1. Introduction and Background for the Storytelling

In 1992, States around the world, (State Parties),  adopted the United Nations Framework Convention for Climate Change where they agreed to the reduction of greenhouse gas emissions.[i] Before the adoption of the Convention, the United Nations had recognized the need for scientific information to be made available and shared and, in 1988, had established the Intergovernmental Panel on Climate Change to review the state of existing knowledge on environmental, economic, and social aspects of climate change (IPCC).

The ICPP issued its first report in 1990. This report provided scientific evidence of climate change.^[ii] Since that time, the IPCC has produced several reports, each one providing information outlining the urgency of responding to climate change and outlining the matters which need to be addressed.^[iii] In 2015, at the COP 21 meeting of the Council of Parties (COP), State Parties agreed to hold the increase of global average temperatures to well below 2℃ above pre-industrial levels and pursue efforts to limit the temperature increase to 1.5 ℃. [iv] These International Treaties have set the stage for States to follow the terms of the Paris Agreement to limit greenhouse gas emissions and global average temperatures above pre-industrial levels.

The Articles of the Paris Agreement set out the requirements to meet these objectives. Also, of importance for meeting these objectives is the role of Non-State Actors,[v] who although not Parties to the Instruments, are recognized as important players to reach these objectives. This article looks at communication methods of two Non-State Actors, the creative arts community, and conflict management providers that provide mediation, and collaboration services. It is shown that both groups play a role in advancing climate action, alone or working together.

2. Using the Storytelling Method of the Talanoa Dialogue Platform for the Talanoa Call for Action

The storytelling language of the creative arts and the conflict management providers of mediation and collaboration communicate methods that assist in advancing the Treaty objectives required to be fulfilled by State Parties. The Articles of the Convention and Paris Agreement, show that, while they are written for the Parties, their scope is recognized to include Non-State Actors.

The Preamble to the Convention indicates the parties have acknowledged the global nature of climate change and have agreed to cooperate and participate in fulfilling the terms of the Convention. To meet these terms, Non-State Actors are important. This is recognized in the Talanoa Call for Action, which is addressed to all people requesting them to engage in advancing the principles of the Paris Agreement.[vi] To assist in making this call effective, the UN is communicating this information through YouTube and Facebook platforms.[vii]

Looking at the Convention Articles, the principles in Article 3 are to protect the climate system for the benefit of present and future generations of humankind. The terms of this Article and the commitments set out in Article 4 to achieve this purpose, show the Parties have the role of taking steps to promote the overall objective of reduction of greenhouse gas emissions. The instruments do not place the onus on “Non-State Actors” to take steps to reduce greenhouse gas emissions but it is recognized that Non-State Actors play an important role.

The most important Articles for the involvement of the creative arts and mediation and collaborative conflict management providers are found in Articles 6, and 4. These articles establish the obligation of the Parties to promote and cooperate in education, training, and public awareness related to climate change. Article 4(1) (i) indicates the Parties are to “promote and cooperate in education, training and public awareness related to climate change and encourage the widest participation in this process, including that of non-governmental organizations.”  The Article goes on to indicate the Parties are to communicate their implementation with this and other aspects of Article 4 to the Conference of Parties following terms set out in Article 12.

Also recognizing the role of Non-State Actors, the UNFCCC has developed a platform, NAZCA (Non-State Actors Zone for Climate Action), where Non-State Actors can set out their commitment to climate change action.[viii]  A map has been developed showing actions being taken by Non-State Actors. A review of NAZCA shows climate change actions related to the creative arts such as protecting cultural and natural heritage from climate change. While the NAZCA map shows this by looking at State Parties, it involves Non-State Actors such as museums and galleries.

Academic articles also recognize the importance of Non-State Actors for climate change initiatives. An example that Non-State Actors are being encouraged to work with Parties to advance climate action is shown by the UN 2019 Summit which used the theme, A Race We Can Win,  to reach out to Non-State Actors to move forward with the climate change commitment.[ix]

As indicated, the UNFCCC has media platforms to distribute messages about climate change such as YouTube and Facebook as well as traditional methods of distribution. An example is provided by the UNFCCC social media virtual contacts used for COP25. [x]

Articles have been written about the engagement of Non-State Actors to promote the terms of the Paris Agreement showing that from corporations to cities, Non-State Actors play an important role. For matters being investigated in this work, Benjamin Richardson’s book The Art of Environmental Law: Governing the Aesthetics, provides relevant material about what the creatives arts can contribute not only to objectives set out in the UNFCCC and Paris Agreement but in reshaping the nature of legal principles to be applied to climate change, mitigation, and adaptability. [xi]

As previously indicated, further recognition of the inclusion of the creative arts and peaceful dispute management providers as Non-State Actors is provided by the Talanoa Call for Action which asks all people to become engaged in advancing the principles of the Paris Agreement.[xii] For both the creative arts community and the community of Peaceful Dispute Resolution professionals, the avenues are open to contributing to climate action by education, training, and public awareness initiatives. Media to facilitate this contribution includes educational programs, art forms such as literature, film, and music, and other arts. Given these observations about the Articles of the UNFCCC, the Paris Agreement is reviewed to determine if its Articles follow the same trajectory.

3. The Paris Agreement

As both the UNFCCC and Paris Agreement are international instruments under the Vienna Convention on the Law of Treaties and given their common objectives, they work together. Thus, one sees the same terminology used in both instruments.

The Preamble to the Agreement uses the same words as those of Article 6 of the Convention, affirming the importance of education, training, public awareness regarding climate change, and for the sharing of information and cooperation. The text of the Agreement shows it supports the objectives of the UNFCCC to combat climate change by limiting average global temperature increases and directing the Parties to develop mechanisms for capacity building, mitigation, and adaptation for climate change.

The Agreement provides a message to the Parties and Non- State Actors of the task to be undertaken by the Agreement, with its Articles providing details for the implementation of this task.

 4. Building A Model for Storytelling for Climate Change Conflict using Peaceful Dispute Management

Provisions under the Charter of the United Nations set out methods for resolution of international disputes. Article 33 of Chapter VI of the Charter  provides the following as recommended dispute resolution methods:

Article 33

The parties to any dispute, the continuance of which is likely to endanger the maintenance of international peace and security, shall, first of all, seek a solution by negotiation, inquiry, mediation, conciliation, arbitration, judicial settlement, resort to regional agencies or arrangements, or other peaceful means of their own choice.

The Security Council shall, when it deems necessary, call upon the parties to settle their dispute by such means.[xiii]

A UN report indicates that UN Secretary-General, Antonio Guterres, has spoken to the Security Council indicating that conflict prevention and mediation are tools to bring peace to regions in conflict.[xiv] In a  second report, he indicates that “…as conflicts become more complex, mediation is no longer an option; it is a necessity.”[xv]  Research shows that the conflicts he was referring to involved land disputes and the violence which accompanied these disputes.[xvi] Also illustrating UN reliance on the tool of meditation to assist those involved in natural, resource climate change disputes, the UN has produced material to encourage dialogue.[xvii]

As well, the United Nations Peacemaker organization has developed mediation resources that can be used for conflicts arising from climate change. The site that sets out these resources refers to its mandate under Article 33 of the Charter of the United Nations. The Article outlines methods for dispute resolution, one of which is mediation. The site is comprehensive,  providing a database of peace agreements, information about its mediation support unit, its resources, and its mediation network. As part of this initiative, the Secretary General’s High-Level Advisory Board on Mediation has been established.[xviii] This Board works with regional players, non-governmental groups, and others around the world who are involved in providing mediation service. To assist those involved in mediation work, the UN has produced a handbook, UN Guidance for Effective Mediation. As well, the Department of Political and Peacebuilding Affairs (DPPA) has established a Standby Team of Senior Mediators administered by the Mediation Support Unit, (MSU),  part of the Policy and Mediation Division (PMD). [xix]  A report generated in 2019 indicates the services of this group are available, inter alia, to United Nations envoys, political and peacekeeping missions and country teams as well as regional organizations and UN partners. [xx] UN arrangements outlined do not preclude the parties involved in climate change disputes from choosing a different form of conflict resolution method they consider appropriate for their situation. This is shown in legal articles written about the use of litigation,[xxi] arbitration, [xxii] collaboration,[xxiii]  and negotiation.[xxiv]

Antonio Guterres’ comment that mediation is not an option but a necessity for dealing with climate change disputes, causes one to review why the UN Secretary-General considers mediation a useful method for dealing with climate change disputes. An article, written by mediator Kenneth Cloke in 2009, Conflict, Climate Change, and Environmental Catastrophe: How Mediators Can Help Save the Planet, explains why.

Cloke wrote that this is a global problem facing countries of the world. He referred to the need to respect diversity, indicating that no one nation or group could deal with the problem on its own. He recognized that international collaborative efforts would be required to deal with the problems that emerged.  He outlined it to be necessary to address social, economic, and political problems and seek methods for better communication and dispute resolution. [xxv]

 He wrote again on this topic in 2013, in his book, The Dance of Opposites, where he devotes a chapter to show how mediation can be used to help conflicts arising from climate change impact. He has also produced a training manual to provide the skills required for mediation which he invites people to share. [xxvi]  In The Dance of Opposites, he writes that people need,

(…) better ways of communication with each other, expanded skills for open dialogue, and better techniques for solving problems, negotiating collaboratively, and resolving disputes without warfare, coercion, and other adversarial methods. [xxvii]

He advocates that mediation can make a difference in handling climate conflicts, writing,

[t]he good news is that as our problems have multiplied, so has our social and technological ability to solve them. We have vastly increased our scientific and technological capabilities in recent years, and have also enormously improved our creative problem solving, public dialogue, conflict coaching, collaborative negotiation, prejudice reduction, and bias awareness, mediation conflict resolution system design, and similar methods. And it is precisely these skills that we now need to ‘save the planet. [xxviii]

Kenneth Cloke is not alone in providing training and advocating the use of mediation to handle climate change conflict. In an article published in Pepperdine Law Journal, the breadth of mediation possibilities for conflicts arising from climate change is canvassed.[xxix]

The literature review conducted for this article shows several books and articles have been written regarding the use of mediation to deal with environmental and climate change matters. While it is not possible to review all materials, two additional citations are provided to show how mediation is recognized as a method to provide ways to peacefully discuss stresses happening as the world is being reshaped by climate change. The first was presented at the Oslo Forum and provides information about the types of conflicts involved, such as water and agriculture, and methods that can be used to assist with a resolution to avoid armed conflict. Given that  Oslo Forum hosts retreats of international mediators and decision-makers for international peacemaking, this article provides useful information for current mediation and collaborative practices taking place globally.[xxx] The second article, written by leading U.K mediator, John Sturrock and presented at the International Mediation Symposium in Salzberg in 2019, shows the situation being faced in the 21^st century and sets out what is required to address the problems.[xxxi] The importance of empathy is one of the elements recognized as important to success in mediations, this concept possibly opening the door to the use of methods of the creative arts for mediators working with climate change parties in conflict.

These materials,  the UN report on sustainable development,[xxxii] and the UN Secretary General’s comments show that climate change is not a standalone issue. The Sustainable Development Goals show the complexity of areas where the creative arts can contribute. There is a vast array of creative art projects with which Non-Party Actors can respond to the UN’s seventeen sustainable development goals. To illustrate this, a report has been prepared to assess the role of culture over the first four-year period after the Paris Agreement and to show what culture will contribute to the SDG for 2030.[xxxiii]

5. Introducing the Creative Arts to the Story.[xxxiv]

After his article, Conflict, Climate Change, and Environmental Catastrophe: How Mediators Can Help Save the Planet, Kenneth Cloke indicated that what appears to be lacking is people’s realization that they can make a difference to environmental problems. He ends his article referring to the words of the surrealist artist, Andre Breton, who, employing art and literary metaphors, asked: “What are we waiting for?” [xxxv]

Six years later, in 2015,  world leaders acknowledged the climate crisis and set up a process, under the Paris Agreement, to deal with the climate change issue. Subsequently, one of the Parties, the United States, withdrew from the Agreement, and, as illustrated at COP25, Party States continue to disagree over interpretation and the degree of action for Articles set out in the Agreement.[xxxvi] Despite this, actions are being advanced by the States, and contribution to the objectives of the Agreement are being made by State and Non-State Actors.

This article looks at responses of the creative arts community and their involvement on their own or with other disciplines including conflict management providers. In this regard, it is recognized that the creative arts community has a variety of methods by which it can address the matter of climate change awareness, education, and response.

The question of whether the creative arts can raise awareness of climate change was conducted at an event, ARTCOP21, a global art festival that took place at the same time as COP21. [xxxvii] An academic article about the study shows that 874 questionnaire responses to 37 art projects related to climate change were presented to participants. This study investigated whether activist art has a stimulating psychological effect on its spectators.  The research team concluded that while dystopian art can create attention, hopeful works have more potential for resulting in action by viewers of the artwork. [xxxviii]

Other academic work supports the conclusion that artists are involved in seeking climate change solutions. Research shows art organizations are engaged in community responses to address climate change impacts and artists are working with other disciplines to address ecological and climate change matters.[xxxix]  One example is artists who are collaborating with city designers and architects to develop urban communities.  Manchester, England is one of the cities where such work has been undertaken to create more livable cities.

Similar research shows projects where artists are working with their communities to address the effects of environmental problems and climate change. One example is a  community project to preserve a river system, the activities of which project required community agreement and collaboration.  Another community initiative in Miami, Florida where artists gather to address climate change problems in the community, found collaboration to be beneficial in addressing climate change objectives.[xl]

Further material illustrates the need for a shift in thinking about how to respond to environmental and climate change issues. This is shown by environmental activist, Bill McKibben, who published an article in 2008 writing “…the problem ‘of the environment’ needs to go from ‘a problem’ to some other category. Instead of being one issue on a checklist, it will become a lens through which we survey the world. [xli]

Eleven years later, an offsite art project during  COP25, showed McKibben to be correct in seeking a lens from which people could view the relationship between the climate, the natural world, and people. A mural at the offsite COP25 project showed the “eye of Planet Earth with the Amazon rainforest as its pupil. The press release indicated this was to pay homage to the official COP25 host country, Chile, and that the mural shone a light on the opportunity in addressing natural forest loss as a pathway to climate stability, habitat conservation, and ecosystem preservation. [xlii] Will this lens receive sufficient attention to have an impact on climate change action?

6.Contributions to the Story by Conflict Resolution Providers

Academic writers conclude that Non-State Actors are important for climate politics and engaging in collaborative projects with the UN and other Non-State Actors.[xliii] This has also been recognized by the UNFCCC Secretariat with its invitation to develop partnerships, collaboration, and interdisciplinary activities to promote climate action. This provides an opportunity for artists and peaceful dispute resolution providers independently or jointly to share their work at COP events. [xliv]

An example of this type of activity was a presentation at COP25 by communications academic and professional mediator, Gregg Walker, on the topic of “Storytelling as Environmental Communication.” [xlv]  In this presentation, the material was presented on the theory and practice of storytelling as a  method to convey environmental and climate change messages. The presentation responded to the Talanoa Call for Action,[xlvi] and the ambition it is generating.[xlvii]

Walker explained that climate change gives rise to multi-faceted issues. This is recognized by the UN in its Sustainable Development Goals.[xlviii]  He commented that “stories can work with chaos, complexity, and controversy,” and referred to the communication theory of the narrative paradigm set out by American academic Walter Fisher.[xlix]  This theory indicates that communication is based on storytelling and reporting events. It is said that storytelling uses mutually understood symbols, signs, or other methods of interaction from one person or group to another. Fisher’s position is that humans participate as storytellers and observers of narratives and share information. The narrative paradigm considers stories more persuasive than arguments, a theory advanced by Fisher as an alternative to the rational world paradigm which was considered not to provide effective methods to explain issues. Fisher writes that humans relate to the world through stories and accept those that match their values and beliefs and make choices about the stories they are told.

Walker’s presentation supports what is being reviewed in this article in two ways. First, it supports that storytelling is a useful communication tool for climate change.  Second, it recognizes the method of storytelling can take different forms, such as symbols, visual art, and other methods of communicating messages from one person to another. This material supports that climate change storytelling may be accomplished by using different forms of creative arts such as music, theatre, literature. This article provides examples of storytelling using the language of the creative arts to advance the objectives of the UNFCCC and Paris Agreement.

Another approach to communication of methods for advancing climate change is found in the work of English academic, Julie Doyle, in her book, Mediating Climate Change. [l] Although the book was published before the Paris Agreement, it addresses how the creative arts contribute to the issue of climate change.

She provides information about methods for engaging the public to recognize and understand climate change. She reviews the importance of images in conveying messages about climate change and seeks to identify ways that climate change can be made important to people. She is critical of the use of sole and large visual images used to depict the impact of climate change. In her critique, she indicates,

[h]istorically, the visual communication of climate change in popular media culture has tended to focus upon, and prioritize photographic and film documentation of climate impacts, which have been criticized for their disempowering and disengaging effects (Doyle 2007, O’Neill and Nicholson-Cole 2009). Existing virtual icons of climate change – the polar bear, melted glaciers, flooded urban areas, polar ice – have become so ambiguous that they do little to foster a more active or embodied engagement with this issue.

Her concern is that mainstream media does not bring the matter of climate change close enough to the people to have an impact.  She continues her critique, writing that “[s]uch figurations can lead to a sense of disconnect from our environment (s) and from the issue of climate change, which is rendered distant and future, rather than immediate present.” [li]

Doyle’s objective is to bring art close to people and inspire climate action. This is shown in one of the chapters in her book, Imaginative Engagements: Critical Reflections on Visual Arts and Climate Change, where she sets out that,

[i]f climate change is not merely to provide ‘art with a new narrative’ (RSA Arts and Ecology 2010), then collaborative projects between artists and different disciplines or groups of people may facilitate more meaningful and diverse cultural responses to climate change, moving images of climate change from the obvious to help facilitate more meaningful, present and human-centered responses to climate change. Collaboration can be challenging but in their very process are the means through which new knowledge and understanding is created. Art needs to help open up new spaces of viewing and new modes of understanding.[lii]

This comment provides an avenue for people using the creative arts to work with those from other disciplines to develop meaningful responses to climate change. This can be done either by single or interdisciplinary work. From books, articles, and UNFCCC materials reviewed, messages being communicated about climate change show artists and people from other disciplines working together. The  25 X 25 graphic art exhibition at COP25 by What Can Design Do, is one example.[liii]

Also relevant to this article is how this information is being communicated by written material such as poetry, theatre, and using the media of digital technology.[liv] The Non-State actors reviewed for this article have several methods by which they can communicate climate change messages.

Another example of changes in the manner of communication is found in the discipline of law that is beginning to reflect ecological and climate change matters. The academic work of Fr. Thomas Berry who developed the concepts of earth jurisprudence and wild law mark this change, His work incorporates the creative art of poetry as well as indigenous concepts.[lv] In an article about Berry’s earth-based legal philosophy, author Cashman provides information about how the creative art of poetry shaped Berry’s theories. He writes that Berry’s final book,  The Great Work,proposed a shift from a human-centered system, which Berry indicated has devastated the world, to a system of earth-centered norms.[lvi]

Research shows that  Berry considered storytelling essential to communicating ideas about how human-centered historical events have caused an ecological threat to the planet.[lvii]  In another of Berry’s works, New Story, he deals with the transition humans are experiencing from climate changes in the 21^st century.[lviii] Berry’s work illustrates that legal theories are changing to incorporate earth-based rather than human-centered ideas.

Reviewing matters from the perspective of the creative arts, research shows that norms are also changing. For example, an article on the aesthetics of art, by art historian, Timothy Luke, sets out how the arts are reflecting environmental concerns. Luke writes that

[t]he destruction of nature begins with the original human desire to control the environment. Yet, once this greed for power and possession develops, the commercialization of art in the design salons and artistic studios of every individual imagination mobilized by the market constantly stimulates individuals to always desire more. [lix]

Luke sets out methods by which artists can attack and change existing norms on the aesthetic value of the arts both with attacks on the idea of art consumption and the waste involved in the production and distribution of art. His article recognizes it will be a challenge for the arts community to make changes in response to climate change.

There is evidence that artists have risen to Luke’s challenge. In an article, Raising the temperature: the arts on a warming planet the authors write that art initiatives show co-creation and co-design between artists, scientists, and communities in developing knowledge and creating solutions for problems. The authors write,

[t]hese projects emphasize broad dialogue rather than awareness raising. They unfold through the practice of transdisciplinary and futures-making and use the freedom of artistic practices to expand the epistemological repertoire and explore dimensions and facts of climate change that are not accessible through standard scientific methods. ^[lx]

Another work, Representing, Performing, and Mitigating Climate Change in Contemporary Art, also shows artists are reappraising ecological values used in the production of their works.[lxi] Art forms are changing to reflect climate change and the objectives set out in the UNFCCC and Paris Agreement.

7. Partnerships, Collaboration, and Interdisciplinary Activities.

As previously mentioned, the UNFCCC enters partnerships with artists to exhibit works at COP meetings. This illustrates the interaction between members of the creative arts and the UN  to showcase the artist’s work and address issues of climate change recognized in the UNFCCC and Paris Agreement. Research shows that collaborations are occurring between artists, businesses, NGOs, schools, and governments.  In her article, Art, Sweet Art, Beth Carruthers writes of collaborative projects she has been involved in to promote environmental and climate change causes and emphasizes that group projects require all parties to be equally valued to achieve their respective objectives. [lxii]

Another voice on the value of collaboration is  Canadian academic, Bernard Andrews, who has assessed and written on the effectiveness of collaboration between groups such as schools, arts, cultural organizations, universities, and government agencies. The project he writes about is, Working Together: A Case Study of a National Arts Education Partnership project.[lxiii]  The result of the study found that using the skills and resources of different groups is effective in improving learning and teaching objectives.

Other collaborative efforts are shown by art projects such as Cape Farewell, a collaboration that brings artists, educators, and scientists together to work on climate change awareness as well as specific problems arising from climate change and environmental concerns.[lxiv] This group is involved in numerous projects. An expedition of Cape Farewell artists is anticipated to meet in the Marshall Islands in 2021.[lxv] Another project addressed urban air pollution. This project, Pollution Pods by artist, Michael Pinsky, was exhibited at the World Health Organization, and UN events.[lxvi]

At COP25, another collaborative project was made by an environmental group, Greenpoint EARTH where Spanish artists sought to raise awareness of the COP and inspire climate action. The street art project showed joint work of local and global organizations, the community of Madrid, and the UNFCCC. [lxvii] These works sought to bring art out of the galleries to reach people in Madrid, the city hosting the COP.

In addition to collaborations, members of the creative arts create their own stories to deal with climate change. This is explained in the article of Galafassi et.al, Raising the Temperature, where it is indicated that,

…climate change art has emerged as a cultural response to the social, behavioral, and political challenges posed by climate change. Artistic practices offer possibilities for revealing limitations of existing knowledge systems and foster experiences that promote novel ways of understanding and responding to climate change, more attentive to our embodied, imaginative, and emotional experiences. [lxviii]

The material reviewed in this section responds to the Talanoa Call for Action which reaches out to Non-State Actors to contribute to climate action. The projects fall under the terms of  Article 6 of the UNFCCC, Article 12 of the Paris Agreement, and the Talanoa Call for Action to Non-State Actors. These activities show the impact of addressing the interconnected issues set out in the UNFCCC, Paris Agreement, and the Sustainable Development Goals.

Looking at the medium used to convey climate change messages is also important. For example, the digital site, ArtPlace, an American based collaboration of organizations provides toolkits, information about research studies, higher education, and local government resources for creative arts community sources.[lxix]  This site provides the immediate distribution of messages which can be easily accessed and effectively distributed. This collaboration of foundations, federal agencies, and financial institutions was formed to increase the creative interaction of artists and other actors to build sustainable communities. The organization works with artists in developing climate action projects with their communities. ArtPlace’s vision statement considers that those involved in the arts and culture sector have the necessary skills to work in conjunction with other sectors for community planning. The objective is to have communities take charge of their ecosystems and have artists work with local planners, developers, and public officials as well as cultural organizations, institutions of higher education, and financial partners. The vision is one of collaboration and mediating among groups to develop sustainable community projects.

More information on using collaboration as a method of dealing with disputes that arise from climate change is found in the book, Break Through to Yes: Unlocking the Possible within a Culture of Collaboration by David B. Savage.

In the prologue, the author shares a story relevant to this article. He writes of property development by a private owner that destroyed trees and ecosystems in the area. Savage’s work suggests that this problem could have been avoided by using collaboration between people in the community. The book explains how collaboration can be used by property owners, local authorities for planning and other stakeholders to better understand and resolve environmental and community issues. Although the story in the prologue addresses a local issue, his book addresses the global issue of climate change and how to deal with its impacts. He writes, “[l]ike trees, we are a forest together. In this forest, the earth sustains and challenges us. The actions, judgments, and projects of others affect people and the forests around the globe. How we collaborate determines the quality of our lives and the quality of our lives determines the ecosystem of human relationships on this small blue planet.”[lxx]

Collaboration, methods of mediation, and partnerships presented in this section show how contributions can be made by conflict management providers and the creative arts for issues arising because of climate change. All create new stories for the Talanoa Call for Action.

 

8.Concepts for Communicating Climate Change using the Creative Arts 

Research shows that creative arts are being employed and interdisciplinary projects used to provide climate change messages. These messages relate to climate change, sustainable development goals, and methods to advance peaceful conflict resolution for climate-related disputes. This article explores how the creative arts are used to communicate messages rather than art aesthetics. Thus, examples of projects identified as “art”, using a broad definition of art, are reviewed to determine whether they communicate messages about climate change. From literature, poetry, visual images, and music, the creative arts are engaging in storytelling to provide these messages.

The wide breadth of communication of climate change messages has been recognized in The Handbook on Climate Change Communication, a three-volume series by editors Leal Filho et. al. who produced the material to explore the theory of climate change communication. The three volumes are (1) Theory of Climate Change Communication,[lxxi] (2) Practice of Climate Change Communication[lxxii] and (3) Case Studies in Climate Change Communication. An example of a chapter in the third volume is  Loving Glacier National Park Online: Climate Change Communication and Virtual Place Attachment.

The volume of case studies brings issues and impacts of climate change closer to people, the objective Julie Doyle indicated to be required to effectively communicate climate change.[lxxiii] Also, following this objective is the project, Julie’s Bicycle, commissioned by the British Council to support the goals of the Paris Agreement and to inspire action by artists on climate change and sustainability in the U.K. and internationally.[lxxiv]

This gives rise to the question of what makes artwork effective in communicating messages about climate change and what provides lasting effect for these messages? These are not easy questions. First, the diversity of types of art methods and mediums used to convey messages of climate change are important to how the message is distributed. Second, communication helps explain what creates messages with lasting impact. In the book, Framing Climate Change: A Guide for Educators, the authors focus on climate change messages, including framing metaphors, and the messenger that delivers the message.[lxxv] For this issue, the authors write about what makes a message noticeable or, what the researchers refer to as, “salient.” Two types of frames are referred to, equivalency, and emphasis frames. Examples are provided to show how emphasis frames use words to explain an idea to make it local and personal as opposed to words that speak of global changes. Likewise, equivalency frames draw attention to specific aspects of a message, providing preferences in the story. A climate change example is provided to show how people evaluate statements based on what is emphasized. The authors write,

[i]n the context of climate change, the statement, 97 percent of scientists agree that global climate change is happening could be equivalently phrased as “3 percent of scientists do not agree that global climate change is happening. “While the statements may be equivalent in a logical or mathematical sense, they emphasize different things – the first statement emphasizes consensus whereas the second emphasizes contention ….  ^[lxxvi]

The authors indicate that consensus frames have been shown to increase people’s acceptance of evidence of climate change. They refer to a good source for framing information, the National Network for Ocean and Climate Change Interpretation (NNOCCI), and indicate the material is used by climate change educators using both words and images to convey their climate change messages.

The Framing Climate Change article also illustrates how different wording can affect people’s perceptions, for example, by using the phrases “global warming” and “climate change.” As well, the authors indicate that religion and morality have an impact on audiences. Thus, when framing for solutions, the authors suggest the development of a program that provides information on specific issues, such as flooding. This is considered more effective in reaching people than messages with broad and future scope. It is suggested that it is useful to select activities with intended outcomes. The work also suggests choosing key terms as audiences are more likely to respond when information is important to them. The work indicates messages of hope, and ways people can participate in the issue, increase the likelihood of action being taken on the issue. [lxxvii]

Also addressing this question, art theoretician, John Dewey, promoted a pragmatic approach to the place of art in society. He adopted the position that art is important to address issues, or as he referred to them, “experiences” related to climate change. He indicated art to be essential for exploring emotions and promoting ideas for solutions to meet the challenges of climate change. A review of Dewey’s theory by philosopher, Kuspit, in his article, Dewey’s Critique of Art for Art’s Sake, looks at Dewey’s comparison between art and science. Kuspit writes:

[f]or Dewey, art has essentially the same status in experiments in science. Each experiment with experience, but where science experiments for the sake of knowledge, art experiments for the sake of appreciation. The success of either experiment aids the natural growth of man and preserves the powers of action of society. [lxxviii]

Kuspit’s article is useful to understand the impact art can have when providing messages about climate change. Art can assist people to recognize climate change and issues associated with it. His material concludes that Dewey’s pragmatic approach to art in society makes art an important method of communication for climate change.

From an educational and philosophical perspective, Vasco d’ Agnese, in an article, Art and Education in Dewey: Accomplishing Unity, Bring Newness to the Fore, provides information about what the arts can do to provide impact to matters of climate change. He writes,

…we find in art the fusion of emotional, intellectual, and moral. Through the experience generated by the work of art, the self and the world become fully integrated. Thus, bearing in mind that the point of departure for Dewey is always our ongoing relationship with the environment, in aesthetic experience, the self comes to be fully aware of its very ground. [lxxix]

Using Dewey’s books, Art as Experience and Experience and Nature, D’Agnese concludes that a work of art concentrates and enlarges an experience. To explain this, he refers to  Dewey’s conclusion that

…the history of human experience is a history of the development of the arts. The history of science in its distinct emergence from religious, ceremonial, and poetic arts is the record of a differentiation of the arts, not a record of separation from art.  [lxxx]

D’ Agnese shows the relationship between art, experience, and education, illustrating art produces climate change materials which can be used as educational tools to promote the messages of the UNFCCC and  Paris Agreement. This is done by developing experiences which reflect issues created by climate change and the conflicts which arise. D’Agnese reasons that art can bring a newness to climate change and using Dewey’s words, produces a “new birth in the world.”[lxxxi]

Adopting a similar approach, authors of the article, Raising the Temperature: the arts on a warming planet, indicate,

[h]istorically, artists and artistic practices have played a central role in major societal transformations by heralding shifts in mindsets, opening up new political horizons, and providing – sometimes even forcing- the creation of novel spaces for reflectivity and experimentation. Art had confronted humanity’s greatest challenges, such as war, inequality, disease, and many others, providing social spaces for grief and reconciliation and the renewal of human consciousness. [lxxxii]

Research shows artists are communicating messages about climate change in different ways.  One way is where artists use shock tactics to get people’s attention. On this matter, art theorist, Cynthia Freeland, has looked at why blood is used often in artwork? She canvasses different theories from primitive rituals, religious symbolism, emphasis on color, shock value, and impact. One example of this is the use of blood by the activist group, Extinction Rebellion, whose members poured 200 liters of blood outside Downing Street to protest government inaction on climate change. A spokesperson for the group indicated that blood was used to emphasize the seriousness of their message. [lxxxiii]

Another example of using blood to emphasize creative artwork involves a work of poetry. In an article, The Poetics of Climate Change: Apocalyptic Rhetoric in Selected Poems from East Africa, writer Eve Nabulya writes about the poem, Death and Birth in Nativity, by poet Ns’Mengo. The poet employs references to blood to show the tragedy evidenced by the poem. [lxxxiv]

Freeland also mentions that the competitive nature of art recognition means artists are using novel techniques to seek market recognition.[lxxxv]

Other art projects seek to create impact with elements that shock the audience with images such as one titled, Florida’s Red Tide Crisis, showing how the area will become ugly as a result of impacts of climate change.[lxxxvi]Other projects create controversy and give rise to discussion. For example, Damien Hirst’s work using living and dead butterflies raised attention in a world now concerned with climate change and biodiversity. Hirst’s approach to modern art is examined in the article, How is Damien Hirst a Cultural Entrepreneur, an in-depth analysis of his background, his art history, and his marketing strategy. It is written that he has created a brand that emphasizes shock value.[lxxxvii]The question is whether this shock value also had the effect of raising public consciousness on biodiversity and the impacts of climate change on biodiversity?

The list of categories of the creative arts that will be provided in this article is not exhaustive as art theory and attempts to define art are open rather than closed.[lxxxviii] There is, however, one common theme, “climate action.”

This article now identifies categories of the creative arts and provides examples of work in each of the categories to show how the creative arts contribute to storytelling for the objectives of the  UNFCCC and Paris Agreement. Examples are also provided to show the interaction between those involved in the creative arts and those providing methods of climate change management.

9. Art Categories

a) Literature

Fiction:

Research shows Cli-fiction has, in the past ten years, developed as a genre of literature. This has occurred for both general readings and educational programs.

The first summary of Cli-Fi fiction is provided by Goodreads, a website with a database of books that people can review, consult, and share with others.[lxxxix]  The search for cli-fi fiction listed numerous books, one of which is Margaret Atwood’s The MaddAadam Trilogy.[xc] A review of the trilogy published by academics at Manchester University in England indicates Atwood is knowledgeable of the UNFCC and Paris Agreement and that ideas from these instruments, such as adaptation, are incorporated in her work.[xci] Another review of the trilogy looks at the books from the perspective of the importance of food. Breakfast becomes a symbol of hope for a group of human survivors of a flood and a degree of hope for the continuation of humanity. [xcii]

The second summary of Cli-Fi literature shows how it is used for elementary, secondary, and higher education institutions.[xciii] One article, Climate Change in Literature and Literary Studies indicates cli-fiction is more than a literary theme as it has resulted in the development of critical theory.[xciv]

A climate change educational project, TROP ICSU, includes material on the use of allegory in literature.[xcv] The project recognizes that allegory is an important tool for providing messages to people about climate change impact. An article by Elizabeth DeLoughrey writes about how allegory is used to show the situation for the Pacific islands which are facing the problem of rising sea levels caused by climate change. She refers to a poem, by Kathy Jetnil-Kijiner, a poet from the Marshall Islands, which uses allegory to show the possible fate of Pacific islands from rising sea levels.[xcvi]

Non-Fiction

Research conducted on non-fiction books on climate change shows Penguin books has created a list of the twelve best books on the climate crisis.[xcvii] The books cover a wide range of topics, including matters on climate change which address economics, politics, ecology, and biodiversity.

Although there is a vast amount of non-fiction climate change material, this work provides only one non-fiction example. The example was chosen because the book adopts both an artistic and a practical approach to storytelling. Transport, Climate Change, and the City is about cities and reducing CO2 emissions, a topic identified by both the UNFCCC, and Paris Agreement.[xcviii] This dual approach is shown by reference to a quotation from a speech by film director, Woody Allen. In speaking about the effects of climate change to a group of students, Allen indicated.

[m]ore than any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly. ‘(Woody Allen, ‘My Speech to the Graduates’, 1979, lines 1-6).

Following Woody Allen’s shocking statement, the book moves on to discuss practical approaches to city transport issues, using graphic art and diagrams to show climate change issues being faced by cities and proposals about how to deal with these issues.

This material fits the objectives of  Article 6 of the UNFCCC for promoting and cooperating in education, training, and public awareness related to climate change, and Article 12 of the Paris Agreement mirroring the same provisions. It also supports SDG Goal 11, Sustainable Cities and Communities.

b) Cartoons

Research shows several books and articles about the use of cartoons on the topic of climate change. As with other areas, the cartoons range from general to specific topics. It is shown that cartoons are a form of education that makes it easier for people to understand and relate to serious problems in a manner that is not foreboding but that is educational.

In an article in Scientific American, writer, Mark Fischetti, wrote about an interview with cartoonist, Kate Evans who had produced a cartoon, The Carbon Supermarket. [xcix] When asked about her objectives for producing cartoons, she responded that she believes pictures and words are powerful tools for engaging people. Then, when asked why she had chosen to focus on climate change, she indicated “you can’t be a sentient person at the beginning of the 21^stcentury and not want to address climate change.”  Her commitment is also shown in that she published The Carbon Supermarket, using a Creative Commons License so it can be used without cost by the public.[c]

Additional material about cartoons is shown by a case study produced by the Climate Center.[ci] The Center concludes cartoons are recognized as providing a good method for sharing information about climate change issues. The study finds that cartoons communicate stories in an informal way about serious issues.

Also, of interest, the cartoon producer, Red Cross, Red Crescent, and partners, have invited people to enter a competition to create new climate change cartoons.[cii]Again, based on John Dewey’s theory, this will be the birth of a new art project.

c) Theatre and Community Theatre

Projects are reviewed to show initiatives in countries and communities to promote the objectives of the UNFCCC and Paris Agreement. Research shows theatre projects dealing with climate change are numerous. This article provides only a small sample of theater activities,

The first project is a collage of theatre projects in 2019, referred to as Theatre in the Age of Climate Change.[ciii]The project includes diverse artists and their projects, all relating to an aspect of issues faced in the current era of climate change. An artist who deserves attention for advancing the creative arts to address climate change is artist Chantel Bilodeau who has made several climate change productions. She is part of a global theatre action group, Climate Theatre Action which reaches world participants encouraging the use of theatre to respond to climate change.[civ] Also, important is her position as Artistic Director of The Arctic Cycle – an organization created to support the writing, development, and production of plays that look at social and ecological changes taking place in the Arctic region. Research also shows she founded the international network, Artists And Climate Change, and was a co-organizer of the Climate Change Theatre Action (CCTA) which presented events in support of UN COP21.[cv]

The second theatre project is that of community theatre. The example provided is of community theater in Africa that deals with climate change matters. An article from the Ethiopian Journal of Environmental Studies and Management explains this theater activity. It sets out the vulnerability of Africa to climate change impact and the need to increase communication between African people to deal with these impacts.[cvi] The article indicates that community theatre provides a suitable method and a suitable forum for communication for large numbers of people. It  indicates community theater provides people the opportunity to share information. The article sets out that seminars and workshops had not been successful for dealing with climate change issues, often becoming ceremonial events that lacked substance. The writers indicate theatre to be a better method of communication for climate change problems given the complexity of these problems.

The article recommends modeling past successful theatre situations. It also indicates that it is important to target communities that have been consulted. In this regard, it is suggested that an organizing team be established for the theatre and team leaders appointed to develop the theater process to be used. This process includes matters of scripting, ensuring technical arrangements are available for communities and that there will be interaction with all stakeholders.

The authors indicate that Africa is an artistic continent and the customs and rituals of different African communities are important in understanding climate change issues. They write about interaction with UN organizations and environmental agencies and conclude that if proper funding and support is provided and a methodology developed, African communities may be successful in working together to communicate and respond to climate change problems.

These theatrical initiatives fit within the terms of Article 6 of the UNFCCC and Goal 4, Quality education, of the SDG. The community theatre project may also deal with the management of conflicts within SDG 16, Peace, Justice, and Strong Institutions. [cvii]

d) Poetry

Books are available on climate change poetry, one of which is “The Best Poems about Climate Change”.[cviii] As well, YouTube videos provide a new avenue to experience climate change poetry.[cix]

An example of poetry that may have influenced Party delegates in setting the temperature limits of the Paris Agreement in Article (2) is a poem by Marshallese poet, Kathy Jetnil-Kijiner. An article published by the environmental activist group 350.org titled, “The Poem that moved World Leaders to Tears” had been presented by the poet at the UN Summit in New York in 2014. [cx]

Poetry is recognized as having an impact on people by bringing a human and emotional element to the issue of climate change and its impacts. Articles have indicated that poetry enhances the engagement of its readers.[cxi]  In this way, poetry, and other types of literature, lead to solutions for climate change, including networking and negotiation of climate change issues.

From this short review, it clear that the creative art of poetry fits in Article 6 of the UNFCCC and Article 12 of the Paris Agreement, for promoting and cooperating in education, training, and public awareness of climate change and for Goal 4 of the SDG.[cxii] As such, poetry is another way of storytelling for the Talanoa Call for Action.

 

e) Film

Climate change documentary films include Before the Flood, produced by National Geographic with actor Leonardo Di Caprio in 2016.[cxiii] More recently, the actor appeared in the film, Ice on Fire of 2019.[cxiv]

An earlier film, An Inconvenient Truth, by Al Gore, introduces raised awareness of climate change and the impacts it can have. [cxv] These films can be considered climate change classics.

Other film activities at the time of COP 21 in 2015 also showed the importance of the industry in creating climate change messages. For COP 21, a collective group of broadcasters, Ecoprod, produced a publication, ECO-COP. The group’s pamphlet, COP21 Special Edition, emphasizes the importance of the medium of film. At that time in France, the location of COP21, the broadcasting medium was being used as a tool for films with ecological messages. ECO-COP provided the message to COP21 attendees that “broadcasting can make a difference.”

The ECO-COP brochure wrote about  French filmmaker, Luc Jacquet, who, during the COP, was being transmitted daily from Antarctica to show the penguin population and situation in the Antarctica region. Raising awareness was indicated in the ECO-COP brochure as the objective of this exercise. Confirming that intention, Arnold Schwarzenegger’s quote in the brochure is “I believe films, in particular, can inspire and make people want to take action.” [cxvi] Since the time of COP21, ecological films and broadcasts have continued.

A recent film about climate change and the ocean brought scientists, artists, and lawyers together for the production of the Phenomenal Ocean.[cxvii] This film looks at the special report on the Oceans and Cryosphere on a Changing Climate provided by the ICPP in September 2019.[cxviii] Research shows the broadcasting industry is working with the concepts and objectives of the UNFCCC and Paris Agreement. Members of the industry, as Non-Sate Actors, are using the storytelling of the Talanoa Call for Action.

Examples of other films by Non-State Actors will be reviewed in this article to show the diversity of approaches to communicating climate change [cxix] messages. One filmmaking group, Old Dog Documentaries, is producing material intended to engage public interest in economic, social, and justice issues.[cxx] In a brochure handed out to attendees at COP25, the group indicated,

[w]e are both glad and sorry to be with you here. Glad, because we are all in this together. Sorry, because this is one more year of the UN Climate Change Conference and we are far from fulfilling the requirements that will ensure us a sustainable and safe planet.[cxxi]

Information about one of their films, Rollback, was provided in the brochure they provided to COP participants, and, as stated in their brochure, it is a film addressing economic, social, and political issues in the United States. [cxxii]

Films also address local environmental issues. For example, one filmmaker in Montreal, Canada has addressed the problem of litter in one of the public parks in the city. No verbal messages are provided but watching the video alerts the viewer to the problem using sound. [cxxiii] Another film, Dark Waters, is about the chemical pollution of a river system in Ohio, United States of America.[cxxiv] Both films reach out to communities seeking to make them aware of environmental problems. The first film does not provide direction for resolution apart from park sanctions, but the second film uses the dispute process of litigation to respond to the problem.

The author has also reviewed a Hollywood production, The Day After Tomorrow, an ecological film that was released in 2004. One reason this film was chosen for this article was that research showed that the film “ (…) generated more than 10 times the news coverage of the 2001 ICPP report.[cxxv] This is intriguing in showing the film medium to be an effective method of reaching people with messages about climate change.

In an academic article, The International Impact of The Day After Tomorrow, two authors, Fritz Rensswig, from the Potsdam Institute for Climate Research in Germany, and Anthony Leiserowitz of Decision Research in Oregon, U.S.A,  made separate assessments of the film. [cxxvi]

Author, Lesserowitz, writes that  Hollywood has created a new film genre, “Global Warming Films.” This illustrates the broad definition of creative arts previously discussed in reviewing art theory. He also shares that while the natural sciences have been dominant in climate change research, it has been shown that climate change is interdisciplinary and requires input and support from the social sciences. This comment supports Dewey’s treatment of defining art and position that experiences of the creative arts are as valuable as those of natural sciences. Related to this, he comments that it would be useful for climate scientists to research the film’s representations of climate change in showing how the public responded to this media.

Author, Rensswig, provides an enlightening comment about Hollywood films and the objectives of the UNFCCC and, Paris Agreement. His indicates that

[i]t is doubtful that the creators of the United Nations Framework Convention on Climate Change had Hollywood in their minds when they drafted Article 6, which asks for improved communication and education on the issue of climate change [cxxvii]

Despite this conclusion, the film shows that creative arts contribute to climate change awareness and responses to climate change issues.

In another article, Decades Away or the Day After Tomorrow? Rhetoric, Film, and the Global Warming Debate, author Ron Von Burg, reviewed how environmental advocates, scientists as well as climate change skeptics can use a film such as The Day After Tomorrow.[cxxviii]  For this article, the value of public discourse raised in the film fits SDG Goal 4 for quality education as it is important to hear all viewpoints. The film raises issues that climate scientists are reviewing as seen in the 2019 ICPP report, Choices Made Now Are Critical for the Future of Our Ocean and Cryosphere. [cxxix]

Research shows the broadcasting industry is working with the concepts and objectives of the UNFCCC and Paris Agreement. Members of the industry, as Non-Sate Actors, are using the storytelling model that fits the Talanoa Call for Action. Given the invitation to Non- State Actors in the Talanoa Call for Action, the film industry can share what it has done, is doing, and proposes to do regarding objectives set out in the UNFCCC and Paris Agreement and SDG. Possibilities are that the film industry will provide films about climate change or partner with the UN for productions.

This section on film shows the creative art of filmmaking contributes to storytelling related to the objectives of the UNFCCC and Paris Agreement. Again, this material falls under the terms of Articles 6 of the UNFCCC, 12 of the Paris Agreement, and the SDG for promoting and cooperating in education, training, and public awareness related to climate change.

f) Photography 

Invented in the late 1900s, photography has become a major means of interaction for the 21^st century. In her book, On Photography, Susan Sontag explained the medium and its limitations.[cxxx] She writes about the nature of the image produced in the photograph,

“[t]here is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.” It is pointed out that photographs do not say anything. They are indicated to be “ …]invitations to deduction, speculation, and fantasy. [cxxxi]

Other articles explain that photographs are a form of art which can inform, raise awareness and cause people to seek solutions for the what is shown in the photograph. The article, Confronting Climate Change in the Age of Denial,shows how photography can provide information about the effects of climate change but, if not properly monitored, can give rise to the creation of false narratives. The author provides an example, using the photograph of a polar bear, of how a false narrative was created. The photograph was the,

… perfect case study of people’s tendency to create their own narratives in the face of incomplete information is the recent viral response to a photo of a starving polar bear. The photographers intended to show what the future of climate change might look like: polar bears depend on sea ice to hunt seals, walruses, and other prey. As more sea ice melts, bears will lose their hunting platforms and likely starve to death, placing the species’ survival at risk. But people interpreted the image through their personal lens. Some recognized the effort to illuminate the costs of climate change while others seized on the photo to deny climate change by pointing to healthy bears as evidence that the species is doing fine. The photographers recently said they were shocked by the response and realized they’d “lost control of the narrative.”[cxxxii]

As indicated in Sontag’s book, photographs only show the surface and one must take care to learn the complete story.

Other photographic material shows photographs are a good way to raise awareness and emphasize climate change matters and to encourage people to seek solutions. This is shown by other materials such as the series of photographs published in the National Geographic journal to raise awareness of climate change.[cxxxiii]

Recognizing the problem as to how best to handle photographic images about climate change, organizations are suggesting methods to monitor the use of photographic images. One group,  Climate Visuals, has provided a list of ideas to guide photographers.[cxxxiv] As well, psychologists who have looked at imagery considered relevant to climate change, write about how photographs can be used by scientists and policymakers in their work on climate change adaptation and resilience.[cxxxv]

This material makes it clear that photography assists in raising awareness of matters resulting from climate change and can reach society and provide information about matters relating to the topics addressed in the UNFCCC and Paris Agreement and can advance the storytelling invited by the Talanoa Call for Action. It is important, however, to recognize that the storyteller is part of the story. As shown by the example provided, care must be taken by the viewer not to engage in speculation and fantasy.

g) Music

Research conducted provides examples of music relating to climate change. One example can be found in the book, Using Art to Show the Threat of Climate Change which refers to an opera written to provide awareness, emotional impact to accentuate what is happening to the oceans. [cxxxvi]

Other musicians employ different music styles to show the effects of climate change. Alaskan musician, John Luther Adams, a classical music composer, has melded Indigenous music, the sounds of nature and concepts of ecology in his music. One of his works, Become Ocean, resulted in his being awarded a Pulitzer Prize. [cxxxvii]

Adams’ work shows his contribution to issues addressed by the UNFCCC and Paris Agreement and musical storytelling for the Talanoa Call for Action and ICPP report regarding the care of the oceans. An academic article explains how the composer’s music is shaped by ecological concerns for awareness of global warming. The article also indicates he incorporates natural elements and seeks to engage his audience to become attuned to the environmental events he is sharing with them.

Popular music artists are also paying attention to the objectives of the UNFCCC and Paris Agreement and the carbon footprints of musicians. For example, the group Coldplay has adopted the position it will not go on a world tour because of environmental concerns of air travel to highlight this concern, the group donated the proceeds from one of its concerts to an environmental charity. [cxxxviii]

Another issue relating to climate change the music industry is facing involves the environmental costs of the industry. This has been studied by academics in Glasgow and Oslo.[cxxxix] Their research found that the economic costs of providing music to consumers have fallen but that environmental costs have increased. For example, streaming music from internet-connected devices increases carbon emissions. Their research sets out ideas being advanced to offset these carbon footprints but it is indicated more information about offset alternatives should be provided.[cxl] The research from Glasgow and Oslo shows that, on one hand, musicians are contributing to climate action while, on the other hand, the music industry is causing damage to the environment. It remains to be determined how this will be resolved. Similar to other creative arts areas, the music industry is creating new stories for the Talanoa Dialogue and Call for Action.

h) Murals

Articles reviewed about murals and street art show they now exist in harmony. These articles suggest murals are a way of speaking to people in a public space outside the recognized art world. [cxli]

Murals of the climate change activist, Greta Thunberg is the subject of this section. When the young activist visited Edmonton, Alberta, Canada in 2019, a mural was painted on a public space. Within hours, the mural was defaced.[cxlii] Another mural, painted in San Francisco, California, U.S.A., was well received by the community. [cxliii]

Murals are a form of storytelling and the murals of Greta Thunberg painted in these two locations, Edmonton and San Francisco, show two different stories that were being shared. This is in keeping with the provisions of the Articles of the International treaties of the UNFCCC and Paris Agreement which recognize there are diverse interests and that all people have the right to share their stories.

 

i) Communication through Climate Awards and Prizes

Research shows there are awards and prizes for activities associated with art and the topic of climate change. For this article, three awards are mentioned. The first award is the Climate Change Communication Awards, [cxliv]with categories for Climate Change Public Engagement, Climate Communication, Climate Visual Photography, and Climate Change Communication of the Year – a People’s Choice award. This Communication of the Year award was established in 2004 and in its purpose statement, it is indicated that,

[c]limate change demands a response across society, from people of all ages, faiths, nationalities, and sides of the political spectrum. That is why we decide to engage people with climate change from their perspectives, not ours.

The second award is Climate from Space Art Competition,[cxlv] and the third award is the Earthshot Prize[cxlvi] – a prize open to everyone and for which members of the arts community can apply individually or by collaborating with other disciplines.

Awards are also available from the UN. These awards, the UN Global Climate Action Awards are available annually. Research showed that applications for the 2020 awards opened in February 2020. A review of material about past awards is available on the UN website announcing the opening of application for the 2020 awards.[cxlvii]

These awards and prizes fall in Article 6 of the UNFCCC and 12 of the Paris Agreement dealing with public outreach. They form new experiences as defined by Dewey and create new stories for the Talanoa Call for Action, They also meet Goal 4, Quality Education of the SDG.

 

j) Digital art and Satellite Imagery

Digital art and animations using digital formats include matters such as video games, television, and movies. A study in 2017 indicated there to be a shortage of climate change digital games. [cxlviii]The authors of the article identified possible reasons for this shortage and suggested it may be necessary to reconfigure the notion of the human-nature environment. In 2020, the situation has changed. New games are being developed and promoted.[cxlix]

As digital art is interactive work it contributes to group storytelling for climate change. Research shows climate change video games to be a rapidly developing area. The UN Environmental Program is involved in bringing material into the video game industry.[cl] The video game industry is beginning to create games to have players collaborate in dealing with climate change issues.[cli]

Material about climate change images is freely available online. Research conducted shows that images bring an element of emotion to climate change.

Another area of digital art is being promoted as part of a school project. The Science Teacher, a group in the United States using satellite imagery for education, this imagery showing images of the planet earth and changes occurring to the planet.[clii]

These digital projects fall in Article 6 of the UNFCCC education, training, and public awareness related to climate change, Article 12 of the Paris Agreement, and Goal 4, Quality Education of the SDG.

 

k) Art galleries, Science Centers, and Museums

Cynthia Freeland’s book writes about the role of galleries, science centers, and museums showing, they too, are part of the creative arts community with a role to play relating to climate change.[cliii] She writes that they have a role in climate change education and suggests they need to inform the public about climate change and be open-minded in presenting climate change material. As well, it is written that they need to engage those attending the gallery or museum and provide the tools required to participate in actions used to explain the exhibits and debates about exhibitions.

Articles and books reviewed show the role of museums is changing. Museums are becoming more responsive to ecological concerns and more involved in digital methods to share information. For example, research shows preparation is taking place regarding the role of museums, galleries, and science centers which will be presented at COP26. [cliv]

Galleries are becoming more engaged in the issue of climate change and structures are changing about who has control of the exhibitions and their collections. One example is the Manchester Art Gallery, which held an event on the Global Climate Strike in September 2019.[clv] Another is a project by Cape Farewell for exhibitions held in different world locations to provide people a better understanding of climate change.[clvi]

How science centers, museums, and art galleries are managing material relating to climate change falls within Article 6 of the UNFCCC and Article 12 of the Paris Agreement. All are methods of storytelling for the Talanoa call for climate change action.

 

l) Graphic Art

Graphic design is another form of art to be used to provide images of climate change. This work is often used in magazines, websites, posters, and magazines. It is a style of art that can focus on images to reflect climate change issues.

A useful article in understanding the potential effects of graphic designs was published by Rebecca Green,  a lecturer at an Australian University.[clvii] Her research provides information on how visual elements work in conjunction to convey messages. She writes about how images are perceived as trustworthy. Her work indicates emotion to be a condition used by viewers to judge the designs and when imagery is not emotive it may cause some viewers to conclude it had corporate origins and is less trustworthy.

Graphic art fall in Articles 6 of the UNFCCC, Article 12 of the Paris Agreement, and Goal 4 of the SDG. The focus of graphic art is both education and public awareness.

 

m) Art Projects involving science

As previously set out, science and art can work in conjunction with climate change projects. This section provides projects between artists, scientists, and communities. [clviii]Two examples are provided to show how artists and scientists are creating projects about problems related to climate change and exploring solutions to address the problems.

The first project, Pure Solutions, deals with water management issues.[clix] Members of the community and artists worked together to deal with river and water management. The second project involves a science-art collaboration at Columbia University. [clx]  It shows how a visual artist, working with scientists from the fields of geography, and oceanography addressed problems confronting ocean species. For the project, the artist had painted a work, Eco-Venice, showing over 100 ocean species that the International Union for Conservation of Nature had recognized as endangered. The artist presented her work in Italy to Pope Francisco, the UNFCCC and at Columbia University to identify and discuss the issue.

Other articles recognize the value of collaboration between artists and scientists. The project, Sci-Art: The Confluence of Art and Science, involved a three-year study by artist Julien Ruddock, a visual artist, Mark Maclin, a physical geographer, and Art Harvey art historian and art practitioner. [clxi] The study dealt with how visual images can work in conjunction with the results of scientific studies to provide meaningful messages. In this case, the matter concerned the change in flooding of river Dyfin, located in Wales.

The projects presented in this section on art and science fall in Articles 6 of the UNFCCC, Article 12 of the Paris Agreement, and Goal 4 of the SDG. It is for the public and the local communities involved in the projects to respond as to their effectiveness in addressing climate change and environmental matters they sought to address.

n) Art Markets

The final discussion in this section is that of art markets. In the first pages of his book Contemporary Art, author and art theorist,  Stallabrass, writes,

[t]he freedom of art is more than an ideal. If, despite the small chance of success, the profession of artist is so popular, it is because it offers the prospect of a labour that is apparently free of narrow specialization, allowing artists, like heroes in the movies, to endow work and life with their own meanings.[clxii]

In the conclusion of his book, he revisits the matter and changes his opinion on the artist’s freedom, writing,

“…[i]t, is easy to see that the conditions for that freedom no longer exist in the art world: artists are snug in the market’s lap; works or art are made to court the public; sufficient autonomy is maintained to identify art as art, but otherwise most styles and subject matter are indulged… To break with the autonomy of free art is to remove one of the masks of free trade.[clxiii]

Based on Stallabrass’s conclusion, another article, Everyone at a place like the Art Basel is Complicit, But Nobody at the Fair Wants to Talk About It, addresses the same issue about artists’ freedom and their attachment to art markets. The title of the article explains the uncertainty as to how art markets will be shaped as a result of climate change concerns.  The author of this article,  Kate Brown, writes,  “[t]he theme is in the air, but the art fair is only beginning to tackle how it must change.” [clxiv] We are, therefore, left with an unknown which will require action by artists, States, and non-State Actors for resolution or transformation to a new model.

10. Conclusion

This article shows the Non-State Actors, the creative arts and mediation, and collaborative conflict management providers play roles in the Talanoa Call for Action. Information has been provided to show the use of the creative arts and mediation and collaborative conflict management are taking place at international, national, and local levels. This is done using partnerships, collaboration, and interaction between the UN, and the Non- State Actors.

Encouraging interdisciplinary work between the UNFCCC, the creative arts, and mediation, and collaborative conflict management providers will continue Talanoa storytelling and advance the

objectives of the UNFCCC and Paris Agreement. Each independent and interdisciplinary project created tells a new story and provides a “new birth” for climate change action.

 

 

[i] United Nations Framework Convention on Climate Change, https://unfccc.int/resource/docs/convkp/conveng.pdf

[ii] Intergovernmental Panel on Climate Change, 1^st Report, https://www.ipcc.ch/site/assets/uploads/2018/03/ipcc_far_wg_I_full_report.pdf.

[iii] Report of ICPP, 2019, https://www.ipcc.ch/2019/

[iv] The Paris Agreement, https://unfccc.int/sites/default/files/english_paris_agreement.pdf

[v] The term Non- State Actors is used to refer to actors who are not State Parties to the UNFCCC and Paris Agreement and include both groups addressed in this article, the creative arts community and people or organizations providing mediation and collaboration services for climate change conflict.

[vi]  “Join the Talanoa Call for Action | UNFCCC,”, https://unfccc.int/news/join-the-talanoa-call-for-action.

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[xxxiv] The author has completed a questionnaire study of  interaction of artists, their art ideas relating to climate change and peaceful dispute resolution providers. Due to space limitations, the results of the questionnaire insights are not able to be shared in this article.

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