Constant Sustainability: Forever Is A Catalyst For More Communication

“A number of Australian creators would agree with Japanese artists that the LED lights aren't yellow enough,” joked Andrew Threlfall from CDP Theatre Producers. Aichi Arts Centre's Ken Hayashi had just remarked on Japanese artists’ complaints that the new LED lights in venues didn’t properly display their performances, though the audience might not notice the difference. Everyone in the Roundtable Discussion smiled knowingly.

The Roundtable Discussion is a signature event at the Association of Asia Pacific Performing Arts Centres (AAPPAC) Conference, providing attendees with an opportunity for creative, dynamic, and thought-provoking dialogue. This year’s discussion focused on sustainability and gathered venue operators, artists, performing arts group leaders, agents, and producers to share experiences, explore cultural differences, and engage in meaningful exchanges.

Attendees were divided into ten groups and discussed a topic for 30 minutes before presenting their discussions and conclusions to the others. Each group comprised members from various positions, organisations, and venues, ensuring that the diverse perspectives within their groups could inspire participants.

Attendees discussed specific green practices such as eliminating single-use plastics, using biodegradable materials, reducing energy consumption, encouraging recycling, and reusing props to minimise waste, as well as government sustainability policies.

Reducing paper printing is now a basic practice; many shows tend to digitalise their programmes. However, performance groups face problems during overseas tours because some countries and venues do not have free Wi-Fi or QR code systems. Formosa Circus prints programs on paper and makes them as fans so people can take them home and use them in hot weather. Additionally, during FOCASA, a circus festival held by Formosa Circus in Taiwan, they rent cutlery and crockery instead of disposables, and festival materials are repurposed into a treehouse at their office. In Australia, an Adelaide organisation repurposes media walls and advertising banners from fly towers into reusable tote bags.

A key topic was the inherent waste in theater production and the importance of addressing it. Attendees discussed ways to reuse or recycle materials and utilise energy-efficient lighting. For some productions, the design process requires numerous sketches and drawings. Some participants suggest reusing and recycling paper, such as turning recycled posters into sketch materials. These materials can then be repurposed for production elements, like puppetry props, or even burned to generate energy. In Australia, apps are used to calculate the carbon footprint of each show. However, hidden costs, such as labour for proper waste disposal, are also noted.

The Hong Kong Sinfonietta has worked with an opera company for a long time. La Boheme gets performed many times, and they reuse the sets and costumes. People might think that old art forms are not the future, but there's a lot of sustainability in them. On the other hand, commercial productions can also incorporate elements of natural sustainability. For example, Hamilton doesn’t tour the world with performers flying every time the production moves; it gets replicated and remade, leading to a strange kind of green saving for larger-scale work. 

The National Taichung Theatre (NTT) organises a green team of members from each department. Staff members work together to find ways to save energy, reduce waste, and positively contribute to their ESG policy from different perspectives. This means that green practices at NTT are implemented from the bottom up rather than from the top down. The Cultural Center of the Philippines has a staff policy encouraging the use of stairs instead of lifts to save energy and has considered adjusting opening hours to reduce consumption. Auckland Live's operations team meticulously sorts waste to ensure proper disposal. Some venue operators also discuss green procurement, working with pre-approved vendors who meet eco-friendly standards. Additionally, some include clauses in artists' contracts, encouraging but not mandating sustainable practices.

A government's sustainability policies also play an important role. In Abu Dhabi, official policy prohibits government entities and headquarters from using bottled water at events, meaning attendees must bring their own cups or bottles. In Singapore, the government leads with various sustainability ratings for buildings and environmental performance, and there are government subsidies or incentives to help producers and artists take strong green actions and work in an environmentally responsible way.

Attendees also highlighted government initiatives, like a Canadian program that requires a minimum number of performances to avoid "vanity touring." There are either taxes or disincentives to promote economic tours. 

Many venue operators raised concerns about their facilities and following government policies and discussed their different ways to deal with them. They also looked at the different ways energy is used across nations and cities and the challenges venues face when renovations don’t meet current standards. Examples included retrofitting LED lighting at the Cultural Center of the Philippines and the Esplanade in Singapore, and using ice-based cooling at the National Kaohsiung Center for the Arts. In Singapore, various venues share a cooling grid and use lower-cost nighttime energy to lower temperatures.

Some venues have begun installing solar panels, while others are evaluating the costs. However, there are some differing cases. In Adelaide, the entire state is powered by green energy, so venues do not install solar panels. In Singapore, venues benefit from arrangements where they don't have to pay anything upfront for vendors or companies to install solar panels—they buy the energy back from these vendors at a special rate over the course of 20 years. The benefit is that they avoid upfront capital costs while reducing energy consumption costs.

 NTT shared its experience of installing modern facilities like variable frequency cooling systems, which allow them to cool specific parts of the building rather than the entire space. This significantly reduces energy consumption but comes with high initial costs. Contrastingly, in Geneva, air conditioning is prohibited in newly built houses, office blocks, or venues unless a special permit is obtained. Differences in natural environments lead to varying attitudes toward air conditioning, energy consumption, and facility upgrades.

NTT also highlighted the issue of changing regulations. During the decade it took to build the venue, regulations changed, meaning that by the time the building was complete, they had to upgrade some previously installed systems. Older venues face even more challenges—while there is often a strong desire to adopt green practices, upgrading or shifting existing systems can be difficult.

Finally, many venue operators pointed to the hidden costs involved—not just the expense of upgrades but also the venue's downtime. What happens when there’s a resident company? How do they manage when the venue is closed for renovations?

Most venues ensure basic physical accessibility features, offering wheelchairs, hearing loops, and similar accommodations. Taipei Performing Arts Center (TPAC) goes further by arranging a Glow Theatre, specifically designed to accommodate the elderly and people with other special needs. This space ensures that those with mobility or sensory challenges can enjoy performances comfortably.

Beyond physical accessibility, some venues are moving into the space of accommodating neurodiverse audiences. For instance, the Taipei Philharmonic has a special program for patients with dementia. They encourage these individuals to attend concerts by providing a comfortable and welcoming space tailored to their needs. The Philharmonic also hosts information sessions for patients and their caregivers before the concert. It offers a chance to discuss what to expect in advance, helping ease anxiety and prepare them for the experience. This proactive approach helps build a more inclusive environment for people who may otherwise be hesitant to attend live performances.

In Australia, tactile tools are becoming more common at performances. These tools allow audience members with sensory needs to engage with the show hands-on, creating a more inclusive experience. By incorporating sensory engagement, venues can broaden their accessibility and make the arts more inviting to everyone, regardless of their sensory preferences or abilities.

The focus on neurodiversity extends beyond audiences to include artists and staff. Some organisations are adopting new practices to support neurodiverse individuals better in the workplace. These practices include developing clear operational standards that help staff know what to expect when entering meetings or working on projects. One effective tool is the creation of detailed agendas of meetings, which provide structure and predictability for all participants. Another is identifying preferred communication methods, such as recognising that some people may be more comfortable with written communication than verbal instructions.

To further support neurodiverse artists, some venues organise regular gatherings where these artists can meet in a safe space to share their experiences. These gatherings provide opportunities to discuss how they develop their practice, interact with audiences, and what they need from venue operators. By fostering these conversations, venues help create a more supportive environment for neurodiverse artists to thrive.

Alex Budd of Canberra Theatre Centre reminded attendees that sustainability needs to become a state of mind.

"We need to think about it at every step we take. We must also sustain our imaginations, which is part of the messiness. This can't be about trashing the planet, but it can't be a race to the bottom with pretty rubbish theater and no scenery. So, we need to find a kind of middle ground."

Throughout the discussion, everyone agreed on the need to balance art with green practices and the importance of aligning the mindsets of venue operators, artists, and arts groups to work toward a shared goal of advocating for, and implementing sustainable initiatives. A common example is the widespread adoption of LED lighting to reduce energy consumption, but some artists complain it impacts their art performances. Some producers and agents even convince their musicians to go on tour using instruments provided by the host venue. Considering how personally attached musicians can be to their instruments, this represents a significant shift in mindset. Still, it’s an effective way to reduce freight and energy costs associated with international tours.

Public education plays a crucial role in shifting expectations. Audiences may complain about changes like reduced air conditioning or replacing printed programs with QR codes. However, by working together and raising awareness, venues can help audiences understand the benefits of these adjustments. For instance, when they realise the larger environmental impact, an audience may be more willing to accept a theatre set at 24 degrees Celsius instead of 23. Some venue operators promote sustainable transport options by encouraging audiences to use public transportation for events. For example, the TPAC has limited parking spaces. It is conveniently located next to a MRT station, making it easier to encourage people not to drive to performances. Green cultural tourism is gaining popularity in Europe, with some outdoor music festivals encouraging attendees to cycle to the venue.

Effective communication and negotiation are critical in implementing these changes. No one can manage the entire process alone. A key takeaway from the discussion is the importance of engaging all stakeholders, including audiences, artists, staff, and partners, to ensure they understand the reasons behind these changes and work collaboratively toward a greener future.

The Roundtable Discussion fosters open conversations among participants, providing a platform for exchange and collaboration. The event staff explained that sustainability was chosen as the theme because it is an urgent issue that requires immediate attention. By selecting this topic, AAPPAC aims to spark meaningful dialogue and encourage participants to reflect on their own practices. Through the sharing of practical experiences, the discussion serves as both a case study and a bridge to foster deeper connections between attendees.

Despite their diverse backgrounds, participants unanimously recognise the critical importance of sustainability and the role of green practices in shaping the future of the performing arts industry. While each approaches the issue differently, all agree that continuous communication with their communities is essential. Sustainability is not just a responsibility but also an opportunity to engage, inspire, and positively impact the people they serve. By embracing these practices, attendees commit to leading by example, using their platforms to advocate for environmental responsibility while strengthening their cultural and societal ties.