Reykjavík Arts Festival published the whole programme without dates and will present each project when it becomes possible.

The city of Vienna created a “Kultursommer" (cultural summer) in 2021 to make paid work for 2,000 local artists. Curators from outside the mainstream were given an opportunity to present work on five outdoor stages throughout July and August.

Munich Volkstheater sent the ensemble on summer holidays early, so they can present work in alternative spaces during the summer, rethinking the length of shows, where they take place etc.

Parallel Cities - project by Stefan Kaegi and Lola Arias where international theatre artists created concepts that could be realised locally with local performers, in locations that could be found in any city.

Other ideas:

• Performances that take place very far away from the audience

• Using audio to present work in public spaces

• Mini concerts in people’s homes

COVID-19 has shown that global shifts in human behaviour are possible––even if they are temporary, even if they are not perfect - as a species we are capable of change and that is what the climate movement needs us to do, change. Festivals and arts industries across the world have been devastated by the pandemic but have also show remarkable resilience. The unusual circumstances have required festivals and artists to collaborate and experiment in ways many previously thought impossible––moving festivals online, rehearsing from home, digital residencies, socially distanced and outdoor performances.

For instance, garden allotment is something which we can refer to as a sharing model within the community. A comparison between big events which create different experiences both where audiences can live at a venue whilst a range of activities take place and others which cater for audiences who are required to travel back and forth to the different venues.

Practical techniques to mitigate climate change:

• A measuring technique is something which festivals can implement in between editions and setting forecasts of waste and energy required in the organisation of the festival.

• Interpreting data in an approachable way is also something which festivals can work on.

• Audience engagement in terms of knowledge development of the audience, which requires an introduction from the content to approach and ways of the festival content and its sustainability.

• Developing a festival community around the festival culture which goes beyond the duration of the festival and has the possibility of recruiting volunteers during the production of the festival.

• Gradual communication with participants: audience and performers are something which festival organisations require to do to ensure that we attract the right type of engagement for our festival.

• Can we ask audiences to get their own utensils for the event so that we save the discussion and issues which arise around food consumption and waste during the festival?

• Sustainable marketing strategy: What type of marketing does our event require to attract the right type and amount of audience required for our event? To develop ways in marketing strategies on how the audience and community comes into the action in sustainable ways or with resources to be reused.

• Educational programmes that can provide a platform for students to showcase their work. Transversal work where an education for various generations is hand in hand with festival mission, action and aiming impact.

• As festivals we can engage in discussion not only with our audiences but with policy makers which can really facilitate the change we advocate for. (Such as the production of Single-Use Plastics).

• The festival platform can act as an awareness motivator on various issues experienced at a local and global level, such as engaging with discussions with ‘denialists’ of climate change.