Event Report: Take the Green Train Seminar

EVENT REPORT TAKE THE GREEN TRAIN A Seminar on Sustainability in Music presented by the Europe Jazz Network and Julie’s Bicycle 10 April 2015 | 11:00 – 17:00 | Sage Gateshead U.K.

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EVENT REPORT: Take the Green Train: A seminar on sustainability in music presented by the Europe Jazz Network and Julie’s Bicycle 10 April 2015 | 11:00 – 17:00 | Sage Gateshead !

Introduction !

This report is a detailed account of a day-long seminar held at the Sage Gateshead as part of the programme for the Gateshead International Jazz Festival in April 2015.

Attendees included both members of the Europe Jazz Network as well as interested stakeholders from the public and wider arts and creative industries.

We have attempted to capture almost verbatim the very rich discussion and ideas that came out of the day for the benefit of the attendees as well as the wider network. This information is intended to lay the groundwork for further action on environmental sustainability within the Europe Jazz Network. In this forward-looking spirit, the report starts by looking at the pledges and ideas for the future that came out of the day, followed by a summary of the presentations given. We’d like to thank all our speakers and attendees for their insights, inputs, and ideas.

Key Points: • One of the jazz sector’s key strengths lies in its tight-knit community and the strong relationships underlying its activities. We recommend that this approach collaboration, exchange and sharing - can underpin the network's approach to environmental sustainability.

• There is wide-spread support for a Europe Jazz Network manifesto on environmental sustainability for the membership to sign up to and draw inspiration from.

• There is appetite for pilot projects to ‘road-test’ new sustainable ways of working, and clear mechanisms for exchanging experiences and knowledge among network members.

“We need to connect to existing values: we present art to make the world a better place. This work is a logical extension of that.”

– Take the Green Train attendee

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Take the Green Train: Discussions and Pledges !

1. Ideas and working principles arising from the case studies presented and postit notes written by attendees •

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Understand, acknowledge, and work with the context and setting of our shows (environmental, cultural, heritage, social) and connect the creative process to setting – e.g. Musica Sulle Bocche, Kew Amplify the environment creatively by acknowledging and working with it.

Work with the landscape.

Balance audience numbers with your settings if in a sensitive area (may mean limiting numbers!).

Do the easy things: turn off the lights! Save – and more importantly do not waste.

Small things lead to big things.

Practice leads to much bigger ambitions!

Do the right thing and say the right thing Accept there is always more to learn and always more to do.

Values are crucial in artist relationship with fans. We need to build on this.

Engage your people: influence their behaviour before it becomes ingrained.

Culture is established at the beginning – among audiences as well as staff.

Changing it later is much more difficult. Cultivate a sustainable attitude from the beginning if given the opportunity – for everything from daily working practices to using a digital communications strategy from the start.

Take the right risks – and learn how to quantify and monitor them (for example, paperless tickets).

See lower budgets as an opportunity to enhance creativity.

Focus on the areas where you can make a difference and don’t worry about the stuff you can’t change.

Support wider campaigns and work with experts and partnerships where it makes sense.

Work with local authorities and municipalities.

Use local suppliers. Especially if you are funded locally, there is also a responsibility to return the money into the local community.

Work with suppliers to create change.

Work collectively: share relatively simple steps with partners (venues, sponsors, funders, networks) to inspire them to start on their sustainability journey.

Work with press to highlight great examples of pioneering leadership from this sector – both to inspire our peers and set an example to other industries and sectors.

2. Organisational pledges and ideas for further action compiled from post-it notes written by attendees.

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Commitment: pull together a staff meeting to update on today’s meeting.

Get sustainability onto individual agendas i.e. all our staff colleagues.

Talk to energy suppliers about what the half-hourly energy usage figures actually mean.

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As a director, get the facilities manager to explain half-hourly energy usage figures to me.

Understand energy use data.

Move to a 100% green energy supplier.

Reduce reliance on bottled water by ? %.

Reduce reliance on print over next 3 years.

Support wider green campaigns.

Add a green rider to the festival advance – have a green strategy.

Reduce stage water bottle wastage.

Artist liaison to walk artists to venues (if limited equipment).

Work with public transport providers to offer free or subsidised travel.

Concert tickets as public transport tickets.

Incentives – have more of them to engage audience!

Add an optional buy-in for the public: tell the story – we’re moving to renewable energy/buying train tickets; please help us.

Offsets (a last resort, but we are a long way from a zero-emissions touring model).

Ask community to donate instruments for a community big band.

Print-on-demand.

Work with local charities/homeless shelters for Green Room donations.

Half-size business cards.

Give people a printing/photocopying budget that is monitored via a code.

Find a better way to plan for quantities of printed programmes and look into other models e.g. rent-a-programme.

Put a sharpie in dressing rooms for labelling water bottles.

Incentivise online booking by making tickets cheaper online.

Campaign to extend policy of charging for plastic bags to England.

3. Specific pledges and ideas for action for the Europe Jazz Network •

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Develop an EJN manifesto on sustainability with JB’s help: an EJN manifesto on sustainability would give clout for individual members to have conversations with suppliers, touring parties, and other stakeholders: ‘we as part of this network are committed to this – as are all the other members’ Make environmental commitment a condition for EJN membership – how do we account for the diversity of our membership?

Fixed yearly seminar on environmental sustainability for EJN members.

One of the EJN’s strengths is its members’ close relationships and sense of community: build on this to develop initiatives.

EJN to gather case studies on environmental sustainability and best practice stories from across the network.

Get more data – it takes facts to change people’s behaviour – and share across the Network: how could the EJN facilitate the collection of data?

All members should have an environmental policy or strategy – which should be shared via the Network.

Elaborate ways of sharing: already doing this on the artistic side as a Network.

Use the EJN to share videos and reports on bands and artists to avoid the need for as much international travel to showcase events.

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Could EJN do a pilot tour by train (can we use the Evan Parker case?) that also uses other green touring principles, including a highly detailed green rider? Both to pilot green touring practices, and to get an understanding of the network venues’ readiness and ability to adopt these measures. Hopefully would also leave legacy (e.g. research on green hotels in vicinity of venues, etc.)

EJN and some members to speak to select artists about engagement (e.g.

Matthew Herbert): find 3-4 spokespeople willing to back an EJN manifesto and action by next year.

Use more videoconferencing for meetings and co-working: this also enables more local staff members to partake than travelling to meetings does, which both empowers staff and can make working processes more streamlined (as it removes the need for information to be ‘trickled down’).

EJN to share their knowledge of virtual office working and videoconferencing with the Network (EJN using GoToMeeting).

4. Collective ideas and envisioning the future •

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We need to add sustainability into our cultural narratives alongside social and financial narratives and understand where and how these priorities and values align.

Can we change the culture of touring and how artists work – dismantle “the treadmill” through residencies and new ways of presenting work? This also aligns with social values: it would put less pressure on artists and on staff.

What can we learn from theatre residencies?

Could we move the same artists around a city to give audiences different perspectives in different venues and vary the presentation e.g. forbid the use of PA in certain spaces? Would enable more shows from less artist travel.

How do we maximise collaboration: support for artists/share bookings/more cocommissions? More co-commissions might also be more financially sustainable, permit the creation of more ambitious commissions, which in turn could enable more national profiling.

How can we work smartly around exclusion zones and make sure they are only imposed when and if they are needed? What about ensuring individual artists or smaller break-off groups can get other opportunities as a minimum? Can we actually increase national profile / co-marketing for shows if we don’t insist on exclusion zones?

Can we increase composer local work with students and communities through lectures, workshops, etc?

Do we need to change the narrative around premieres? Audiences might be more excited if a piece has been more travelled – and it could save costs on rehearsals if the premiere is elsewhere.

Change behaviour: make not engaging with sustainability as unacceptable as racism.

Engrain a respectful culture in our audiences.

Can we or should we be proactive through advocacy to funding bodies for priorities on accountability?

How can we protect artists from media cynicism?

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What national policy is there to influence the design of our venues and how can we make sure sustainability is locked in and resourced for new and capital developments?

Plastic bottled water wastage is a very visible, obvious problem, and costly.

Challenges in moving away from bottled water include H&S concerns over glasses/open containers on stage and overcoming artist germophobia – but 20 years ago we didn’t have plastic bottled water! How can we move to a place where the use of refillable bottles is standard?

“The hardest thing to change is this idea that all of this (environmental sustainability) is unuseful and cannot be aligned with other organisational priorities. We need to challenge this narrative.“ – Take the Green Train attendee Questions arising from the discussions • • • • • • • • •

Does obligation remove inspiration?

How do we make this a normal part of the conversation rather than seeing or presenting it as an additional ask?

What are our priorities – access vs. philanthropy vs. diversity vs. sustainability?

Need to acknowledge stretched resources and more clearly articulated overall sustainability narrative.

Context – what are we doing right or wrong – what can we learn from others?

Responsibilities: taking initiative vs. reacting to obligations Do we get involved in wider advocacy or energy policy?

Lots of ‘encourage’ – how much can we ‘force’ ?

How do you prioritise time and acknowledge the amount of pressure people are already under – i.e. where does this fit?

Loyal audiences can be resistant to change. How do you strike the balance between organisational development and acknowledging long-standing supporters?

“Imagine, and what is possible in art becomes thinkable in life.” – Brian Eno

Summary of Presentations

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1. Welcome and Introduction to the Project: Ros Rigby OBE, Performance Programme Director, Sage Gateshead and President, Europe Jazz Network; and Anthony Sargent, Founding Director, Sage Gateshead Aims of the day: move towards shaping a manifesto or policy for the Europe Jazz Network on environmental sustainability that takes into account the diversity of the membership, its different operating contexts and abilities to act. What would be fair to ask EJN members to sign up to?

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At the Sage Gateshead, action on environmental sustainability not initiated by the top, but originated from the middle, driven by operational staff.

But benefits now clear to directors and board as well as staff, both financial and ethical/reputational.

Includes significant energy savings on both electricity and gas - half of all lights replaced with LEDs and staff engagement on switch-off campaigns - and changes in working culture with long-term aim to consolidate the venue as leading on this issue within the arts sector and recognition for this work within the community.

2. The Big Picture: Alison Tickell, CEO, Julie's Bicycle !

• Creative industries one of the fastest growing sectors in the UK economy • Green economy similarly thriving and growing exponentially globally • Both marked by creative, innovative individuals with a long-term view • Corporations starting to recognise that a green future is the only viable future – e.g. Apple has invested $3 billion into renewable energy infrastructure to move towards an internet powered by sun and wind.

• Social impacts of cultural activity – education, skills, entrepreneurship, health, and community cohesion and regeneration – are ever-widening spirals of added value, particularly in the urban context.

• Culture has emerged as a critical net generator of social and financial capital and is being increasingly placed at the heart of regeneration – strong chance that it will be built into the post-2015 Sustainable Development Goals.

• However, much of this translates into business-as-usual: we are still failing to create a value proposition that includes the environment as part of our cultural narrative.

• This matters because there is a very poor fit between what we are demanding of the planet and its capacity to provide for current and future generations. Our planet’s life support systems are being stretched – climate change, catastrophic loss of biodiversity, toxicity and pollution, ocean acidification are just some of the issues we are facing.

• Culture embodies values: and we can choose our values. Cultural value rests on the premise that culture is a force for good, and that the experience of art, the exploration of complexity, identity, community and empathy through cultural experiences, can help us solve commensurately bigger issues. This is the context in which culture and sustainability are increasingly encountering each other.

• This means we need to fundamentally change the conversation and integrate an environmental dimension into our social and economic cultural narratives. !

Further reading and watching: • Value and Cultural Spaces at the Whitworth: Julie's Bicycle and The Whitworth collaborate on a conversation about cultural buildings and the pivotal role they play in shaping our values and understanding of 'sustainability'. Speakers include Nicola Walker (Head of Collections Care & Access, The Whitworth), John Holden (Visiting Professor at City University and author of the recent Ecology of Culture report), Dr James Evans (Senior Lecturer in Geography and sustainable cities, the University of Manchester): https://vimeo.com/124305803 • What does value have to do with Sustaining Creativity? Opinion piece by John Holden: http://www.juliesbicycle.com/latest/blog/2230-what-does-value-have-to-do-with-sustainingcreativity

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Culture Matters: why culture should be at the heart of future public policy (British Council, 2014): http://www.britishcouncil.org/organisation/publications/culture-matters Culture as a goal in post-2015 Sustainable Development Agenda: campaign http://www.culture2015goal.net/ Later this year, world governments will attempt to reach a universal and binding agreement on climate change at the United Nations Climate Change Conference COP21 in Paris (30 November – 11 December).

“Culture is precisely what enables sustainability – as a source of strength, of values and social cohesion, self esteem and participation.” - Irina Bokova, Director General UNESCO !

3. Keynote: Tony Wadsworth CBE, Chairman, Julie’s Bicycle •

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Radiohead and Coldplay early on made a lot of effort to be aware of their environmental impacts and put actions in place. But this can attract a lot of media cynicism: there’s always someone there to knock you down.

Artist action inspired me: it was clear that sustainability was an important element in the context of the values of artists; and artists’ values are crucial in their relationship with their fans.

The power of the artists’ voice in this issue cannot be overstated. This is the importance of our work: it goes far beyond the immediate environmental impacts of the music industry, or the creative industries.

We as an industry are hugely influential – especially to young people as they begin to develop their own views of the world - and this is what makes it so important that we send across the right messages in relation to climate change.

It isn’t enough to simply say the right thing – you have to be seen to be doing the right thing as well: otherwise you lose all credibility.

Julie’s Bicycle is there to enable the artists, their representatives, and the whole ecosystem of music to tackle climate change and give practical substance to the words and the music of the artists. The Julie’s Bicycle Creative IG Tools are being used by over 2000 organisations, and the JB resources have been downloaded from over 190 different countries: clearly something very exciting is happening.

There have been real changes in the way we work and go about our business as a creative community, and there have been real, proven carbon reductions of at least 30,000 t of CO2e since JB started in 2008, and over £4 million of savings.

The music industry has driven much of this work from the beginning. But this is a bunch of issues that continues to throw up more challenges - so leadership needs to be continuously regenerated and stretched beyond the status quo - in other words, we need to keep the issue alive in an industry that has many other issues to contend with.

Climate change is still perceived as a relatively low business priority: but there is a growing evidence base for business benefits, particularly when other priorities are aligned with environmental sustainability in holistic fashion. Going green is good for business – often the ethics come as a result of doing.

A recent survey of 350 companies working on environmental sustainability: 56% had benefitted financially, 45% had benefitted reputationally and over 75% had happier staff.

While the industry as a whole still needs to embrace some of these principles, there is a rich movement of things already happening: • Powerful Thinking, co-founded by Julie’s Bicycle, is tackling energy sustainability in the events and festivals sector. When we started this initiative, less than 1% of energy used at festivals was renewable. Last summer, over 250 events have used some kind of renewable energy and suppliers able to offer these types of solutions are being overwhelmed with demand.

• The Energy Revolution is crowd-sourcing donations from festival-goers when they purchase tickets to account for their travel carbon and investing these donations into building renewable energy projects in India.

• Venues at all scales from the Sage Gateshead to Band on the Wall in Manchester are taking action and engaging with the wider networks in their area.

• Record labels have invested considerable time and effort in unpicking their supply chains and gradually switching from plastic jewel cases for CDs to card packaging.

• The orchestral sector has banded together under the banner of the Green Orchestral Charter for venues, promoters and orchestras.

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“Today we are all here to explore how the jazz community will articulate its response to this issue, and become a visible and vocal part of this wider cultural movement. It shouldn’t be seen as a challenge – it is a huge opportunity for this incredible genre of music to do what it has always done, and to get the truth out there loud and clear.”

– Tony Wadsworth 4. What's happening in Jazz? - Enedina Sanna, Executive Producer, Jana Project/Musica Sulle Bocche Festival, Sardinia, Italy •

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Jana Project: founded in 1997, run a range of workshops, shows, international festivals and other jazz projects including the Musica Sulle Bocche Festival: 2015 is the 15th edition.

Festival setting: Santa Teresa Gallura, Sardinia: 5000 inhabitants, tourist destination, situated on the Bocche di Bonifacio strait between two national parks. The Bonifacio Strait is an International Marine Reserve, a natural site recognised by Unesco, and part of the “Sanctuary of the Cetaceans of the Mediterranean Sea” between France and Italy. The landscape is famous for its wind-sculpted rocks.

The Festival is strongly influenced by the connection between the music and the landscape, so the environment influences its commitment to sustainability.

Nature is seen as an actor in the performance rather than scenery or backdrop.

The local municipality has a wide range of green policies, including recycling programmes and the distribution of ashtrays for the beaches.

The shows use minimal equipment and set-up, often taking place on the beach.

Power is either taken from a mains grid connection or if none is available, small generators.

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Financial constraints can be an opportunity to enhance creativity: working with minimal set-up and searching for ideal locations.

In the last three years, the Jana Project have developed this format of music/landscape with the “Tramonti della Sardegna” concert series held at sunset in key locations with notable landscape, archaeology, and history; using music to amplify both the human and natural environment.

Focus on audience communication on taking care of the site. Culturally, the audience demographic already tends to be sensitive to and respectful of the environment.

Printed materials printed on ecologically sourced paper or paper derived from certified forests (FSC).

In 2008, worked with an agency to calculate the total festival carbon emissions and compensate these: 64,252 kg of CO2 =16,581 m2 of new forests in Costa Rica. However, this scheme could not be maintained because of the associated costs.

In 2009, worked with and supported a Greenpeace campaign to ban oil tanker transit through the Bonifacio Strait – a dangerous shipping route and natural site of pre-eminent importance. Although regulations are more stringent, this has not yet been successful and over 140,000 tonnes of hazardous material continue to be transited through the strait annually.

Also supported a national campaign against the abandonment of pets during the summer holidays, a significant problem in Italy.

http://www.janaproject.com/janaproject/ http://www.musicasullebocche.it/ 5. What’s happening in Jazz? - Jill Rodger, Festival Director, Glasgow International Jazz Festival, Scotland • •

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Small team sets limits on amount of action that can be taken Reducing waste through re-using and recycling materials where practical, only printing documents and correspondence where absolutely necessary, and currently working on ensuring that only manufacturing appropriate amount of printed marketing material (for example, trying to understand how many programmes need) Encouraging people to book tickets online to reduce travel & postage impacts Many of the venues and hotels that the festival uses are with a few minutes walking distance of each other, reducing the requirement of ground transport for artists or audience members; have trialled getting artist liaison to physically walk artists from hotels to venues (where equipment permits) Encouraging artists and audiences to use public transport Use local PA company, crew and staff, minimising impacts of transportation and travel – and because the festival is part-funded by the local authority, ensuring that the economic benefits of the event are fed back into the local community.

Use suppliers with similar environmental aims and purchase environmentally responsible products where possible One pop-up venue requires toilet installation, so have found a model that integrates sink & cistern (so that water is recycled from hand-washing into the cistern for flushing) – claims to use 70% less water than an ordinary WC.

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Switch-off routine at the end of the day for PCs, lights, printers, and nonessential electrical equipment Currently aiming to use vehicle hire companies specialising in low-emission and hybrid vehicles Partnership with a local homeless shelter – the Wayside Club in Glasgow - to donate unused food and soft drinks from the Green Room Future plans include focusing on paperless tickets, trying to eliminate stage bottled water wastage, and establishing a partnership with the local public transport provider

http://www.jazzfest.co.uk/ 6. What’s happening in Jazz? – Other Examples • •

Sage Gateshead: have a partnership with the local metro – ticket-holders get free travel 2 hours either side of a show – costs sponsored.

Wim Wabbes: one festival in Belgium adds a € 0.50 surcharge to all tickets to subsidise free public transport for ticket-holders.

7. Raising the Bar – Leadership in Action: Laura Pando, Sustainability Coordinator, Festival Republic •

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Greenfield festivals pose a particular challenge in terms of sustainability: building everything from scratch (power supply, waste management, water and sewage management) on very short time-scales and with a huge network of temporary staff and suppliers.

Key achievement for Festival Republic is having built up several years’ worth of comprehensive data. In some cases it has taken several years to build the supplier relationships and put systems in place to collect this from power suppliers, waste contractors, etc.

Data has enabled benchmarking of impacts, setting targets, and tracking of the events’ carbon footprint and savings: fundamental to FR’s environmental sustainability action and planning and prioritising future intiatives. Through it, can evidence actual substantial carbon savings at all three of Reading/Leeds/Latitude Festivals.

External recognition and verification of achievement through certification: e.g.

Reading & Leeds Festivals achieved a 3-star Julie’s Bicycle Creative Industry Green Certification in 2014 (3rd year in a row at Reading, 2nd consecutive year at Leeds); Latitude was also awarded 3-stars Creative IG and the Highly Commended Greener Festival Award in 2012.

FR wants to inspire behaviour change among its audiences, artists, contractors, suppliers, staff, and competitors. While this is difficult to measure, have achieved a lot particularly with regards to contractors and suppliers – many of whom have developed their own environmental sustainability policies over the past few years and now collaborate with Festival Republic on environmental sustainability.

FR is also leveraging its market position to support innovation. For example, pushing its power contractor to make use of the in-built telemetry function in its generators to monitor loads (which they had not been doing to date – FR’s insistence actually meant they had to provide staff training for their team). Other

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initiatives include deploying WVO (waste vegetable oil) biodiesel at a large scale, using LED lighting where possible, and supporting the development and use of hybrid and renewable temporary energy systems on site.

Different approaches to inspiring behaviour change work for different stakeholders – generally: for audiences, use incentives and make it easy; for contractors, use penalties and contract clauses e.g. around the provision of data; for artists, use recommendations and try to start a conversation.

Use playfulness to engage - e.g. the GoCarShare sessions, recording bands that are carsharing to get to the festival: http://youtu.be/pIHxRRqUWf0 What is FR’s motivation? “Corporate responsibility is defined as the responsibility of an organisation for the impacts of its decisions on society and the environment above and beyond its legal obligations, through transparent and ethical behaviour.” There is a deep-seated ethical commitment underlying these actions: it’s just the right thing to do. Day-to-day this translates into a constant weighing up of the right thing vs. budget constraints.

Fundamentally, it is also about recognising that the creative industry is seen as and should be a forward-thinking industry: this also means being forwardthinking in the context of global shifts and issues.

Lastly, it is about recognising the potential for reaching audiences and being listened to and making a change that is much greater than immediate impacts: and that this kind of reach comes with responsibility.

http://www.festivalrepublic.com/ http://www.latitudefestival.com/information/latitude-green 8. Raising the Bar – Leadership in Action: Paul Elam, Event Coordinator (Performance Programming) and Co-Chair of the Green Team, Sage Gateshead • •

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The Sage Gateshead vision is to be the most sustainable and environmentally friendly venue in the UK. Policy: “Sage Gateshead is committed to reducing our environmental impact year on year. This will be measured by an annual environmental audit, and through membership of a respected environmental stewardship scheme (Julie’s Bicycle Industry Green).”

The Green Team was formed in 2008 to push this policy forward.

Achievements include JB Creative Industry Green 2-star rating since 2012; free Metro travel for all ticket holders on show days; Equitrac installed in photocopiers/printers = 45475 sheets of paper saved in 14-15; fully carbon offset gas and electricity supply; all water use monitored by Demeter Water Solutions to come up with more targeted water saving initiatives; 0% to landfill through the waste contractor – 98% recycled, remaining 2% processed at an energy-from-waste facility; Tungsten lamps replaced with LED lighting where possible, LED strip lights in Hall 1 and 2; staff Bike to Work and discounted travel pass schemes; local suppliers used for all print and uniforms.

Challenges for the future include improving the social media and marketing around successes and aims internally and externally: communication was the reason the Sage Gateshead failed to achieve 3 stars Industry Green in the last assessment.

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There has also been a decrease in membership of the Green Team and a slight onset of ‘fatigue’ with a sense that everything has been done – this is being addressed through focusing efforts on specific events or aims – for example, the Gateshead International Jazz Festival. Aligning with specific projects is increasing ambition in different departments, and helping keep things on track as specific timelines are involved.

The most difficult area for action is engaging with touring companies, agents, and musicians – need to work to improve awareness and expectations through contract clauses, green riders, etc.

For Gateshead International Jazz Festival 2015 included an additional clause in contracts highlighting aims to tour managers/agents/artists and sent a “GIJF goes green” Green Rider to all highlighting strategies to reduce environmental impact – having a contract clause greatly helped negotiation during advancing stages. All catering for the festival was sourced from local suppliers where possible and artists encouraged to use as little plastic bottled water as possible – GIJF branded logo reusable water bottles supplied instead.

Also using the GIJF weekend to measure energy, water and waste usage as starting point for a baseline to measure the impact of other large festivals and events held at the venue and monitor future changes.

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GIJF Goes Green The carbon footprint of UK artists touring is at least 85,000 tonnes of carbon per year; the impact of live performances spaces in the UK is at least 125,000 tonnes per year. Here at Sage Gateshead we would like you to join us in working to make Gateshead International Jazz Festival as environmentally sustainable as possible.

Alongside hosting ‘Take the Green Train’, a seminar on sustainability in music on Friday 10 th April, we will be trying to reduce waste and environmental impact in practical on-theground ways. Here are a few of the ways you can help us: Be flexible with specific rider items – locally sourced / low packaging alternatives may be provided where appropriate Be conservative when requesting rider items in order to reduce the amount of food / drink waste Be happy to use your refillable GIJF water bottle in order to reduce the amount of plastic bottle waste Be proactive in using recycling bins for bottles / cans / paper / plastics Be environmentally conscious when choosing how to travel to the venue Be excited about the initiative and use #GIJF to spread the word on social media Thank you for your cooperation, it means a lot to us. If you have any questions or suggestions please email us.

See you in April!

Sage Gateshead

http://www.sagegateshead.com/ !

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9. Green Touring Masterclass – Julie’s Bicycle •

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The impact of every tour will be variable based on production, choices made about travel and transport, the number of crew, the number of dates and their locations… by monitoring, we can begin building an understanding of the impact of different choices made during the planning stages. The Creative IG Tools can be used for this: http://ig-tools.com

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Collecting data can also help us build a broader understanding of the impacts associated with different touring models – for example, past research suggests that because audience travel is such a significant source of impact, rural touring across more dates can result in a lower carbon impact than holding fewer, centralised shows (as the need for audience travel is reduced)

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Within each of these sources of impact, you will have more or less control: some direct, and some indirect. For example, the caterer chooses whether to use locally sourced ingredients, but you choose the caterer. The key is to understand where and when decisions are made, and where you can have an impact. It can be tempting to push responsibility to others in the decision chain: instead, it’s about smartly unpicking relationships to find a collaborative approach (and choosing partners wisely!)

We don’t always have every choice available to us due to financial constraints, operational constraints, etc. But we can integrate sustainability into planning and make informed choices.

Part of the process is also understanding how we can align environmental sustainability to other strategic priorities and values: supporting the local economy, community relationships, new creative avenues, audience development, etc.

The process to integrating environmental sustainability in your operations:

Top Tips for Greener Touring: 1. Think about sustainability from the outset of planning a tour, alongside artistic and financial considerations. Involve everyone.

2. Use low emission transport for personnel and any freight.

3. Map the most efficient route, considering different transport options. To what extent are you limited by exclusion zones and can these be challenged? Avoid one-off performances.

4. Design shows to take up minimal transport space and need minimal crew for set-up.

5. Source people, equipment, props and food locally if possible. Build networks of reliable local suppliers and freelancers.

6. Choose residential accommodation, B&Bs or green certified hotels.

7. Maximise your impact alongside performances: connect with academic and community organisations, set up meetings, explore digital broadcast options.

8. Aim for venues or events that are well-connected to public transport links and that have a commitment to environmental sustainability. Liaise with the venue by using a Green Rider.

9. Design shows that are intelligent about energy use and materials use. Reuse, repurpose and recycle as much as possible – and have a plan for how you will sustainably deal with any sets/costumes/props at the end of a tour.

10. Consider the carbon impacts of different choices when planning the tour and measure and report the actual GHG emissions after the tour using the Creative IG Tools.

On the road: avoid plastic bottled water, switch off, recycle, use public transport, avoid vehicle idling

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Top Tips for Greener Touring – Promoters: 1. Think about sustainability from the outset of planning a show or series of shows.

Involve everyone.

2. Choose venues with good public transport links and green credentials. Liaise with the venue on sustainability.

3. Clearly communicate public transport options to audiences and encourage them to travel via low emissions means.

4. Procure environmentally sustainable services and goods from local suppliers committed to addressing their own impacts.

5. Help facilitate the local sourcing of reliable equipment and crew.

6. Be a source of information: know about and recommend local public transport (or green taxi firms), hotels with a commitment to sustainability, etc.

7. Establish links with and work with other promoters (or other organisations) in the relative vicinity to help facilitate additional dates for touring artists.

8. Communicate what you are doing to touring productions.

9. Have an environmental policy and action plan.

10. Use energy and water efficiently in your office and minimise waste.

11. Consider choosing artists not only based on artistic merit but also on sustainability. How essential is the presence of this act to the quality of your event? Support local & nationally based artists.

12. Incentivise sustainability e.g. do not cover national air travel for artists.

Additional Tips for Venues & site-based Festivals, Offices Everything above, and: 1. Monitor and understand the impacts of your venue or festival using the Creative IG Tools.

2. Set targets for annual reductions in energy and/or fuel use, water use, and waste produced; and improvements in recycling and composting. Set overall targets for GHG emissions reductions.

3. Look into renewable energy options available.

4. Communicate clearly on public transport options available, provide safe bicycle lock-ups, limit car parking spaces, incentivise travel by public transport and carsharing.

5. Engage your staff, freelancers and other contractors in your efforts.

6. Get a green certification.

7. Consider how you can use and shape your infrastructure and space in a way that transmits your values.

Audience Travel There are plenty of opportunities to reduce the direct impact of touring, but by addressing audience travel you can also affect indirect impacts. Beyond ensuring there is clear public transport information available, there is more to think about: •

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Can you combine public transport and programming? e.g. Hay Festival has organised train carriages with readings from London. Brecon Jazz has attempted some buses with music – not without challenges.

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Bear in mind your audiences when planning for sustainable travel. E.g. are there alternatives to car-sharing apps for audiences that might not be using smartphones?

If you are using incentives, what kind and aimed at what audience(s)? E.g. free coffee / a % discount to a future ticket / preferred access / etc.

The Future: Taking the Slow Road?

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Are there new models we can construct in which artists are not dependent on air travel for their livelihoods?

What are the implications of ‘residence-hopping’?

Can we slow down and remain viable?

Can we find the international in our backyards?

Key available tools and resources: • Julie’s Bicycle Creative IG Tools: https://ig-tools.com/signup • Practical Guide: Sustainable Touring: http://www.juliesbicycle.com/resources/touring-guide • Practical Guide: Sustainable Procurement: http://www.juliesbicycle.com/resources/procurement-guide • Practical Guide: Greening the Office: http://www.juliesbicycle.com/resources/greening-the-office-guide • Julie’s Bicycle Creative Industry Green Certification: http://www.juliesbicycle.com/services/industry • Energising Culture: a guide on future energy strategies for cultural buildings http://www.juliesbicycle.com/resources/energising-culture • Further practical guides on topics including energy, waste, and water management for outdoor festivals can be found at http://www.juliesbicycle.com/resources • Green Riders: http://www.juliesbicycle.com/resources/green-rider • Case Studies: http://www.juliesbicycle.com/latest?section=caseStudies • Moving Arts: Managing the Carbon Impacts of Our Touring Volume 1: Bands: http://www.juliesbicycle.com/resources/moving-arts-managing-the-carbonimpacts-of-our-touring-volume-1-bands • Moving Arts: Managing the Carbon Impacts of Our Touring Volume 2: Orchestras: http://www.juliesbicycle.com/resources/moving-arts-managing-thecarbon-impacts-of-our-touring-volume-2-orchestras !

10. Green Touring: Graham McKenzie, Artistic Director, Huddersfield Contemporary Music Festival Evan Parker / Graham McKenzie: Tour by Train • Idea grew out of a train-ride from London St.Pancras to Margate during which Graham interviewed Evan for a curated podcast project – for people to listen to on train rides and follow the conversation.

• Idea is to use a ‘conversations on a train’ format for writing a book about Evan Parker: currently planning 2 week tour by train for solo Evan saxophone shows, with each chapter devoted to a venue. !

• As a side-note, Evan has almost never even been offered train travel as an option for concerts he has been booked for.

Huddersfield Contemporary Music Festival – Green Touring • Did some theoretical number crunching around 2014 edition: additional cost if had covered artist travel by train or non-flying means (and this does not count artists where are doing a travel-inclusive deal): £46,000 • At first sight, this clearly unreasonable. Did some more crunching. Translates into a difference of ~ £158 per musician – and the difference in ticket price would have been £8 per ticket.

• This £8 / ticket figure is much more approachable – becomes a question of stakeholders. How much of the audience would sign up? How do you balance needs for accessibility – i.e. keeping ticket prices low? Is there another source (sponsors?) this could be covered from or subsidised by?

• Other difficulties around train travel: it is much more time intensive to get travel route options (would manage to book 1 act instead of 4 in a day) which can be problematic for small teams; getting tickets to artists is sometimes impossible depending on train company policy (some train companies would require them to be delivered to the festival, who then have to send them onwards to artist – who may not be settled, or already on the road); and it is almost impossible to get info on railway company policy on instrument transport.

• Also did some surveying of artists of four ensembles – when asked, only 4 / 187 musicians agreed to sharing a twin room, which would reduce accommodation impact (out of which 2 were already a couple), even if the financial savings would be shared with them.

• Worth noting that all these ensembles are part-funded by the Arts Council, as is the festival – so what kind of obligations does that place on the different stakeholders in this scenario?

• There are sometimes also difficulties around MU contracts for performers that stipulate particular travel compensation (and travel time) etc.

Huddersfield Contemporary Music Festival – Other initiatives • Current 3-year plan to phase out print programmes entirely.

• To date, have reduced the amount of print – and this has not affected audience numbers (audience numbers have actually risen). Re-invested money in increasing digital marketing instead.

• Booking tickets online is cheaper to incentivise audiences to use the website – and there is added value to accessing the online information, which is much richer than the printed information.

• Not always easy: culturally, this audience is particularly intolerant of the use of phones in the audience, so need to be a bit mindful of this.

• Because much of programme is new commissions/premieres, sometimes difficult to get accurate tech specs ahead of time – and production managers tend to err on the side of caution, which can mean getting in much more equipment than is needed. To address this (also because of space and cost issues), started to charge any equipment that is not used back to the productions – has made a tangible difference over time.

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• Try to create opportunities for larger groups to break into smaller groups and present something else to maximise the value to programming of the artists and performers that are brought in.

• Difficulty around creating too many residency-type bits of programming: small town with a lack of infrastructure, so actually need to turn around accommodation and rehearsal rooms fairly quickly.

11. Green Touring: Wim Wabbes, Artistic Director, Handelsbeurs Concert Hall, Ghent, Belgium Yolda: an artistic project and a research project on mobility, migration, cultural exchange; involving musicians from Belgium, Turkey, Armenia/Hungary, Italy/Roumania, Portugal/Slovenia One strand: a musical journey from Istanbul to Ghent with Belgian and Turkish musicians.

• In 1964, the Belgian government signed a treaty with the Turkish government to send labourers to Belgium to fill working posts in the burgeoning economy.

Many travelled from the Turkish town of Emirdag to Ghent in Belgium via Istanbul, Bulgaria, Romania, Hungary, Austria, Germany.

• Re-enactment of this journey: 3 pairs of Belgian musicians from different musical genres travel to Istanbul and Izmir, where they meet their Turkish counterparts.

Also met other musicians on the way to exchange ‘gift song’.

• Then plan to travel by train from Istanbul to Gent in 4 days. But on occasion had to adjust travel plans – e.g. Istanbul – Bucharest told not to take train: works on the tracks and expected delays at border control would mean the trip would not fit into the tight schedule for the project. Took bus instead.

• However, when train travel successful, artists felt that the time travelling together like this was quintessential for the project, getting to know each other, and rehearsing/playing when had the carriage to themselves. http://projectyolda.be/ https://www.youtube.com/watch?v=m3kdPAaXcqo !

12. Trend-spotting: Sustaining Creativity – Julie’s Bicycle • The creative industries are perfectly placed to hot-house the transitions and cultural shifts we need to create an environmentally sustainable future.

• They can catalyse innovations, transform markets, use design constraints to come up with new solutions; they are a source of competitive advantage, bring communities together, and most importantly can open up new ways of seeing and perceiving the world.

• ‘Sustaining Creativity’ is a JB programme to accelerate a holistic rethinking of how the creative community responds to climate change and environmental sustainability. The creative community is not yet convinced of the business case for sustainability, so not recognizing the myriad opportunities it presents.

• There are several themes currently unfolding globally: the digital economy, the circular economy, new currencies, and a new energy infrastructure. These will have an effect on the creative industries – but also, the values and culture that

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sit at their core will determine their future trajectory – and we can play a role in shaping this. We should be looking at what models we want to adapt and how.

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New alternative currencies are bringing externalities in, such as trying to put a financial value on the services and benefits we get from the environment.

Carbon markets are another new type of currency/costing in externalities.

There are also new systems and currencies trying to formalise sharing, leasing, and exchange, such as the ‘time dollar’ – or keeping value in local communities, such as the Brixton or Bristol pound.

The new digital economy is connecting us in ways we never imagined – but it’s also important to remember that the internet is not a cloud. It is powered by a huge industry of server farms and other infrastructure, connected to devices that all use energy and require materials for their construction.

Digital is also facilitating the use of data – both in a practical sense, such as JB’s environmental data on the arts and creative industries (the largest dataset of its kind – what more could we do with this to effect change?) – and in a creative sense, with artists increasingly creating work based around data or interpreting environmental data.

The circular economy is supercharging the design sector, moving from a linear ‘take – make – dispose’ model to one based on closed-loop systems thinking in which resources and materials aren’t lost from the value chain.

This is exemplified in the creative community through initiatives such as:! o Fixperts – a social project sharing knowledge and inspiration on fixing things: http://fixperts.org/ ! o The RSA’s Great Recovery project – which is building networks around designers and running workshops to accelerate new solutions http://www.greatrecovery.org.uk/ ! o The maker movement – a growing community or subculture around DIY, technology, and engineering ! o Companies such as Scenery Salvage or Dresd – who specialise in reclaiming, reusing and recycling scenery and props from theatre, film, and other creative productions. http://www.scenerysalvage.com/ , http://www.dresd.co.uk/ !

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There are also emerging economies facilitated by digital technology in the creative industries, including sharing of resources, touring that responds to audiences, and ways to build community relationships:! o StageBitz – an online inventory to facilitate sharing of props, costumes and scenery http://stagebitz.com/ o Sparkplug – an online network allowing musicians and others to create free listings for instruments, studio space, etc. for hire, facilitating shortterm rentals within the artistic community. https://www.sparkplug.it/ o Songkick Detour – although closed now, this was an experimental platform allowing fans to ‘pledge’ to purchase tickets for a particular artist in a city, effectively pre-investing in a show – if demand was high enough, the platform would facilitate a connection with an appropriate promoter to make the show happen. This kind of platform could streamline the tour-planning process, ensuring the most efficient routes are planned that minimise audience travel and risk to the promoter (but it could also end up with a lot more one-off shows, so sustainability is not in-built!) http://www.wired.co.uk/news/archive/2012-10/23/songkickdetour-andrew-bird o Tourbook – an online tool and network to help support rural touring in Scotland, allowing rural promoters to connect with each other and touring performers http://www.tourbook.org.uk/ o 10,000 Hours – facilitates volunteer days for attendees of particular festivals in the area the festival is taking place ahead of the event.

Volunteers plant trees, spend time with the elderly, and ‘give back’ to the host community in other ways before returning to party. Volunteers are also given branded photos etc. to share their activities on social media – promoting the event as well as their engagement. http://10000hours.nl/en/ Artists are also changing the way work is presented – including for example stage designer Tanja Beer’s ‘Living Stage’: a performance space built as a community garden http://www.tanjabeer.com/the-living-stage/

“You can’t use up creativity. The more you use, the more you have.”

– Maya Angelou

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APPENDIX: Agenda and Speaker Biographies for Take the Green Train: A seminar on sustainability in music presented by the Europe Jazz Network and Julie’s Bicycle Agenda 10 April 2015 | 11:00 – 17:00 | Sage Gateshead 11:00 – W elcome and Introduction to the Project: Ros Rigby OBE, Performance Programme Director, Sage Gateshead and President, Europe Jazz Network 11.10 - O verview of the Day: Alison Tickell, CEO, Julie's Bicycle 11.15 - Participant Introductions 11.30 - The Big Picture: Alison Tickell, CEO, Julie's Bicycle Outline of recent climate science and the creative and cultural response to date.

11.40 – Keynote: Tony Wadsworth CBE, Chairman, Julie’s Bicycle The music industry and environmental sustainability: what does this movement look like and why are we here?

11.55 - W hat's happening in Jazz?

Presenting existing good and best practice from within the Jazz community, and inviting participants to share their stories and other examples they are inspired by and what their thoughts might be for next steps.

Guest speakers: Enedina Sanna, Jana Project, Sardinia, Italy on the sustainability initiatives taken by the Musica Sulle Bocche festival, including their sensitivity to the local environment, collaboration with the local authority, and campaigns.

Jill Rodger, Festival Director, Glasgow International Jazz Festival, Scotland on the festival’s work on environmental sustainability to date and plans for the future.

Followed by Q&A/discussion for anyone else wanting to contribute stories.

12.40 - Raising the Bar - Leadership in Action Leading examples of environmental action from the broader music ecosystem.

Guest speakers: Laura Pando, Sustainability Coordinator, Festival Republic on the promoter’s pioneering work with suppliers, audiences, and other stakeholders on designing environmental sustainability initiatives for their Creative Industry Green certified Reading, Leeds, and Latitude major festivals.

Paul Elam, Event Coordinator (Performance Programming) and Co-Chair of the Green Team, Sage Gateshead on what Sage Gateshead has done to date regarding environmental sustainability as a venue, and what they are doing over the Jazz Festival weekend.

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Followed by Q&A 13:20 – Lunch (30 minutes) 13.50 - Green Touring Masterclass Workshop led by Julie's Bicycle on the process of planning and delivering sustainable touring practices, and the tools, resources and guidance available.

Guest speakers: Graham McKenzie, Artistic Director, Huddersfield Contemporary Music Festival on organising a tour by train for saxophonist Evan Parker.

Wim Wabbes, Artistic Director, Handelsbeurs Concert Hall, Ghent, Belgium and EJN board member on the opportunities and challenges involved in the recent Yolda project on migration and music, which involved musicians travelling across Europe from Istanbul to Ghent, much of it by train.

15.20 – Break (15 minutes) 15.35 - Trend-spotting: Sustaining Creativity Circularity, digital, and values. Looking at how new models born from the sharing economy and new digital platforms are reshaping touring models and democratising the touring and music production process by turning fans into co-producers and co-investors in touring and performance – and how these changes are translated and interpreted in the context of environmental sustainability.

Presentation by Julie’s Bicycle followed by brainstorming and group discussion of how these models might be applied within Jazz touring.

16.00 - The Green Train Pledge What will we commit to doing together during this project, and how can we influence the network as a whole? Where do we want to be in five years, both individually and as a network? How will we get there? Participants will work on guided ideas generation and action planning to come up with practical and concrete steps forward both individually and as a network and community.

16:50 – Summary and next steps: Ros Rigby OBE, Performance Programme Director, Sage Gateshead and President, Europe Jazz Network 17.00 - Ends

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Speaker Biographies Ros Rigby OBE Performance Programme Director, Sage Gateshead, UK President, Europe Jazz Network Ros Rigby trained as a ballet dancer at the Royal Ballet School (White Lodge), followed by an MA Hons in English at the University of Edinburgh and the one-year Post Graduate Diploma in Arts Administration run by the Arts Council of Great Britain.

In 1974 she became the first Community Arts Officer at the Beaford Centre, North Devon (Dartington Trust). Moving to the North East in 1976, attracted by its strong regional identity and culture, she became Community Development Officer for Peterlee Development Corporation in 1977. In the early 1980s she created and led new programmes of arts and cultural development for Gateshead Council as the first Arts Development Officer in the North of England, and built Gateshead’s Caedmon Hall into a venue recognised for its wideranging music programme.

Ros Rigby was invited to join Alistair Anderson as founding CoDirector of Folkworks in 1988. Their trailblazing work saw the organisation develop into the UK’s foremost producer, presenter and educator in folk and traditional music, organising regional, national and international tours and festivals, alongside a huge programme of participatory and education work. She was awarded the OBE in 1999.

Folkworks, with Northern Sinfonia, was a founding partner of The Sage Gateshead, and was one of the four partners developing the business plan which was at the heart of the successful application to the UK Arts Lottery submitted in 1999. Folkworks became integrated into the new organisation in 2001 and Ros was appointed Performance Programme Director for The Sage Gateshead with responsibility for the programming of all areas of music other than western classical music, and for overseeing the conference and events programme.

Since The Sage Gateshead opened in December 2004 the programme includes around 300 concerts a year across, folk, jazz, world, nom-western classical, brass bands, rock, pop, electronica, spoken word, and includes now well established festivals such as The Gateshead International Jazz Festival, Fiddles on Fire and the SummerTyne Americana Festival.

Jazz has been one of Ros’s lifelong interests , and she leads on jazz programming for Sage Gateshead. She became a Board member of Europe Jazz Network in 2012 and was elected President in 2014.

Alison Tickell CEO, Julie’s Bicycle, UK Alison established Julie's Bicycle in 2007 as a non-profit company helping the music industry reduce its environmental impacts and develop new thinking in tune with global environmental challenges. JB has since extended its remit to many other art forms and is acknowledged as the leading organization bridging sustainability with the arts and culture.

Alison worked for many years with socially excluded young people as Development Director at Community Music, and then at Creative and Cultural Skills where she established the National Skills Academy for the music industry. She is a 2011 London Leader, advisor to Tonic, a judge on the Observer Ethical Awards and the Royal College of Arts Sustainable Design Awards, and a fellow of the RSA.

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Tony W adsworth CBE Chairman, Julie’s Bicycle, UK Tony Wadsworth CBE was Chairman and CEO of EMI Music UK & Ireland from 1998 to 2008. In a 26 year career with the UK based company, he held many roles including Managing Director of the Parlophone label, a label which he relaunched in the 1990's achieving sustained hits with artists such as Blur, Radiohead, Crowded House, Pet Shop Boys, Tina Turner and Queen. His subsequent move to running all of EMI's UK labels saw a period of global success with artists such as Robbie Williams, Coldplay, Kylie Minogue, Lily Allen,Gorillaz ,the Rolling Stones and the Beatles and many others.

Prior to joining EMI, Tony gained a degree in Economics from Newcastle University and spent the following 3 years playing in a band with his college friends. He later worked for various record labels before joining EMI. In December 2014, Tony stepped down as Chairman of the BPI, the representative body of the UK recorded music industry and Chairman of BRIT Awards Ltd but remains a Trustee of the BRIT Trust charity and Governor of the Brit School.

He is also Chairman of Julie's Bicycle, the leading global charity bridging the gap between environmental sustainability and the creative industries.

He is a Trustee of the EMI Music Sound Foundation, a charity devoted to improving young people's access to music education and a Trustee of the EMI Archive Trust. He is a non-executive board director of BIMM, the market leader in popular music higher education, and has commercial interests ranging from ethical ticketing to a vinyl record store.

Tony has an Honorary Doctorate in Music from the University of Gloucestershire and holds the post of Visiting Professor in the music and business schools of the University of Newcastle-on-Tyne.

In March 2008, he was awarded the prestigious Music Week Strat award for outstanding contribution to the UK music industry and in 2009 was awarded the Scott Piering Award by the Radio Academy to recognise outstanding contribution to music radio. In June 2011, he was awarded a CBE in the Queen's Birthday Honours List for his services to the UK music industry.

Enedina Sanna Producer, Musica sulle Bocche Festival, Italy After the degree in Linguistics at the University of Perugia, she has worked as French teacher in High Schools for 12 years. She has worked with Jazz Festivals and other cultural projects in Sardinia since 1987, as communication manager and then as producer / project manager. She created and led several festivals of Literature and Storytelling in Sardinia (2000-2007). After many years of research in the field of Narrative Oral Tradition, she performs as a storyteller in several foreign countries.

She has worked with Musica sulle Bocche Festival since the first edition in 2001. It takes place every year in Santa Teresa di Gallura, in the north-west of Sardinia. The artistic director is the musician Enzo Favata, saxophonist and composer. The festival is organized by "Jana

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Project", one of Sardinia’s most important professional organizations in the field of Jazz music production and distribution. Musica sulle Bocche combines high quality music with the beauty of the natural landscape.

Some of its events are held at the beaches or among the rocks in front of the sea at sunset and at sunrise. The program includes around 30 events of jazz, traditional music, brass bands, electronic music, workshops, photo exhibitions, spoken word.

Enedina has been executive producer of the Festival since 2007. She promoted special activities: workshops “Jazz for Children”; development of surveys and questionnaire for the audiences; implementation of activities “green-oriented”; management of European projects.

The fifteenth edition will take place from the 27 to the 30 August 2015.

Jill Rodger Festival Director, Glasgow International Jazz Festival, UK Jill Rodger is Festival Director of Glasgow International Jazz Festival. Jill has been with the company for 25 years and been Festival Director for the last 11 years. She is also a Trustee of the Scottish Jazz Federation; a mentor on the Music+ scheme for 14-19 year olds and a freelance Artist Liaison & Promoter’s Rep.

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Laura Pando Sustainability Coordinator, Festival Republic, UK Laura has been the Sustainability Coordinator at Festival Republic since March 2011. She works on reducing and measuring the environmental impact of Reading & Leeds and Latitude festivals (UK based events of 35,000-90,000 capacity) focusing on audience travel behaviour, power and energy monitoring, and waste management.

Laura has also overseen the sustainability performance at other festivals including Orlando Calling in the USA, Electric Picnic in Ireland and Berlin Festival in Germany. She creates bespoke educational and incentive initiatives and manages teams of over 200 people that work on the environmental schemes of each festival. In 2014, achieved 3 IG stars rating across all criteria for Reading and Latitude festivals.

Paul Elam Event Coordinator (Performance Programming) and CoChair of the Green Team, Sage Gateshead, UK Paul Elam is an Event Coordinator in the Performance Programming team at Sage Gateshead, working to advance over 300 concerts a year, ranging from folk to electronica, and from initimate performances to multi venue festivals. He is also a Co-Chair of the company’s Green Team, Sage Gateshead’s staff representative body for reducing their environmental impact.

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Chiara Badiali Music Coordinator, Julie’s Bicycle, UK Chiara joined Julie's Bicycle in 2012 and works as part of the arts team with a particular focus on getting the manifold stakeholders in the music industry on the same page when it comes to embedding environmental sustainability and best practice in their activities. Chiara holds a degree in Natural Sciences/History and Philosophy of Science from the University of Cambridge and has various former lives in cultural PR and development, live music promotions, and festivals including producing the live music programme for the HowTheLightGetsIn Music & Philosophy Festival in Hay-on-Wye. Graham McKenzie Artistic Director, Huddersfield Contemporary Music Festival, UK

Photo (c) John Bonner

Artistic Director & Chief Executive for the Huddersfield Contemporary Music Festival since January 2006. Honorary Research Fellow University of Huddersfield since May 2008. Director of the Centre for Contemporary Arts, Glasgow (CCA) from 1997 – 2006.

Graham McKenzie is a curator and writer in the field of experimental and new music. He is a member of Réseau Varèse – a European Network of major contemporary music festivals – and a member of the European Jazz Network. Programme Advisor to the Glasgow Jazz Festival.

Associate Member of Centre for Research in New Music (CeReNeM).

Member of the Network of International Curators and Festivals (NICAF). Co-Founder & Co-Director of Out Of The Machine Ltd. Co-Curator for sonic-a, Glasgow. Co-Founder of Glasgow Improviser’s Orchestra. Guest Artistic Director of Bristol New Music 2016 – 2018.

Founding member and Non Executive Director of the Cultural Enterprise Office (CEO) Glasgow (2001 – 2006) – part of the Business Gateway network offering one-to-one business advice and training to artists.

Jury member for the BUMA Prize, Netherlands (2008 & 2009). Jury member for the RPS Chamber Music Composition Award (2008, 2009, 2010, & 2011). Member of the Artistic Committee for Diaphonique. Jury member for the Paul Hamlyn Composer Awards 2011. Jury member for Take Five (Arts Council of England/Serious) 2010, 2011, 2012, 2013, & 2014), Jury member for Take Five International UK selection (2011), Chair of the ON network for contemporary music awards jury, Cologne 2012. Jury member BASCA International Category 2014.

Graham McKenzie is a published playwright.

W im W abbes Artistic Director, Handelsbeurs Concert Hall, Belgium Wim is currenrly the artistic director of the Handelsbeurs Concert Hall in Ghent, Belgium. Prior to this, he was the music director at the Vooruit Arts Centre in Ghent for 25 years.

Photo (c) Valerie De Baerdemaeker

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