[中][ENG]亞洲文化推展聯盟舉辦疫後首個實體國際文化交流年會
文：陳志芬
譯：Eva Kan
亞洲文化推展聯盟（Federation for Asian Cultural Promotion，以下簡稱FACP）創立於1979年，最新一屆年會於台灣衛武營舉行，由2023年11月23至26日，為期四天。年度主題為「下一站，綠世代—續航表演藝術生活」，串聯國立臺北藝術大學舉辦的 「2023藝術永續國際論壇」，響應台灣政府2023年訂立的「2050淨零排放」政策目標。是次為疫後首個實體年會，來自12個國家及地區（包括澳洲、加拿大、香港、法國、日本、南韓、馬來西亞、菲律賓、波蘭、新加坡、台灣、英國及美國）的藝術中心和機構重要代表及獨立專家均有出席。
年會獲臺灣證券交易所贊助，以「城市報告」拉開序幕，各地的表演藝術界代表以圓桌會議的方式，分享各地藝文界的最新動向及他們的見解。歡迎晚宴隨後順利舉行，參與的嘉賓包括文化部李靜慧女士、地方政府機構代表、衛武營藝術總監簡文彬、臺中國家歌劇院藝術總監及FACP主席邱瑗，以及各藝術中心的藝術總監。當晚，來自屏東三地門的現代舞蹈團為嘉賓和與會者帶來精彩的演出。
年會舉辦了一系列專題討論會／論壇，探討表演藝術界在後疫情時代所面臨的經濟及環境挑戰，涵蓋建築設備、營運策略、製作和表演等方面。成果豐碩的活動還包括 「What's Up Café – 藝術職涯診療室」，與會者可以與他們的「桌長」以及亞太區表演藝術界的藝文領袖進行討論。來賓和與會者亦應邀參訪駁二藝術特區及高雄流行音樂中心，並於當晚欣賞在駁二正港小劇場舉行的《AGA亞洲文化新勢力》演出。是次製作包含八個由亞太區藝術家呈獻的傳統創新演出作品，作品由FACP挑選。年會以《創發新象》頒獎典禮作結。此項目由Clare C. & Friends Fellowship贊助，向全球徵集作品，旨在尋找既植根於傳統，又充滿當代精神和關注藝術永續的作品。共十部作品入圍，其中包括來自香港的綽舞場及未景之業的作品，最後後者憑《破地獄》獲得精選獎。
國際論壇：開幕式 International Forum：Opening／攝Photo：Kito（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying) ）
每個人都可以成為變革者
在這個致力促進台灣與全球合作夥伴和藝術家之間交流合作的國際會議的背景下，今年思考「可持續發展」具有深遠意義。會議召開前不久，FACP聯合創辦人、新象藝術機構藝術總監許博允先生逝世。許先生的精神長存，在緬懷的同時，是次會議所在地衛武營正慶祝其成立五周年。會議不僅紀念許先生的精神，也展望衛武營未來充滿希望的旅程和發展。
會議傳達出一個明確訊息：無論是哪一種角色，所有表演藝術界的持份者，包括觀眾在內，都應盡一分力構建可持續發展的生態系統。
1) 作為變革推動者的管理機構／組織領導層
「茱莉的腳踏車」（Julie’s Bicycle）相信以文化的力量可以實現變革。機構以氣候、自然和公義為主題，透過與數千家藝術機構、博物館和美術館合作，以簡易、促進行動的方式，動員藝術和文化力量。創辦人兼行政總裁艾莉森．蒂克爾（Alison Tickell）指出，地球現正目睹個人主義／消費主義／全球化帶來的後果，而這出於殖民主義和開發主義，多於廣泛的集體選擇。因此，她認為氣候危機是一場文化危機，並相信以文化主導的方式可解決氣候問題的根源。
蒂克爾列出能夠改變文化生態系統的三大支柱：資料庫與知識——通過確鑿的證據，政策制定者將了解文化是推動變革的重要力量；人與行動——文化活躍分子聚集一起學習、頌揚並建立新的夥伴關係和強大的合作關係；治理——重新思考藝術與文化的優先次序，在氣候變化的背景下制定負責任的政策，並構建管治框架，促進以創意回應氣候變化問題。「國家選定團體」（National Portfolio Organisation）是英格蘭藝術委員會Spotlight計劃的資助對象，他們的工作成果令人印象深刻。在2021-22 年，他們成功減少35%碳排放量。這個例子凸顯了當社區內的組織互相支持時，可以取得巨大成就，強調合作在積極變革中的潛力。
她還提到「創新氣候領導」（Creative Climate Leadership）國際變革計劃，計劃旨在讓藝術家和文化專業人員能夠自主以影響、創意和韌性，對其所在社區的氣候和生態危機採取行動。此計劃的設計是希望以領導為中心，重新樹立關愛和同情的價值觀，確保來自創意界別的不同人士可匯聚，共同探索領導，彰顯新的文化倫理，從而在國家和國際層面開展永續行動。
2) 地區和全球層面的可持續執行計劃
首爾藝術團藝術總監李有梨（Lee Yoori）列舉了韓國可持續藝術實踐的例子。以音樂劇《死亡筆記本》為例，其所有場景運用了舞台上一千多塊LED面板，以極簡佈景實現多功能性。另一個近期例子為 Re:Stage Seoul，平台於2023年推出，由首爾藝術文化基金會營運，促進共同使用和再利用演出和排練的服裝、道具和設備。有見巡演劇目製作費用和消費模式，李有梨呼籲發展「亞洲永續聯盟」（One-Asia Green Alliance），採取共同行動。此戰略計劃旨在透過降低成本、利用已製作好的道具和佈景、調配「亞洲永續衛士、導航員和合作夥伴」，以及在亞洲啟動一個知識交流和人力資源開發的線上平台，以培養環境友善的戲劇構作。
3) 行業集體
百老匯綠色聯盟（Broadway Green Alliance，以下簡稱BGA）提供數據，顯示氣候變化如何影響和破壞美國的藝術產業，以及他們如何致力教育、推動和激勵整個戲劇界及贊助人在百老匯及其他地方實施更環保的做法。與英國的「茱莉的腳踏車」一樣，BGA是國際綠色劇場聯盟（International Green Theatre Alliance）的創始成員。BGA開發免費的教育資源，包括「劇場重開綠色工具庫」（Greener Reopening Toolkit），幫助推動可持續發展的製作。通過在巡迴演出中大大小小的行動（使用可重用的指示牌、電子樂譜、以回收物料製作道具等），以及推出由超過1,200名「綠色隊長」（Green Captain）組成的「綠色隊長」計劃，BGA的目標是在全美建立一支強大的綠色團隊。在BGA支持和提供切合資源下，「綠色隊長」是一項自行管理的計劃，招募任何有志倡導綠色劇場的人，幫助在百老匯、百老匯以外、地區劇院、學院和大學重新定義戲劇行業的可持續發展實踐。
在台灣，袁浩程開立的「山峸製作設計」專門將原創劇場元素應用於舞台製作、展覽和商業音樂會。公司有專業木工技師和由設計師經營的繪景廠房，為客戶提供度身訂造的製作。從策劃到最終製作，工作室提供業內少見的一條龍服務。袁浩程詳細講述他如何藉工作室的資源實現可持續設計和製作，透過收集、租賃和倉儲；回收、保存和重新利用道具和佈景，使相同的材料可以重新配置和展示，以適應不同項目／製作／活動的目的。有時，他更通過升級再造延長廢棄物品的壽命。他相信在業內分享這些經驗將推動表演藝術界有更多行動。此外，他經營一個獨立的文化場所，集二手書店、中小型劇場和酒吧的功能於一身，在社區中培育可持續發展的理念。他也舉辦展覽去揭示廢棄物品煥發新生命的神奇魅力，以此向公眾宣傳可持續發展的概念。
藝文場館參訪：駁二組 Site Visit: Pier 2 Art Center／攝Photo：Kito（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying)）
國際論壇：主題藝企ESG International Forum：Topic ESG-Art as a Corporate Investment／攝Photo：Kito（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying)）
4) 鼓勵碳減排的專門機構／諮詢
臺灣碳權交易所（碳交所）成立於2023年8月，是根據2023年2月公佈的「氣候變遷因應法」實現台灣2050淨零排放目標的關鍵戰略推手。碳交所作為一個公平的交易平台，確保供需匹配，將本土碳權納入交易系統，並與具公信力的國際認證機構合作，建立零碳生態系統。碳交所協理吳逸萱闡述碳交所如何為企業提供專業的碳諮詢和解決方案服務，幫助企業了解相關政策動態，分階段、有步驟地規劃合理的碳減排策略。在有效的機制下，碳足跡及其認證、碳中和、碳關稅等看似對企業的挑戰，都可能變成機遇。在創意／文化產業中聘請這樣的顧問，從場地、製作、承包商（佈景、道具、服裝）等方面管理碳排放，可使表演藝術界更能回應全球減排目標。
5) 個人倡議
謹慎的製作設計和執行對促進可持續發展至關重要，而這需要每個人有所覺悟，從自身行動做起。來自中型音樂機構SONARA的 Stanisław Suchora分享他對包裝材料和宣傳單張使用的看法，以及歐洲巡演交通（飛機對比火車）和路線如何影響碳排放。來自新加坡創樂者交響樂團的代表陳淑慧嘗試以創意製圖，啟發和塑造音樂從業員和管理人員的心態，使其了解如何應對環境的脆弱性。透過深思熟慮的節目編排，古典音樂已成為容讓表演者和觀眾參與相關議題的媒介。
6) 場地管理與合作
衛武營國家藝術文化中心營運副總監黃國威探討將衛武營打造成可持續發展場館的重點方向。首先，採用無害的可回收物料，實現環保製作。其次，致力於節約能源，衛武營通過更換照明設備，每年大幅減少62,264公斤（甚至更多）的碳排放量。衛武營亦鼓勵綠色交通，與高雄捷運合作推出「捷運回程車資優惠」計劃，觀眾和遊客乘搭捷運往衛武營，回程車資可享新台幣10元折扣優惠。
此外，外展計劃和夥伴關係對於長期可持續發展也十分重要。黃國威提到與台灣鄰近城市的合作如何更有效地共享和分配資源。由於意識到將藝術傳播到劇場之外與吸引遊客至文化綜合場館同樣重要，衛武營積極與具有共同願景和價值觀的組織建立夥伴關係。台灣福興工業股份有限公司的代表林宜錚談到他們與衛武營新穎的合作：每年預留預算用於購買藝術和文化活動的門票，另外有「以票換票」計劃，員工可憑自己的藝文活動票根，兌換公司提供的門票。這種文化組織與商業企業的合作，體現如何可以成功培養藝文消費習慣，拓展觀眾層。
Clinics藝術診療室 Clinics for the Arts／攝Photo：Kito（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying）
總結：可持續劇場作為提高宜居性解決方案的一部分
作為創意產業的一部分，表演藝術界應視減少碳足跡為一項藝術挑戰，在設計和執行藝術創作項目時考慮以生態環保為中心，同時謹記環保不一定要犧牲藝術質素。而政府和資助機構可考慮在評審計劃書時將碳足跡納入評審標準，鼓勵申請者設計可持續發展項目。
後疫情時代為我們提供了一個窗口，通過加強合作，超越傳統框架，重新構建商業模式。日本票務組織PIA的笹井裕子提議將「通過藝術、文化、娛樂和體育豐富生活和社會」作為聯合國「可持續發展目標」[1]的第18個目標。橫濱港未來音樂廳的案例表明，企業與城市發展團體之間的成功合作可以實現碳減排。現在是時候加強重視社會價值，而非側重經濟復蘇和發展，去重塑社會經濟和文化景觀，提高生活質素。大阪的「知識之都」亦視合作模式為重要原則，它由日本各企業、私人組織和開發商共同營運，願景是在多學科人才之間創造新的邂逅，產生知識的綜合，從而產生新的價值。
以長遠的地方營造（place-making）策略打造一個地方，對促進可持續發展亦是關鍵。西九文化區管理局表演藝術行政總監譚兆民解釋西九文化區如何成為世界上一個獨特的文化區，如何在推廣文化藝術和文化旅遊之間建立協同作用，並作為一個綜合發展項目為各種遊客提供全方位的體驗。除了實踐節能基建外，西九文化區亦提供高質素的休憩和康樂空間，提升公眾的生活質素，同時提供更多商機。西九文化區也具備出色的交通網絡，連接鐵路、公路和海上交通，區內亦有環保的代步方式，例如「悠遊西九單車服務」。
總括而言，會議認為可持續發展不僅要減少碳足跡，還要找到具創意的解決方案，引領所有參與、表演、工作、消費和從事表演藝術空間／場館的持份者，並激勵他們團結起來，實現變革。
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[1] 可持續發展目標（Sustainable Development Goals）: https://sdgs.un.org/goals
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陳志芬
畢業於香港浸會大學電影電視專業，後赴英國修讀舞蹈研究碩士學位。所撰寫的文章發表在眾多平台，包括國際演藝評論家協會（香港分會）、舞蹈手扎、香港文學評論學會、藝頻、舞訊、立場新聞及獨立媒體等。曾於香港舞蹈總會擔任項目經理，管理教育、培訓和外展項目。2019年於香港康樂及文化事務署主辦、盧偉力博士策展的講座系列「舞蹈三十年」負責研究和項目統籌之工作，擔當了關鍵角色。陳氏同為舞踏愛好者，專注於舞踏的哲學和療癒效果的研究；於2021年擔任《窿人。異》監製。
The Federation for Asian Cultural Promotion holds its first post-Covid, in-person annual conference for international cultural exchange
Text: Chan Chi Fan, Elspeth
Founded in 1979, the Federation for Asian Cultural Promotion (FACP) held its four day annual conference for 2023 from 23 to 26 November at Weiwuying in Taiwan. The theme this year was ‘Next Stage, Green Generation – Sustainability in Culture and Performing Arts’ which aligns with the International Forum for Art and Sustainability 2023 held by Taipei National University of the Arts (TNUA) in response to the Net Zero Emissions by 2050 target set by the Taiwan Government in 2023. This was the first post-Covid in-person edition of the annual conference, which was attended by influential representatives of arts centres and organisations as well as independent experts from 12 countries and regions including Australia, Canada, Hong Kong, France, Japan, South Korea, Malaysia, the Philippines, Poland, Singapore, Taiwan, the UK and the US.
With support from the Taiwan Stock Exchange Corporation, the conference was kick-started by the City Report, where representatives of the performing arts industry from various countries and regions gathered at a round table to share insights and updates on the current status in their respective locations. A successful opening reception took place in the presence of Ms Lee Ching-hwi from the Ministry of Culture, representatives of local government agencies, the Executive Office General and Artistic Director of Weiwuying, Chien Wen-pin, the General and Artistic Director of National Taichung Theatre and Chairperson of FACP, Joyce Chiou, as well as artistic directors from various arts centres. On the first evening, all the distinguished guests and participants were welcomed by a performance by contemporary dance troupe Pingtung, from Sandimen.
A series of symposiums/forums were conducted to discuss the economic and environmental challenges faced by the performing arts sector in such areas as architectural equipment, operational strategies, production and performance in the post-pandemic era. The productive programmes also included What's Up Café – Clinics for the Arts which gave participants the opportunity to discuss with their table hosts, artistic and cultural leaders of the performing arts sector from across the Asia-Pacific region. Guests and participants were invited to join site visits to the Pier 2 Art Center and the Kaohsiung Music Center, and attend Asian Gems in the Arts Performance in the evening at the Kaohsiung Experimental Theatre. This production consisted of eight traditional yet innovative performances by Asia-Pacific region artists chosen by FACP. The conference wrapped up with the Award Ceremony of the Pitch for New Aspect, a project sponsored by the Clare C. & Friends Fellowship. Submissions from around the world were invited, with the aim of seeking pieces rooted in tradition yet filled with a contemporary spirit and concern for artistic sustainability. Ten works were shortlisted, including pieces from Beyond Dance Theater and Labora Terry Arts from Hong Kong, the latter winning the Third Prize for their work Hell-door-breaking.
歡迎晚宴Welcoming Reception／攝Photo：Kito（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying)）
Everyone can be a change-maker
Against the backdrop of this international gathering dedicated to fostering exchange and collaboration among Taiwanese and global partners and artists, the contemplation of 'sustainability' assumed profound significance this year. The conference took place shortly after the lamented passing of Mr. Hsu Po-yun, co-founder of FACP and artistic director of the New Aspect arts organisation. As we paid tribute to Mr. Hsu, whose enduring spirit remains with us, the event was held in Weiwuying which is celebrating the 5th anniversary of its establishment. The conference not only commemorated the legacy of Mr. Hsu but also embraced the promising journey and growth ahead for Weiwuying.
A clear message from the conference is that no matter what one’s role may be, all the stakeholders in the performing arts sector, including audiences, should do their part to construct a sustainable ecosystem.
1) Governing bodies/organisational leadership as change-makers
Believing in the power of culture as a means to achieve transformative change, Julie’s Bicycle, through working with thousands of arts organisations, museums and galleries, mobilises arts and culture on the theme of climate, nature and justice, in a manageable fashion which enables action. Founder and CEO Alison Tickell noted that the planet is witnessing the consequences of individuality/consumption/globalisation charged by colonialism and extractivism having more weight than a wider, collective choice. She therefore identifies the climate crisis as a cultural crisis, and believes that a culture-led approach is a solution to the root cause of the climate issue.
Tickell listed three pillars that can change the cultural ecosystem: Data and Knowledge — through solid evidence, policy-makers will understand that culture is a vital force for change; People and Action — cultural activists are brought together to learn, celebrate and invent new sets of partnerships and powerful collaborations; and Governance — to rethink the priorities of arts and culture, create a policy that is accountable in the context of climate change and construct a governance framework that accelerates creative response to climate change. A striking illustration of impactful results can be found in the National Portfolio Organisation, recipients of funding from Arts Council England's Spotlight programme. In 2021-22, they successfully reduced their carbon emissions by an impressive 35%. This example underscores the considerable achievements possible when organisations within a community support each other, highlighting the collaborative potential for positive change.
She also referenced Creative Climate Leadership, an international transformation programme intended to empower artists and culture professionals to take action on the climate and ecological crisis in their communities with impact, creativity, and resilience. It is a practice designed to re-centre the values of care and compassion with leadership, ensuring people from different parts of the creative sector come together to explore leadership and manifest new ethics of culture so that sustainable actions are executed nationally and internationally.
2) Sustainable execution plan at regional and global level
Lee Yoori, Artistic Director of the Seoul Performing Arts Company, cited cases of sustainable arts practice in Korea, such as Death Note, a musical that implements all its scenes with great versatility from a bare-bone set using over 1,000 LED panels on stage. Another recent example is Re:Stage Seoul, a platform launched in 2023 and operated by the Seoul Foundation for Arts and Culture. It facilitates joint usage and re-use of costumes, props and equipment for performances and rehearsals. Inspired by the production expenses and consumption patterns of the touring repertoire, Lee called for collaborative action for the One-Asia Green Alliance. This is a strategic plan that aims at cultivating eco-dramaturgy by reducing costs and making use of already fabricated props and sets, deploying One-Asia Green Guardians, Navigator, and Partners, and inaugurating an online network platform for knowledge exchange and human resources development in Asia.
3) Industry-wide collective
The Broadway Green Alliance (BGA) presented data on how climate change has impacted and damaged the art industry in the US, and their drive to educate, motivate, and inspire the entire theatre community and its patrons to implement environmentally friendlier practices on Broadway and beyond. Along with Julie’s Bicycle in the UK, the BGA is a founding member of the International Green Theatre Alliance, and has developed free and accessible educational resources including a ‘Greener Reopening Toolkit’ that helps advance sustainable productions. By cumulating large and small actions on performance touring (reusable signages, digital scores, recycling materials for props fabrication etc.), as well as the Green Captain programme consisting of over 1,200 Green Captains to act as skilled communicators, BGA aims to build a strong green team throughout the USA. With support and customised resources from the BGA community, the Green Captain is a self-managed programme that recruits anyone who would like to volunteer as a green theatre advocate helping to redefine the industry’s sustainable practices on Broadway, off Broadway, in regional theatres, colleges and universities across the country.
In Taiwan, the Ridge Studio led by Alex Yuan specialises in applying original theatre elements to stage productions, exhibitions, and commercial concerts. It has professional woodwork artisans and a matte painting factory run by designers to provide tailor-made productions. From curatorial planning to final production, the studio provides a one-stop service, something rarely seen in the industry. With such resources in the studio, Yuan expounded on how he puts forth sustainable design and production through collecting, renting and warehousing; recycling, preserving and re-purposing props and sets so that the same materials can be re-configured and displayed to suit the purposes of different projects/productions/events. Sometimes he also extends the lifespan of abandoned objects through upcycling. He believes that sharing these experiences in the industry will motivate further action in the performing arts sector. In addition, he runs an independent cultural venue which acts as a second-hand bookshop, a small- to mid-size theatre and a bar at the same time to cultivate the concept of sustainability in the community. Exhibitions are organised to reveal the magic of breathing new life into discarded objects as a way to educate the public on the notion of sustainability.
4) Specialised organisation/consultant to incentivise carbon emission reduction
Recently founded in August 2023, the Taiwan Carbon Solution Exchange (TCX) is a crucial strategic push for Taiwan's 2050 Net-Zero Emissions Goals based on the Climate Change Response Act announced in February 2023. TCX serves as a fair trading platform that ensures supply and demand are matched, incorporates domestic carbon credits into the trading system and collaborates with internationally credible carbon verification institutions to build a zero-carbon ecosystem. Assistant Vice President Grace Wu explained how TCX provides enterprises with professional carbon consulting and solution services to understand related policy developments, and plan reasonable carbon reduction strategies in systematic phases and scopes. With effective mechanisms, carbon footprint and its verification, carbon neutrality, and carbon border tax that may seem to be challenges for enterprises may be handled as opportunities. Engaging such a consultant in the creative/cultural industry to manage carbon emission in terms of venue, production, and contractors (set, props, costumes) would make the performing arts sector more compliant in responding to global emission reduction goals.
5) Individual initiative
Careful step-by-step planning and execution of productions is crucial in contributing to sustainability, something which requires the awareness of each individual to start with grassroots actions. Stanisław Suchora from the mid-size music agency SONARA shared his perspective and thoughts regarding the use of packaging materials and flyers, as well as how touring transportation in Europe (flight vs. train) and routing affect carbon emissions. The representative from the Orchestra of the Music Makers in Singapore, Rachael Chan, seeks to use creative mapping as a tool to inspire and shape the mentality of music practitioners and administrators on how to respond to environmental vulnerability. Through thoughtful programming, classical music has become a medium to engage both performers and audiences in pertinent issues.
藝文場館參訪：高雄流行音樂中心組 Site Visit: Kaohshiung Music Center group／攝Photo：帽子（照片由衛武營國家藝術文化中心提供 Photo provided byNational Kaohsiung Center for the Arts (Weiwuying））
6) Venue Management and Partnership
Raymond Wong, Deputy General Director of the National Kaohsiung Centre for the Arts at Weiwuying, delved into the highlighted directions taken to make Weiwuying a sustainable venue. Firstly, the adoption of non-hazardous recyclable materials to achieve environmentally-friendly productions. Secondly, Weiwuying's dedication to energy conservation has resulted in a significant annual reduction of 62,264 kg (and more) of carbon emissions, achieved through the replacement of lighting equipment. Weiwuying also encourages green transport and has introduced a ‘Return Metro Fare Saver’ scheme in collaboration with Kaohsiung Metro, offering audiences/visitors a NT$10 savings on the return journey when travelling to the Weiwuying station by metro.
In addition, outreach programmes and partnerships are crucial for long-term sustainable development. Wong mentioned how collaborations with neighbouring cities in Taiwan allow for more efficient sharing and allocation of resources. Recognising that spreading art beyond the theatre is as vital as attracting visitors to the cultural complex, Weiwuying actively engages in partnerships with entities that share aligned visions and values. Jane Lin from Fu Hsing Industrial Company (FH) spoke about their inventive cooperation with Weiwuying: an annual budget is reserved to purchase tickets for art and cultural events; there is also a ‘ticket exchange’ programme that allows FH employees to exchange tickets provided by the company by presenting their event-related tickets. This joint endeavour by a cultural entity and a commercial enterprise exemplifies the successful cultivation of artistic and cultural consumption habits, expanding audience engagement beyond traditional sectors.
Conclusion – sustainable theatre as part of the solution to enhance liveability
As part of the creative industry, the performing arts sector should embrace reducing carbon footprint as an artistic challenge, taking into consideration the process and execution of ecologically-centred artistic productions, bearing in mind that a greener approach does not necessarily have to compromise artistic quality. Government and other funding bodies could consider including carbon footprint in the criteria when reviewing proposals to encourage sustainable incentives from applicants.
The post-pandemic period gives us a window to re-construct the business model by strengthening collaboration beyond traditional frameworks. Yuko Sasai of ticketing organisation PIA in Japan proposed ‘making life and society rich with art, culture and entertainment and sports’ as the 18th goal of the existing Sustainable Development Goals (SDGs) initiated by the United Nations.[1] The case study of Yokohama Minato Mirai Hall suggests how successful partnership between corporations and urban development groups can achieve carbon reduction. It is time to reshape the socio-economic and cultural landscapes to enhance the quality of life by raising the awareness of social values rather than emphasising economic recovery/development. The collaborative model is also a key principle of Knowledge Capital in Osaka, a collective running and operated through the efforts of various corporations, private organisations and developers in Japan. Its vision is to create new encounters between talents from multiple disciplines, generating a synthesis of knowledge that leads to the production of new values.
Building a destination with a long-term place-making strategy is crucial in contributing to sustainability. Paul Tam, Executive Director of the West Kowloon Cultural District Authority, explained how the district (WKCD) is a unique cultural precinct in the world, which establishes synergy between the promotion of arts and culture and cultural tourism and offers a holistic experience to visitors from all walks of life as an integrated development. Apart from implementing energy-efficient infrastructure, WKCD provides high quality leisure and recreational open space to enhance liveability for the public whilst offering more opportunities for business. The site has excellent connections to rail, road and sea transport, and sustainable commuting modes such as SmartBike are available within the district.
To conclude, the conference recognised that sustainability is not only about reducing carbon footprint but also finding creative solutions to inspire all the stakeholders who participate, perform, work, consume, and engage in performing arts spaces/venues, and motivate them to come together to bring about change.
[1] Sustainable Development Goals (SDGs): https://sdgs.un.org/goals
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Chan Chi Fan, Elspeth
After obtaining her degree in Cinema & TV from Hong Kong Baptist University, Chan continued her academic pursuits by pursuing a Master of Arts in Dance Research in the UK. Her writings have been featured in various publications, including the International Association of Theatre Critics (Hong Kong), dance journal/hk, Hong Kong Literary Criticism Society, Arts News, Dance News, Stand News, and Inmediahk. She managed educational, training, and outreach programmes as Project Manager for the Hong Kong Dance Federation. In 2019, she took on the role of research and coordination for the lecture series "3 Decades of Dance in Hong Kong", organised by the Leisure and Cultural Services Department and curated by Dr. Lo Wai-luk. Chan is also deeply interested in Butoh, her research focuses on exploring the philosophy and therapeutic effects of Butoh; and she was the producer of The Hollowed Man 2.0 in 2021.
