the Calouste Gulbenkian Foundation. Researchers explored different approaches to messaging about sustainable audience travel that could be scaled up and used for music gigs, festivals and other events. Across the partnerships, results showed that messages led to increases in the use of shuttle buses, public transport and active travel, a reduction in car use, and an increase in social media engagement.

The “Climate Beacons Evaluation Report” documents the successes of the Climate Beacons project and shares knowledge and recommendations. Climate Beacons for COP26 was a pioneering Scotland-wide collaborative project initiated to inspire public engagement with climate change in the lead-up to and following COP26, the United Nations’ annual climate conference, which took place in Glasgow in 2021.

This report is a must-read for any funder who wishes to do more to address the climate emergency, and who wants to know where to start. It features practical ideas for use of grant giving, investments and convening power to address climate change today, even if this is not the core purpose of a foundation.

The Donmar Warehouse is a not-for-profit theatre in the UK. In 2021, Donmar appointed director, dramaturg and researcher Zoë Svendsen to address the development of creative artistic practice in theatre in the context of living through the rapidly accelerating crisis of global climate breakdown. The results were published in the form of an industry-facing report, orientated to the context of making theatre in the commercial and subsidised sectors in theatre buildings that commission plays and/or programme productions. The research was also built on the Theatre Green Book and the longstanding work undertaken by environment and arts consultancy Julie’s Bicycle, which it complements by developing the idea of “Climate Dramaturgy”, a holistic approach to theatre-making (across all aspects of theatre operations) fostering artistic and creative practice in relation to the context of climate crisis.

This mapping shows the growing diversity and number of networks that have embraced the mission to support and grow the development of the philanthropy ecosystem in the field of climate. The 21 organisations presented range from those solely dedicated to climate issues to more general networks that work in various areas. Each profile gives a flavour of the organisation or platform’s activities and goals. This mapping exercise is part of the activities of the Philanthropy Coalition for Climate, a group of foundations, philanthropy infrastructure organisations and other partners gathered around the aim to empower philanthropy to drive bold climate action and transformational change in Europe and beyond.

The research presented in this publication reflects and explores various aspects of climate justice, offers an overview of current literature and shares examples and practices from different contexts through a worldwide peer to peer consultation. IETM examined the changes in behaviour and practices which the performing arts sector can and should work towards, in order to take collective responsibility for the impact of greenhouse gas emissions. The exploration has led the network towards the concept of Climate Justice, an intersectional approach stating that green and fair transition cannot be achieved without addressing the inequalities and disparities in society and across the performing arts sector. The research presented drew from key takeaways and discussions within three regional focus groups that took place throughout 2023 in Southern Africa, Latin America and Asia. The authors are Jordi Baltà Portolés and Isabelle Van de Gejuchte. The publication is supported by a three-part podcast series covering the main themes and discussions drawn from the focus groups; this served as the main research skeleton for the publication.

This publication gives an overview of how Creative Europe Culture cooperation projects selected from 2014 to 2020 have addressed three political priorities of the European Commission: the European Green Deal, gender equality and a Europe fit for the digital age. The projects presented demonstrate how the cultural sector is already fully in line with the political priorities of the Commission, striving towards gender equality, environmental sustainability and digitalisation. The proposals concentrate on how artistic and cultural activities can offer space for the development of an empowered citizenship and equip the sector with the tools to implement innovative and critical approaches in order to tackle these issues.

Each year, Arts Council England and Julie’s Bicycle produce an “Environmental Responsibility Annual Report” which celebrates the successes of creative and cultural organisations in acting on national and international climate targets. The 2021/22 edition covers the National Portfolio Organisations (NPO) environmental data and narratives following the pandemic, as the creative and cultural sectors began to resume their day-to-day activities and welcome back visitors and audiences. The report highlights the benefits of consistent well-placed support, investment, and time by offering insights into the sector’s continuing commitment to environmental responsibility, and by understanding and reducing its environmental impact. The 2022/23 report also covers NPO’s environmental data and narrative for 2022/23, as well as Environmental reporting data for 2018-23. It offers insights into the creative and cultural sector’s continuing commitment to Environmental Responsibility, showing success stories and how organisations are understanding and reducing their environmental impact. As per previous years, the report highlights the benefits of consistent and well-placed support, investment, and time.

The Committee on Culture of the United Cities and Local Governments (UCLG) has been actively engaged in a dialogue on climate change that has emerged as a central concern on the global stage, bringing together heads of state, national and local governments, private entities, civil society organisations, and individual citizens, in order to address this pressing issue. Since adopting Agenda 21 for Culture in 2004, the Committee has advocated for a comprehensive, integrated approach to sustainable development,emphasising that efforts toward environmental sustainability, cultural development, economic growth, and social cohesion should be closely intertwined. By underscoring Culture as the fourth pillar of sustainable development, UCLG highlights the importance of cultural aspects and how these elements can mutually reinforce environmental preservation. This document was prepared by the Secretariat of the Committee on Culture of the UCLG to provide information and facilitate discussion about pertinent issues related to culture and sustainable cities.

This report, which culminates a year and a half of dedicated work, constitutes an integral component of the ambitious French Economic Transformation Plan (PTEF). Launched by The Shift Project in spring 2020, the PTEF represents a far-reaching research endeavour in various sectors to identify concrete measures for achieving carbon neutrality in France by 2050. The PTEF’s methodology hinges on analysing tangible data, encompassing energy consumption, meal servings, and fleet sizes. A systemic approach unites approximately ten sectors to pinpoint the decarbonisation strategies needed for the upcoming five-year period (2022 – 2027) and the overarching 2050 target. In response to the lack of physical data and in order to formulate practical measures that take into consideration on-the-ground realities and cultural diversity, this report incorporates insights from nearly a hundred interviews with professionals from the cultural sector. As a result of substantial collective engagement within the sector, this publication outlines the critical energy and climate challenges confronting the sector. Additionally, it highlights decarbonisation pathways commencing in 2022 to bolster resilience. The core objective of this report centres on decarbonising the cultural sector, thus ensuring its adaptability in the face of future energy and climate disruptions. It is an invaluable guide for industry professionals, comprehensively evaluating the climate impact and fossil fuel dependence within French culture. This report is the fruit of a collaborative effort orchestrated by Samuel Valensi, initiated by Anaïs Roesch, and supported by Fanny Valembois, Juliette Vigoureux, Valérie Bonnard, and Jean-Noël Geist. Héloïse Lesimple contributed to its development, with Erwan Proto providing input on costings. This project also benefited from the backing of numerous cultural sector professionals who voluntarily contributed to its writing and review.

Ecoprod wishes to give players in the audiovisual sector a better comprehension of the environmental impact of their activities. This study reveals the economic, regulatory and climatic need for the audiovisual sector to adapt to environmental stakes. Research deals with the comprehension of such issues by connecting them with technological, economic, and regulatory evolutions, aiming to determine their potential economic and structural consequences. Alongside a macro analysis of the environmental impact of this sector, the novelty of this study is also that it connects field data with – for example – a process to directly measure an existing flux, to offer an improved granularity of the impact of greenhouse gases and operational facts that are liable to enlighten professionals in this field.

The 6th edition of the research into environmental funding by European foundations is the most comprehensive report to date on environmental philanthropy in Europe. The report is based on 2021 grants data from 126 of the largest environmental foundations in Europe. The mapping analyses the 8,518 environmental grants made in 2021 by these foundations, worth a combined 1.6 billion euros. This is more than double the value of the grants analysed in the previous edition of this research. The report covers topics ranging from thematic focus of environmental grantmaking to geographical distribution and to approaches to change and environmental discourses taken by funders, among others. It concludes with issues for foundations to consider as the world reckons with the current environmental and climate crisis.

In the rapidly evolving landscape of arts and culture driven by digital technology, which has ushered in many creative avenues and enhanced audience engagement, this briefing report explores digital transformation and its associated environmental and social costs. It seeks to explore how the cultural community can harness the vast potential of digital transformation while maintaining a clear understanding of the consequences of our choices. This briefing report delves into various aspects, including environmental considerations and the carbon footprint of digital technology. It examines data and projections regarding energy consumption in the digital industry and showcases exemplary case studies from artists and organisations. The report offers recommendations for strategising and quantifying the impact of digital transformation. Produced by Julie’s Bicycle, this briefing paper draws upon fresh data, insights, and illustrative case studies of best practices. Its purpose is to support the arts and culture sector as it navigates the environmental implications and opportunities emerging within the digital landscape.

Over several years, Julie’s Bicycle and Studio Olafur Eliasson have engaged in a collaborative effort to assess the environmental repercussions of various art installations, including Waterfall at Tate Modern in 2019, Ice Watch at Tate Modern and Bloomberg London in 2018, and an earlier iteration of Ice Watch during the 2015 global climate talks in Paris. This report serves to illuminate the climate change impact of the Earth Speakr project. It specifically examines the project’s physical and digital implications from October 2019 to December 2020, encompassing its developmental phase and the initial six months of its existence. Earth Speakr is a digital platform that invites young people to speak up for the planet and the future they want and to make their messages heard. The artwork was co-created with children and young people. It consists of a playful app, an interactive website, an AR (augmented reality) experience, and audiovisual presentations in the 24 official languages of the European Union. Olafur Eliasson created this artwork on the occasion of the German Presidency of the Council of the European Union 2020 from July to December 2020 with the support of the German Federal Foreign Office.

This report and recommendations – based on roundtable discussions with specialists from across the music industry, a small survey of festival goers at Shambala, and grounded in research on public engagement with climate change – offer a new take on the issue of music festival audience’s travel carbon footprint, i.e. how to positively influence the travel choices of live music audiences. The report is designed as a practical resource for those working on live music and sustainability, and seeks to better engage audiences in making travel choices. Reducing the carbon footprint of live events (including from audience travel) is important in itself, and there is much that can and should be done to reduce emissions in this way. The recommendations in this report focus not only on evidence-based approaches to positively influence audience travel choices in and around live events, but also on broader audience travel choices.

This report is a summary of the Scottish cultural sector’s environmental reporting for 2022–2023. Each year, Creative Carbon Scotland asks 131 cultural organisations to report on their carbon emissions, carbon management plans and climate adaptation plans. These organisations are a combination of the Creative Scotland Regularly Funded Organisations (RFOs), City of Edinburgh Council (CEC) Culture Service funded organisations and members of the Festivals Edinburgh Sustainability Working Group (ESWG). In 2022–2023, the reporting was categorically expanded so that usual energy and water consumption, and travel and waste, were supplemented by data on digital emissions, procurement, governance, influence, adaptation and climate justice. All data is supported by practical examples in the form of case studies.

The European Commission published the study “Greening the Creative Europe programme” to help achieve its objective of fighting climate change and to support its efforts to make the Creative Europe Programme more environmentally-friendly. Cultural and creative activities can support the transition to a green economy by promoting sustainability and environmental awareness. At the same time, the programme itself will strive for carbon neutrality by promoting sustainable means of transportation and environmentally responsible behaviours. The authors of the study worked to elaborate guidance for applicants and beneficiaries, developing recommendations for monitoring and evaluating the green aspects of project proposals, and collecting good practices that support awareness-raising about the need for a green transition in the cultural and creative sectors, while also documenting progress under the previous Creative Europe programme (2014–2020) in terms of projects that pursued sustainability goals. The recommendations are published in three documents:

• The Good Environmental Practices Guide
• The Creative Europe Programme Greening Strategy
• The Creative Europe Monitoring Guide for Programme Greening

This report gives an overview of how the creative and cultural sector can contribute to the European Commission’s efforts to mainstream climate action through the Creative Europe Programme.

Heritage in Climate Planning (HiCLIP) is a project undertaken within the Climate Heritage Network to support mainstreaming the cultural sector in climate planning. Cultural resources can be man-made artistic artefacts and material heritage (historic buildings, landscapes, museums, etc.) significant to a community, nation, or humanity. They also include intangible elements such as living cultural expressions, traditions, knowledge, and skills that provide humans meaningful linkages with their surroundings, whether urban, rural, or natural. This report presents the results of a pilot project that assessed the governance treatment of cultural resources and the role given to the cultural sector in nine climate plans from eight countries covering national, regional, and municipal levels of governance. It also highlights potential areas for culture and heritage to become more effective in Climate Action policy and planning. The multidisciplinary research process and practices presented in this report identify some of the cognitive biases at the base of sector planning that may prevent efficient collaborations.

The Independent Music Companies Association (IMPALA) released its first membership “Carbon Calculator Report” in 2022. The report presents insights gleaned from data submitted by independent labels to the IMPALA Carbon Calculator since April 2022. This data made it possible to approximate the average carbon footprint of labels per physical unit released for those who have utilised the tool. The report highlights the common sources of emissions for independent labels, offering valuable statistics that paint a vivid picture of their environmental footprint. It includes illuminating case studies and practical tips to guide labels in taking further environmental action.

The IETM Focus Luxembourg Meeting 2023, organised in partnership with Kultur | lx – Arts Council Luxembourg, and entitled “Lost in Transition?”, addressed the topic of the climate crisis and the role of the performing arts sector in advancing the world’s transition to a greener and more just world. This report captures the essence of the discussions and outlines the conclusions reached during the various sessions, which were held in six working groups over two days and were facilitated by seven performing arts professionals. The report also gives a first glance into IETM’s two-fold green vision: that of a green art sector and that of a green cultural policy.

Developed by researchers at UAL, the report seeks to map out new content/programming across the British arts and culture sector, that expresses symptoms and consequences of the climate crisis, and that identifies possible solutions at the level of operational change (for example improving carbon measurement, achieving net zero targets and developing new skill sets) whilst remaining deeply personal and emotional. Thematically structured, the report includes suggestions of best practices, and links to practical resources for cultural organisations and activists across the world. It will be a key resource for the British Council as the Council consolidates and expands its arts and climate portfolio.

This report was conceived as a tool for museums to use in developing their advocacy capacity as well as their potential to contribute to the sustainable transition of Europe. The potential for museums to contribute to the sustainable transition is not limited to efficient use of energy or material consumption, as they offer trusted spaces for public dialogue, continued education and social inclusion. Considering the present needs of the sector, NEMO presents summaries of relevant national sustainability and climate policies, highlighting those that offer implications for museums and the wider cultural heritage sector. The report includes a step-by-step guide to evaluate an institution’s capacities, communicate with policymakers, and advocate for the support needed to ensure its sustainable transition.

The report is based on a survey among museums and museum professionals in Europe, illuminating the potential of museums to contribute to the sustainable transition of Europe. Results and recommendations of the survey are directed to the sector and stakeholders at all levels. In order to develop the full potential of museums for sustainable transition, it is key to understanding where museums most need support, and where their power and opportunity lie. The themes included in this survey were drafted within the scope of ecological impact, relating to the following thematic areas: Strategic Relevance, Infrastructure and Building, Funding, Risk Assessment, Expertise and Skills, Work Methods and Guiding Principles, Public Actions, Networking and Advocacy, General Information. The findings of the survey were translated into recommendations aimed to support the sector’s capacity to more effectively contribute to Europe’s sustainable transition.

Artsadmin and Julie’s Bicycle published a report on the success of Season for Change, a pioneering UK-wide cultural programme, designed to inspire urgent and inclusive action on climate change. This report shows the power of the arts to engage audiences in conversations about the climate emergency and how it has influenced people’s behavioural change towards the environment, with a particularly profound impact on communities. The report tells us that exploring climate change through arts programming is an effective way of engaging people in the debate, with Season for Change engaging 231,000 people and over 3,000 artists, arts professionals and scientists in art commissions and conversations about climate.

The third edition of “Re|Shaping Policies for Creativity” is a compendium of data concerning culture and creation. It serves as a distinctive tool for examining these issues on both a global and local scale. This report assesses the geographical, gender, and digital disparities that hinder cultural diversity, shedding light on the ramifications of persistent imbalances in the circulation of cultural goods and services. It highlights that developed countries’ adoption of preferential treatment measures, as recommended in the 2005 Convention, remains an exception. By monitoring the progress and execution of the 2005 Convention’s objectives across its 151 parties, this report informs public policies and inspires them to aspire to greater heights. It underscores the significance of diversity and creativity as catalysts for innovation in sustainable societies. In Chapter 8 of the report, titled “Culture and Sustainable Development: A Still Untapped Potential,” authored by Yarri Kamara, a detailed analysis aligns with the third goal of the 2005 Convention, which aims to integrate culture into sustainable development frameworks.

In 2019, Seas of the Outer Hebrides (SEASOH) joined forces with Creative Carbon Scotland in a creative partnership to revolutionise public engagement and enhance project delivery. SEASOH is a pivotal component of the broader cross-border environmental initiative known as Marine Protected Areas Management and Monitoring (MarPAMM) which is dedicated to improving the monitoring and management of protected marine species and habitats in Northern Ireland, Ireland, and Western Scotland. This report delves into the pivotal findings and insights derived from this collaborative endeavour, showcasing the advantages of incorporating creative approaches within public engagement. It offers reflections on the collaborative nature of interdisciplinary work.

Julie’s Bicycle and the International Federation of Arts Councils and Culture Agencies (IFACCA) have collaboratively developed resources to enlighten global art leaders about the evolving landscape of policies and programmes related to culture and environmental sustainability and how these developments impact national arts and cultural organisations. “D’Art Report 34b” is the culmination of surveys and interviews conducted by Julie’s Bicycle and IFACCA between November 2013 and May 2014, augmented by extensive desk-based research. It follows the release of “D’Art Report 34“ in 2009, a joint effort by IFACCA and Arts Council England that showcased exemplary practices in the arts and sustainability. “D’Art Report 34b” offers a glimpse into the extent of engagement among national policymakers in environmental sustainability, focusing primarily on policies rather than artistic content or broader arts practices. The report encompasses global best practices and presents recommendations for amplifying the integration of environmental sustainability within cultural policymaking and action.

Responding to the challenge of rebuilding a resilient, sustainable, beautiful and more socially inclusive Europe, while facing a climate crisis and a pandemic, the New European Bauhaus was launched as a comprehensive programme to break down silos and go beyond innovation within specific sectors. In its efforts to foster collaboration between arts, technology, science, social and cultural enterprises, citizens and institutions, the New European Bauhaus wishes to be open to insights, ideas and constructive criticism. This study combines knowledge gleaned from a literature review of the most up to date publications dealing with innovation in the technology and arts sectors with understanding gained from interviews with players from a diverse range of industries, professional sectors, institutions and societal groups.

“The Missing Pillar – Culture’s Contribution to the UN Sustainable Development Goals” explores the place of culture in the SDGs through research, policy, and practice. It analyses where arts and culture as a sector and as a creative process can fit within some goals, including their targets and indicators. British Council programmes provide examples of cultural initiatives around the world, tackling a variety of issues and cutting across such sectors, such as sustainable fashion, creative inclusion, and cultural heritage protection. The recommendations from the report advocate for the SDGs to be more accessible to the cultural sector, for them to be embedded in the delivery of cultural initiatives based on local needs, and for their impact to be measured accordingly. The report recommends an inclusive approach involving communities and local actors in order to understand cross-cutting needs and ecosystems to ensure sustainability. It also calls for a focus on digital technologies to raise awareness and a more precise response to the climate emergency from the cultural sector. This report is a tool to increase understanding of the link between arts and culture and sustainable development.

Since 2016, Reimagining the Civic Commons has been transforming civic assets from places of untapped potential to places that bridge differences, create increased and more equitably shared prosperity, and contribute solutions to some of the most pressing challenges of the United States. The initiative, a collaboration of national foundations including Kresge and civic leaders, has supported cities to transform public spaces like parks, trails, libraries and community centres, and to change what is expected of them. This report showcases six years of innovation, collaboration and impact in the initial five cities: Chicago, Detroit, Memphis, Philadelphia and Akron, Ohio.

“The Show Must Go On” was initially launched in 2015, followed by an updated edition in 2020. These reports provide a comprehensive overview of the entertainment industry, presenting the latest industry statistics, trends, and best practices. They offer insights into the sector’s sustainability efforts, advancements in technology and materials, and operational practices aimed at reducing environmental impact. The primary chapters of these reports, authored by subject matter experts, explore impact and solutions within the following domains: 

Edition 2015: Energy, Waste, Audience Travel and Transport, Water, Food, Carbon Balancing and positive investments 

Edition 2020: Governance, Resources and Waste, Water, Food, Energy, Travel and Transport.

This report provides an in-depth examination of place policy within the Scottish context, offering a comprehensive overview of current cultural organisations involved in place-making. It includes case studies highlighting three socially engaged practices and their responsiveness to local themes while advancing critical eco-social agendas.

Creative Carbon Scotland commissioned research into the specific impact of climate change for visual arts organisations, and undertook analysis and interviews of organisations and partners – across exhibition, education, outreach, and support – to understand the impact on business models, operational capacity, and even health and safety.
The report explores the attitudes of organisations in the sector towards climate change and adaptation. Given the unique nature of many arts organisations, it also aims to identify the impact and capabilities of the sector to adapt. The main body of the report is divided into three sections. The Methodology section outlines the approach and process of gathering information. The Discussion section is the result of interviews carried out with stakeholders in the sector as part of the project. The Recommendations section aims to develop insights gained throughout those interviews to explain the impact on visual arts organisations and make recommendations on how to become more resilient.