It’s been one year since we took over the iconic Barbican Conservatory to present the greenhouse effect, an immersive experience featuring Nonclassical artists reflecting on our relationship with nature at a time of climate crisis. Recyclable materials became pieces of percussion, Aeolian harps made sound thanks to the wind, and bells taken from the English coastline were played by human hands rather than the sea.
To create a more in-depth reflection on the climate crisis, we set out to measure the carbon footprint of our concert. Measuring the carbon footprint was a complex task, but one we found essential for several reasons. Firstly, it allowed us to understand the environmental impact of our event. By quantifying the relevant carbon emissions, we gained insight into areas where we could reduce our environmental footprint, such as optimising energy usage, transportation, and waste management.
Moreover, by transparently sharing this data and reflecting on insights gained, we hope to raise awareness about the environmental consequences of large-scale cultural events. By highlighting the carbon footprint of our performance, we aim to encourage others in the arts and cultural sector to consider sustainability in their practices, thus fostering a culture of environmental responsibility.
Additionally, monitoring our carbon footprint was consistent with our commitment to environmental care and sustainability. By devoting time and effort to measuring and thinking about this data, we are demonstrating our belief in the urgency of addressing climate change and the role that each person and organisation can play in reducing its consequences.
In order to measure the carbon footprint of our event, we set out to measure four factors: travel, water use, energy use, and waste. We used both the Barbican’s data and our own surveys to establish how attendees travelled to the event.
setting the stage
From the moment attendees stepped into the Barbican Conservatory, they were transported into a world where music and ecological consciousness intertwined seamlessly. Artists from Nonclassical used handmade triangles made from ReBar steel, bronze bells, pieces of rubbish, and violins hung from the ceiling to create a sonic and visual ode to the climate. Audiences were invited to get involved through two Young Barbican workshops run by Rubbish Music (Kate Carr and Iain Chambers), where participants made music out of rubbish.
measuring our impact: a journey towards sustainability
Throughout the day, we carefully recorded and analysed our carbon footprint.
We were in the Conservatory from 9am – 11pm on the 12th March.
Attendees and performers were surveyed about their choice of transportation to the event. We also conducted a comprehensive evaluation of the Barbican building’s carbon emissions during the events using the Julie’s Bicycle interface.
The results of our analysis were both enlightening and sobering.
conclusions
Approaching the climate crisis through music and through a one-off event will not create a significant impact, nor will measuring the carbon footprint of this particular concert. However, we hope that by reflecting on this concert one year on we might provide some interesting findings as to how organisations can make the ongoing climate crisis a consideration in their planning and execution of concerts.