Culture » Overview

exploring the transformative power of the arts – building bridges across cultures – supporting young cultural innovators

The Salzburg Global Seminar’s Culture and the Arts Program focuses on the transformative power of the arts, facilitates cultural exchange at multiple levels, and provides capacity-building opportunities through the annual Young Cultural Innovators Forum. Through multi-year projects and strategic convenings, the Culture and Arts Program seeks to secure a more prominent role for the arts on policy agendas and to support the continuously evolving needs of the creative sector – as a major driver of sustainable economic development and social improvement – through the multi-year Salzburg Global Forum for Young Cultural Innovators.

 

Sessions in 2017:

The Art of Resilience: Creativity, Courage and Renewal 
February 7 to 12, 2017 

Salzburg Global Young Cultural Innovators Forum: Regional Fellows Event
April 27 to 29, 2017

Salzburg Global Forum for Young Cultural Innovators IV
October 14 to 19, 2017

For past sessions, click here


Enablers of change
Rise Wilson at the session "Beyond Green"
Enablers of change
Louise Hallman 
If we want to enable and sustain positive change, we need both the rabble-rousers and the insiders. Post-COP, there is now a sense of urgency – but also a sense of paralysis. What do we do next to seize this moment and accelerate change? Artists can help ask questions about our “inconvenient truths” and disrupt the current power structures. But artists can also prompt and facilitate difficult conversations between diverse actors. Under oppressive regimes, it can often be valuable to work with or around the system, and learn how to look about society but without touch politics – and avoid being silenced. Artists and creatives, institutions and custodians, policymakers, and audiences all have vital roles to play but they don’t always know how to speak to or help each other. Organizations, such as Julie’s Bicycle in the UK, can help support artists, institutions and policymakers looking to foster change in multiple ways. Julie’s Bicycle provides resources such as “how to green a festival,” conducts research such as carbon footprinting the whole of the UK’s music industry, and hosts events where like-minded artists, organizations and individuals can come together. These activities not only provide artists with the means of greening their own behavior, but also provide valuable evidence for policymakers. To have lasting change, “We need to come together, amplify our voices and talk up” to power structures, not just to each other. Funders also have a key role to play in helping artists working to enact change, and not only by strategically investing funds; they can also offer a “bird’s eye” view of what else is happening and help artists collaborate. The two notions “to change everything it takes everyone” and “the front lines of crisis are the forefront of change” may seem conflicting, but climate change offers the chance for equity and solidarity: “We will soon all be in the same boat, for a change.”
The Salzburg Global session Beyond Green: The Arts as a Catalyst for Sustainability is part of Salzburg Global’s long-running Culture and the Arts series. The session is supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation, the Bush Foundation and Red Bull Amaphiko. More information on the session can be found here: www.salzburgglobal.org/go/561. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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Marco Kusumawijaya - Change happens “community by community, postcode by postcode”
Marco Kusumawijaya at Salzburg Global session "Beyond Green"
Marco Kusumawijaya - Change happens “community by community, postcode by postcode”
Patrick Wilson 
The city is often cited as a driver of change, but it is important not to overlook the role the communities within those cities can play in delivering that change.  One Fellow determined to highlight the role of the communities within cities at the Salzburg Global program Beyond Green: The Arts as a Catalyst for Sustainability, was Marco Kusumawijaya, the director of Rujak Centre for Urban Studies (RCUS), based in Jakarta, and founder and director of the Bumi Pemuda Rahayu (BPR) sustainability learning center in Yogyakarta, Indonesia. Speaking on a panel on “The City as a Driver of Change,” Kusumawijaya spoke of the role the community can play as an important intermediary to promote change. Change that begins with one person, can spread to their family and then into the community, and onwards. Change happens “community by community, postcode by postcode,” he told the gathered Fellows. The community thus acts as intermediary level between individual behavioral changes and systemic change.  “While I don’t see one as more important than the other, I think there’s a role I can play more successfully,” he explains. “I don’t have the power to make change from above at a governmental level but I think I can do it at a community level because I have the skills to organize people and encourage engagement.” Kusumawijaya directs RCUS’s main program “Citizen Urbanism,” where he is responsible for co-production of urban knowledge in eight Indonesian cities with different communities and partners. “We do research but we call our way of working a ‘co-production of knowledge,’” he told Salzburg Global during the session. “We encourage and work with communities to co-produce knowledge about their own cities, organize exchanges and encourage initiatives.” Kusumawijaya believes that more work can be accomplished when we acknowledge that human beings always live in a group and are essentially social animals. In addition to Citizen Urbanism, this manner of thinking also comes across in projects such as The Artist in Residency (AIR) program at BPR. The biannual project invites Indonesian artists from a variety of disciplines to live at BPR for three months making work with the local community in relation to their practice. Programs like this, he believes, allow us to recognize the right of citizens to participate in the formation of the future of their cities through learning about art and new skills to promote development in cities and new ideas.   “We see art as a way of knowing, as a way of researching and as a way of touching the hearts of people and communities,” he explained. “It allows us to encourage doing things that are fun but also at the same time critical and promote deeper thought.” Something that requires deeper and more critical thought, according to Kusumawijaya is the word “development.” While frequently used when talking about countries in the Global South and in terms of creating more sustainable societies, for Kusumawijaya the word has negative connotations. “The word ‘development’ was an economic term but economy has become so hegemonic that people think if you’re not developed economically, you’re not developed in any other fields of life. For me this is simply wrong,” says Kusumawijaya. “Somehow we moved from a sense of general welfare for all to measuring our governments by what rate of economic growth they deliver.  “I think one of the most important revelations from the research of many fields is that growth has nothing to do with equity. The largest amount of growth goes to the smallest amount of people.  “It’s wrong to base development theory on growth.  “That’s why I think the term ‘sustainable development’ is poisonous; its meaning has been nailed to growth rate. The economic idea has even been used to measure other parts of life which is wrong. For example, I don’t think our dance tradition is underdeveloped – our classical Javanese dance or West Sumatran dance is very well developed. Of course it is different to ballet and Western traditions, but it would be wrong to say it’s underdeveloped as compared to it.” Whilst his work is challenging, Kusumawijaya has found support in the community of Fellows in Salzburg. “There are so just many ideas being shared and passed around by the Fellows,” he said. “I think I only knew maybe one or two people in the group before coming here so one of the most important parts for me is to meet all these people who are thinking, working and experimenting with brilliant ideas to promote change. While I still have to digest them all, the mere fact there are so many people, thinking and working with the same aspiration of change as me is incredibly heartening.” 
Marco Kusumawijaya was a participant of the Salzburg Global Seminar program Beyond Green: The Arts as a Catalyst for Sustainability, which was supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation and the Bush Foundation. More information can be found here: www.salzburgglobal.org/go/561
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Political food - Voting with our forks
Prairie Rose Seminole speaks at the fireside chat during Beyond Green
Political food - Voting with our forks
Louise Hallman 
“If we are what we eat, then tonight we are all small Austrian dumplings!” The mood might have been jovial and the topic – food – familiar, but the purpose of the post-dinner fireside chat at Beyond Green: The Arts as a Catalyst for Sustainability was serious: what role can food play in improving sustainability?  Food is indeed important. It is both a commodity and a commons; a connection between rural and urban communities; able to make us healthy and sick; and a source of conflict – but also a basis for connection.  Everyone has their own (love?) story with food, and communities frequently connect around food. As Fellows supped on cups of Native American herbal tea, panelists from the USA, Austria and Lebanon shared their own stories of food, communities and sustainability. Native Americans have long had a deep connection to their land and what it produces [see our interview with Prairie Rose Seminole], using herbs, roots and leaves as natural medicines. These practices are being lost as communities are uprooted and now live in “food deserts.” Many rely on food banks or gas stations for food on their reservations if they’re unable to make the several hours’ drive to the nearest well-stocked super markets. Organizations such as the Boys and Girls Club of the Three Affiliated Tribes in New Town, ND are now making sure their heritage and understanding of the land is passed on to future generations, to promote self-sufficiency. Austria’s Wastecooking has grown from one man’s dumpster-diving interest to a documentary series and even a “Free Supermarket” – stocked with still perfectly edible food discarded in dumpsters across Vienna. Although the store was shut down by the authorities, Wastecooking continues to highlight the issue of food waste (90 million tons in Europe alone) and how we can make the most of our leftovers, through more film showings and cooking demonstrations. In Lebanon, food has provided a way for the heavily divided post-conflict society to come together. Starting with a farmers’ market in Beirut, Souk el Tayeb went on to take the (consumers’) market to the farmers with weekly food festivals in small villages, selling not only produce but also producing local speciality dishes. Later capacity building activities were organized so that the local chefs (often women) could produce these dishes for larger numbers, and most recently helping the most disadvantaged – the large but diverse refugee communities – build up their cooking skills. But Souk el Tayeb is not really about food – “it’s conflict resolution through cooking.”  (Or as their social media posts say: #makefoodnotwar!) As Fellows were reminded: “Food is a political act – we vote with our forks!”
The Salzburg Global session Beyond Green: The Arts as a Catalyst for Sustainability is part of Salzburg Global’s long-running Culture and the Arts series. The session is supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation, the Bush Foundation and Red Bull Amaphiko. More information on the session can be found here: www.salzburgglobal.org/go/561. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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Bolder policymaking
Teresa Dillon at Salzburg Global session "Beyond Green"
Bolder policymaking
Louise Hallman & Patrick Wilson 
If art can reach people’s hearts, mind and souls, it is important to remember that policymakers are people too, participants were reminded at the Salzburg Global Seminar program Beyond Green: The Arts as a Catalyst for Sustainability. Policymaking needs to be bolder to tackle our unpredictable and rapidly changing world. We have to identify the edge, Fellows were told; we should be working at that edge and realize we do not work at the core. Bolder policymaking necessitates collaborative approaches and transdisciplinary research. Artists can help transcend these boundaries and enliven the body, mind and soul to embolden policymakers. We should stop thinking about art works as objects and starting thinking about them as triggers for experiences. Sustainability and culture is rising up policymakers’ agendas, even as they tackle other, oft-considered more pressing issues, such as the ongoing refugee crisis in Europe. Art, for example, can play a key role in helping with integration and acceptance.  In Dublin, Ireland, The Science Gallery’s Hack the City exhibition and events program invited locals to “adopt a hacker mindset to bend, tweak and mash-up Dublin’s existing urban systems.” The aim was to empower citizens to share how they want to live in their city. “Hacking exposes the cracks in the system, finds the weaknesses and looks at how they can be exploited for individual purposes and/or the common good,” explain Hack the City curator and Salzburg Global panelist Teresa Dillon. Significant systems changes need to happen to build a more sustainable world. Art has the potential to help provide the spaces needed for collaboration to bring about this change, both in the street and in the corridors of power.
The Salzburg Global session Beyond Green: The Arts as a Catalyst for Sustainability is part of Salzburg Global’s long-running Culture and the Arts series. The session is supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation, the Bush Foundation and Red Bull Amaphiko. More information on the session can be found here: www.salzburgglobal.org/go/561. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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“Why should artists be involved in discussions surrounding sustainable developments and what do we expect of them?”
Fellows at Session 561 | Beyond Green: The Arts as a Catalyst for Sustainability
“Why should artists be involved in discussions surrounding sustainable developments and what do we expect of them?”
Patrick Wilson 
“I believe artists are really important stakeholders in negotiations and what kind of future we want to design. We can help scientists and politicians to be more creative and we can succeed where scientists and politicians fail.”
Anaïs Roesch Project Manager, COAL (Coalition for Art and Sustainable Development), Paris, France “I think that artists need to be involved because artists are not different to anyone else; we all need to be part of discussions about sustainable development. I think we need to ask what is particular about artists when we look at what we expect from them. Artists have a certain ability to see the things others can’t, they’re cunning like a fox to get things to happen and they use certain practices that are interesting—and work.”
Ben Twist Director, Creative Carbon Scotland, Edinburgh, UK “Art is a very efficient tool to transport an idea about sustainability and the conservation of nature in general. “Sustainability” is a vast word and artists are thinkers who are linking different issues and different layers of society. Artists can be catalysts of transmitting an idea or message. Art is usually more touching to the normal citizen than a document.”
Anne-Marie Melster Co-founder & Co-director, ARTPORT_making waves, Paris, France “I think we need to define “Artist.” I define “art” as the word that capitalism made up to deal with the concept of culture. It’s a word that slips in and outside of the current paradigm that has caused the problem of climate change. Artists make commodities and they also exist in a spiritual plane outside of commodities. I think artists need to be double agents in society that can leverage resources and power towards the grassroots.”
Rachel Schragis Visual Artist & Cultural Organizer, New York, NY, USA “I believe the artists should be engaging in sustainability because sustainability is boring. It’s not popular and people just don’t care about it. Art is the tool to make it more interesting and to simplify the idea that everything is wrong and we are destroying our planet every day. I’ve spent half of my life using art as a tool and I think I’ve achieved amazing results. Getting exposure in mass media through art is a powerful tool for change.”
Mundano (Thiago Ackel) Artist; Founder, Pimp My Carroca, Sao Paulo, Brazil “I’m not sure there really is such thing as sustainable development; I think this is a term that should be examined. The reason to have artists involved is we are uniquely skilled at critical analysis that can understand this philosophically as well as offering practicality in new cultural models.”
Frances Whitehead Principal, ARTetal Studio; Professor, School of the Art Institute of Chicago, USA
The Salzburg Global session Beyond Green: The Arts as a Catalyst for Sustainability is part of Salzburg Global’s long-running Culture and the Arts series. The session is supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation, the Bush Foundation and Red Bull Amaphiko. More information on the session can be found here: www.salzburgglobal.org/go/561. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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Young Cultural Innovators - “Who are you and what are you passionate about?”
The Young Cultural Innovators talk about their purposes and organizations in the video project.
Young Cultural Innovators - “Who are you and what are you passionate about?”
Patrick Wilson 
Who are you and what are you passionate about? This was the questioned answered by the Young Cultural Innovators (YCIs) of the second annual Salzburg Global Forum for Young Cultural Innovators for a video series entitled ‘Faces of Leadership’. The videos were produced as part of a workshop led by Jo Hunter, co-founder of 64 Million Artists and an associate at the New Citizenship Project. The goal of the workshop was to enable the YCIs to talk about themselves and their work in a compelling and dynamic way, and at the end of the session, the participants each made a three-minute video doing exactly that. You can watch the videos of the YCIs who have chosen to make their video public in the playlist below and on YouTube. Me-Ryong Choi is a museum instructor at the National Museum of Modern and Contemporary Art in Seoul, Korea. She discussed her work educating the public and encouraging them to enjoy art. Choi expressed that appreciating and loving art must be an inclusive experience for all backgrounds by saying: “I really want to make sure that not just the privileged or those who know about art come to the museum so that those less privileged or have less opportunities to enter the art world can appreciate it. I would love to make sure this happens during my career.” Nicolas García Mayor is an industrial engineer from Argentina and founder and director of ar estudio. Mayor talked about the refugee crisis currently facing us as a global nation. “There more than 85 million refugees around the world,” he said. “Half of these refugees are children. This crisis is due to political decisions, natural disasters and war. This is a big problem.” Mayor stressed the importance of pooling resources and innovation to help tackle humanitarian issues like the refugee crisis. Josefina Bacigalupi Goni, director and founding member of DIBAGO from Argentina, used the story of a mother and her orphaned child to demonstrate the power of working together and sharing skills to create change. “I think that if we can work together as one anything can be done,” she says in her video. Sam Galler is a Rhodes Scholar D.Phil student from the United States studying international development at Oxford University. He is building an online platform that informs political decisions and cooperation. It aims to help coordinate political decisions and inform them when they are making sub-optimal outcomes so that they can correct them and collaborate. “This online platform would be a way of building social trust and helping build a sense of community of those online but would otherwise disagree about several issues.” Galler said. “I think we have a lot of tools that still need to be developed to promote more social cultures.” Rowan Pybus is a co-founder of Sunshine Cinema and Greenpop and a founder and director of Makhulu Media from South Africa. He talked about his work with Sunshine Cinema, a sustainable business model that turns solar energy into social impact. “We started with the idea that media that mattered wasn’t being seen where it was needed,” he said. “We decided to develop a business model that would enable us to share films in areas that were requesting content that could impact them in interesting ways.” Sara Kim, founder of Diagonal Thoughts from Korea, talked about how her architectural office's mission is to create surroundings that can awaken a person to who they truly are and inspire them to achieve their goals. Her organization is specifically working on adaptive reuse which works with existing structures such as abandoned buildings which need to be adapted due to new city programs. “I think the human being is an environmental animal and everyone needs a space to grow and live,” Kim said. Akio Hayashi, a founder of NPO InVisible from Japan, aims to reconnect and remake communities following natural disasters. He talked about the impact of the 2011 Tōhoku tsunami as well as his feelings of a general lack of community within Tokyo. NPO InVisible has used artists to create community engagement projects including an app to collate people’s feelings and emotional responses following the 3/11 disaster. Paz Beguè, director of VERDEVER from Argentina, talked about her seizing an opportunity to be a producer for a company going to China’s Shanghai Arts festival. She realized from this that there was a need to produce Argentinian art abroad which inspired her to start her own project to promote art and wisdom. “The thing is to not only promote [art] as a product - which they are - but to also promote workshops and other things that have to do with the values of art, creativity and what’s behind it.”  Ian Hilzerman is an entrepreneur and designer from Argentina and CEO at #MakePogo. He believes the world has a design problem. “We have unlimited needs but we have limited resources,” he said. To try and change this he has created a network that connects creatives with creators to stop ideas getting lost in the crowd and allow them to be worked on collaboratively. Jiwon Park, a graphic designer, visual communicator, entrepreneur, social catalyst, and educator from Korea, talked about using design for social facilitation and cross-pollination. Her organization Design Can Do aims to inspire one another and promote social cross-pollination. Park said: “I want to make the use of my skills to facilitate positive design processes that can be applied to pressing social issues.” Marcos Amadeo, a public affairs and creative industries developer from Argentina, who is helping to lead the Buenos Aires YCI hub, uses a story about him getting his first car to illustrate the importance of taking opportunities to expand your world view. He makes a point of when he traveled to Morocco where he was alone and had nothing to his name and the kindness of a family that took care of him.  Sanne Donders is a freelance photographer from the Netherlands. She speaks about her interest in the personal stories of people in her city and people in the world. She talked about a family in her neighborhood who have ten children and three adopted children who work several jobs to provide for their children. Due to it being far too expensive for them to go out, they learned Zumba dancing from the internet and every Friday invite people to dance Zumba with them. Donders finished by saying: “I try to remind people that there is no group of people, they’re all individuals with individual stories.”  David Fakunle is a third-year doctoral student in the Department of Mental Health at the Johns Hopkins Bloomberg School of Public Health, USA. He told a tale about a young child who receives gems that give him powers every year of his birthday and also a rock that grants him awareness. Through this he encouraged others to share their gems and using the power of storytelling to pass resources and share knowledge. Christiana Damanaki is a content creator at Clio Muse in Greece. She talked about heritage having a meaning and its relevance today. It was something Damanaki was incredibly passionate about. “I truly, truly believe in my heart and brain that with culture and history we can become better humans,” she said.  Kiron Neale is a Rhodes Scholar D.Phil. student from Trinidad and Tobago studying renewable energy at the University of Oxford. He used a conversation with himself with both Trinidadian dialect and Standard English to show his different forms of interaction in different regions. The conversation also involved his work on using cultural innovation to find sustainable energy solutions. Siphiwe Ngwenya, director of the Maboneng Township Arts Experience and founding director of Arts Township International from South Africa talked about his project to bring art exhibits to the less privileged and non-elite by encouraging people to host art exhibits in their own homes. Dafni Kalafati, an art therapist, documentary filmmaker, and founder of Amaka from Greece, used a form of therapy with the audience to bring a smile to the viewers’ faces. She did this to show the benefits of using art as a tool for self-expression. Kalafati showed her passion to spread happiness, saying: “I believe that everybody around the world has the right to joy and happiness.” Kenneth Asporaat is a theater producer and founder of his own non-profit organization. He talked about investing in your own talent and pushing your creativity to the limit. Asporaat believes creativity is not exclusive to artists alone. “I believe there hides an artist in every one of us,” he said. “It is my force and my strength to see talent in people.” Phina So, leader of Women Writers Cambodia, talked about empowering and connecting writers and readers through storytelling, writing, and dialogue. She encouraged everyone to spread their stories and messages of positive change with each other, and offered her writing skills as a way of facilitating this.  Nicolàs Alvarado is a Mexican writer, cultural promoter, theater and television producer and presenter. He talked about a notebook he was given by his niece that features Jeff Koons’s inflatable lobster on the cover. He used this as a way of promoting the importance of fostering critical thought through the use of humor, wit, and the media. Rachel Woodlee, a Rhodes Scholar D.Phil student from the United States studying social policy at Oxford University talked about her visit to a Tibetan family in a traditional Tibetan home. When asked if she wanted to hear some music she assumed some traditional Tibetan music but instead they played her a techno song on a modern sound system. The experience encouraged her to take a step back from our pre-conceptions and engage with other cultures on a personal level. Akinobu Yoshikawa is a senior design fellow at MakBiz in Sendai, Japan. He talked about trying to make the world better with design and how the use of design and building can support recovery after disasters. He referenced how collaboration can create a better sense of ownership and pride within a community. Sophie Bargmann, a curator, journalist, and conceptor from the Netherlands, talked about her purpose of wanting to "turn Artists into Rockstars." She talked about how boring she would find art galleries as a child and cared more about the gift shop; this directed her focus towards the branding of art. She stated the importance of this branding on a local artist level as well as the wider known artists. Konstantinos Matsourdelis, founder and CEO of the Museum of Greek Gastronomy, encouraged people to think about where their food comes from and to look at the way different cultures use food and how their culinary arts have developed. “We research, we document and we present aspects of our culture through exhibitions,” he said. “Obviously we try a lot of great recipes as well!” Immanuel Spoor is a founder of On Track Agency and Stichting De Nieuwe Lichting from the Netherlands talked about how he unwittingly became a music manager for a friend’s band and how it prompted him to create his own agency. He stated how vital it is utilize the talent of creative people and providing them with a platform and how he wishes to branch out from the Netherlands with this idea. Rebecca Cordes Chan, a program officer at the Robert W. Deutsch Foundation from Baltimore, MD, USA, talked about holistic grant-making as a path to social equity with a short Haiku about the work she does that encourages people to be bold and take risks. Sotirios Stampoulis is a member of the steering committee of the Cultural Innovators Network (CIN) from Greece. He wanted to give narratives to the packaging of basic food products to connect the consumer with the story of its production. In this way he hoped consumers to understand the process of their food production and to become better informed. Lucy Wilhelm, a textile designer and trend predictor from Austria, talked about working together with clients to help realize a shared vision. She discussed her process of alleviating the confusion some of her clients face with bringing their products to the next level. Rasheida Adrianus, founder of Girls 'N Cocktails in the Netherlands, used a poem to discuss why she founded her organization. The poem goes into detail about the disparity she and other women face when they feel unrepresented by the media and her attempts to try and create better representation and reflections of the self in the media Meta Moeng, an arts manager in Cambodia, talked about how she believed art could bring people together. She talked about working with a Cambodian art network to help make connections between the art community and people in Cambodia that can inspire a younger generation. Devin Allen, a self-taught photographer from Baltimore, MD, USA, talked about his experiences of becoming an activist through his photography. He talked about his own upbringing and his issues with racial barriers that informed his career trajectory and the work he does. He talked about the biggest issue he faced saying: “The biggest struggle is being an entrepreneur, being new and being black at that. It was hard to even get sponsorship and funding initially, I was turned down multiple times.” Misaki Iwai, event and collaboration manager at Impact HUB Tokyo, talked about the importance of collaboration in the creation of great ideas. She talked about how these ideas don’t just come from one genius; they can come from all sorts of different backgrounds and experiences. She referenced how the HUB can be used to network and collaborate on ideas. Thomas Layer-Wagner, co-founder of Polycular from Austria, talked about the game his company is making called "EcoGotchi” that aims to promote sustainable solutions for climate change. He hoped the game would help focus efforts of those who want to make a different but don’t know the best way to motivate change with sustainable choices.
The YCI Forum is held by Salzburg Global Seminar and was supported this year by The Edward T. Cone Foundation, the Fondation Adelman pour l’Education, the American Express Foundation, the Austrian Federal Ministry of Science, Research and Economy, Fulbright Greece, the Japan Foundation, the Korea Foundation, Elizabeth S. MacMillan Fellowship, the Mexican Business Council Fellowship Program, the Nippon Foundation, Red Bull Amaphiko, the Stichting De Verre Bergen, Adena and David Testa, the US Embassy in Bratislava, Slovakia and the HDH Wills (1965) Charitable Trust. More information on the session can be found here: yci.SalzburgGlobal.org
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Learning from ArtCOP21
Panelists Anais Roesch, Catherine Cullen, Ben Twist and Anne-Marie Melster
Learning from ArtCOP21
Louise Hallman 
From September to December 2015, leading up to COP21, 550 events were held under the auspices of ArtCOP21, with 54 countries engaged, and 250 artists present in Paris. But to what end?  As panelists at the Salzburg Global Seminar program Beyond Green: The Arts as a Catalyst for Sustainability explained, for many people the COP events are too technical and political, rendering them inaccessible and incomprehensible. One aim of engaging artists alongside COP21 was to lift this mystique and make the event understandable and relevant to the general public.  As one Fellow remarked, ArtCOP21 “did it’s job” – it was diverse and it was visible. Indeed, as another Paris-based Fellow corroborated, the French capital, and more broadly France, has become a more climate- and sustainability-aware city since.  Besides making the international convention more accessible to the general public and mobilizing people to take action, ArtCOP21 also aimed to include culture in the political agenda of climate change and position the artist as an important stakeholder in the debate.  The arts and culture sector has become increasingly prominent at such events. As one Fellow shared, at COP15 in Copenhagen in 2009, ARTPORT_making waves (an “international curatorial practice” that raises awareness of climate change and environmental issues) struggled to find a space to exhibit and attracted few visitors. At Cancun, Mexico in 2010, ARTPORT partnered with museums to bring in a ready audience of school children. Building on these past experiences, despite the “extreme bureaucracy” in France, COP21 was much more successful. Their project, while created for COP21, will not be an isolated, one-off exhibit: it will now travel to Astana, Kazakhstan for the next World Expo and later New York. ArtCOP21, engaged diverse artists, including poets, cultural experts, and performers, eschewing the approach of “one big name in one gallery” of COP15. Bringing art into the negotiation space (usually a drab conference center) and encouraging the negotiators to connect with the issues on a more intimate, human, rather than political level, was mooted. One of ArtCOP21’s project, the COPbox, had sought to do this, collecting messages from Parisians as the installation traveled around the city ahead of the event. However, following the Paris terrorist attacks, the budget for the final installation (through which the negotiators would all have to pass), was cut in favor of increasing security. Engaging directly with “the system,” be that at the international level of COP21 or with local, municipal governments, is important, one ArtCOP21 participant reminded Fellows. “We need to focus on systems change instead of behavior change” because too many individuals have too little agency. As another Fellow remarked, “We have to get on board the people who are actually creating our world,” not just artists, but also designers, politicians, business, et al.  We need to avoid what one Fellow admitted was his greatest fear: “We in the arts are talking to each other – we are not talking to the world.”
The Salzburg Global session Beyond Green: The Arts as a Catalyst for Sustainability is part of Salzburg Global’s long-running Culture and the Arts series. The session is supported by the Edward T. Cone Foundation, the Robert Rauschenberg Foundation, the Bush Foundation and Red Bull Amaphiko. More information on the session can be found here: www.salzburgglobal.org/go/561. You can follow all the discussions on Twitter by following the hashtag #SGSculture.
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VOICES FROM YOUNG CULTURAL LEADERS

How should cultural institutions approach the creation and articulation of value?
Albino Jopela, archaelogist and lecturer at Eduardo Mondlane University in Mozambique suggests that considering the values of all of the stakeholders in a community will help ensure relevance and sustainability.


Why is it important for arts leaders to engage in cross-cultural conversations?
Jimena Lara Estrada, program coordinator for the Mexican Cultural Institute of New York, talks about connecting with other leaders and the hope that it instills.

How do you articulate value of arts in a society where it is largely seen as a commodity?
Eyad Houssami, founding director of Masrah Ensemble in Lebanon, talks about the challenges of making a case for the arts in a society where the concept of public value is very limited.

What role should orchestras play in their communities?
Mark Gillespie, general and artistic manager of Orchestra of the Americas and Salzburg Global Forum for Young Cultural Leaders Fellow, suggests that orchestras should connect with youth at a very early age so that musicians grow out of the community.