GreenEvents Europe 2014 Full Conference Report

Transcription

Laura van de Voort is co-founder of
'Green Events Nederland', the
Dutch platform for making events
and festivals more sustainable.
http://www.greeneventsnederland.nl
http://extrema-outdoor.com/
http://www.solarweekend.com/nl/blo
g
Full Conference Report
2014
You can download this report here.
http://www.green-events-germany.eu/Full_Conference_Report_2014.75.0.html
GreenEvents Europe 2014
is an event of:
Sounds For Nature Foundation e.V. and
BN*PD - Bonn Promotion Dept. - Funk & Schmidt GbR
is funded by:
This report is published by:
Sounds For Nature Foundation e.V.
Auguststr. 18
53229 Bonn
www.soundsfornature.eu
Compilation and layout:
Heike Hennig-Schmidt
Acknowledgement:
We thank Stefanie Thomas (student of Macromedia Hochschule für Medien und
Kommunikation, Cologne) for assisting with this report and taking pictures during
GreenEvents Europe 2014. We are grateful to Ilka Decker, Juliane Kemen, Daniela
Korden, Isabel Naguib (students of Bonn University), Jas Klewinghaus (Institute for Music
Osnabrück), Anja Müller (Kiel University) and Laura Undisz (Humboldt University, Berlin)
for taking minutes during the conference. Thanks go to Rebecca Elisabeth Lange, Daniela
Korden, Ilka Decker, Julia Schächtele, Sina Jakobs (Bonn University) and Judith Mattes
(Ju & me, Bonn) for their assistance in the Culinary Upcycling activities.
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Content
GreenEvents Opening
Welcome
 Holger Jan Schmidt (Sounds for Nature, GER)
Welcome address
 Jürgen Nimptsch (Mayor of the city Bonn, GER )
Welcome address
 Wilson Budde-Iser (Stiftung Umwelt und Entwicklung NRW et al. GER)
Welcome address
 Teresa Moore and Fruzsina Szép (GO Group / Yourope, UK / HUN / GER)
Key note
 Valentin Thurn (director of the multi-awarded documentary "Taste the waste")
The Show Must Go On
 Chris Johnson (Powerful Thinking, UK, host)
 Chiara Badiali (Julie's Bicycle, UK)
 Laura van de Voort (Extrema / Green Events Nederland, NL)
 Sebastian Fleiter (The Electric Hotel, GER)
FoodPrints
 Sabine Funk (GreenEvents Europe / Sounds For Nature, GER , host)
 Tanja Dräger de Teran (WWF, GER)
 Jan Christian Polanía Giese (THEMA1, GER)
Sustainable Event Design
 Fabian Schulte-Terboven (IBIT GmbH, GER, host)
 Manuel Großmann (Service Design Berlin, GER)
 Andre Balaz (Charged Mind, SLV) / Hendrik Landwehr (Mach dich Bunt, GER)
 Matthias Kulcke (HafenCity University / TU Hamburg-Harburg, GER)
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Food, Health & Body
 Sabine Funk (GreenEvents Europe / Sounds For Nature, GER, host)
 Martin Svitek (Karmakitchen, GER)
 Professor Peter Stehle (Uni Bonn, GER)
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Food Waste
 Nadja Flohr-Spence, WWF, GER, host)
 Valentin Thurn (Director of "Taste the Waste", GER)
 Nicole Klaski (foodsharing e.V., GER)
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The attitude - behaviour gap
 Teresa Moore, Bucks New University, UK, host)
 Laura van de Voort (Extrema / Green Events Nederland, NL)
 Sophia Becker (University of Stuttgart, GER)
 Dunja Karabaic (bureau gruen, GER)
www.green-events-germany.eu
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Content
Mobility Session
 Martijn Hulshof, MovendiuM, NL, host)
 Helen Schepers (KonzertKultour, GER)
 Christof Hertel (Evangelischer Kirchentag, GER)
 Michael Schramek (EcoLibro, GER)
The Elephant Round – Let's talk about responsibility
 Holger Jan Schmidt (GreenEvents Europe/Sounds For Nature, GER, host)
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and Sebastian Fleiter (The Electric Hotel, GER, host)
 Ruud Berends (Eurosonic Noorderslag, NL)
 Fruzsina Szép (Yourope & Berlin Festival, HUN / GER)
Social impact
 Claire O'Neill, A Greener Festival / AIF, UK, host)
 Vladimir Vodalov (EXIT Festival, SER)
 Mikkel Sander (Roskilde Festival, DK)
 Nienke Bassle (10.000 hours / ID&T, NL)
Post consumerist economy
 Hosted by: Teresa Moore (Bucks New University, UK) &
Friederike Behr (Kulturwissenschaftliches Institut Essen, GER)
Sustainability in extreme situations
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Fabian Schulte-Terboven (IBIT GmbH, GER, host)
Jochen Bader (Morethanshelters, GER)
Greener Touring
and Lena Buck (Green Music Initiative / THEMA 1, GER, host)
 Volker May, IMMF / FZW Dortmund, GER
 Danny Simons, Grand Hotel Van Cleef, GER
 Jutta Landkotsch, Dein Speisesalon, GER
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Food, drinks and Rock'n'Roll
 Claire O'Neill (A Greener Festival / AIF, UK, host)
 Marie Sabot (We Love Green, FRA)
 Stephanie Weigel (Tollwood Festival, GER)
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Greener Arena
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Lena Buck (Green Music Initiative, GER, host)
Sybil Franke (Velomax Berlin Hallenbetriebs GmbH, GER)
Verena Müller (Energieagentur NRW, GER)
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Culinary UPcycling
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Pre-conference workshop: Food & Events
 Manuel Großmann (Service Design Berlin, GER, host)
Die große Kartoffelshow
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Martin Svitek (Karmakitchen, GER, host)
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Session: GreenEvents Opening
Host: Holger Jan Schmidt, GreenEvents Europe, GER
Welcome
 Holger Jan Schmidt (GreenEvents Europe, GER)
Welcome address
 Jürgen Nimptsch (Mayor of the City Bonn, GER)
Welcome address
 Wilson Budde-Iser (Stiftung Umwelt und Entwicklung NRW et al., GER)
Welcome address
 Teresa Moore and Fruzsina Szép (GO Group / Yourope, UK / HUN / GER)
Key note
 Valentin Thurn (director of the multi-awarded documentary "Taste the waste", GER)
Welcome
Holger Jan Schmidt (Sounds for Nature, GER)
Welcome
 Holger Schmidt gives a warm welcome to nearly 160 participants of
GreenEvents Europe 2014 (GEE 2014), the 5th international
conference for sustainability in the live music and events industry.
The number of attendants has grown again compared to previous
years.
Holger Jan Schmidt is founder of
 Green Events is a meeting to discuss sustainability issues in the
GreenEvents Europe and Board
events industry, to exchange ideas and experiences with people who
member of Sounds For Nature
Foundation e.V.
are inspired and who are inspiring.
http://soundsfornature.eu/,
 25 years ago, Holger started organising festivals with a local
www.go-group.org/
musician club, and collaborated with the person in charge of nature
conservation in the city of Bonn. Rheinkultur, the admission-free
festival, was a regular highlight in the city‘s events calendar, and Holger eventually used the
experience he gained with these activities to organize the first Green Events Conference in
2010. Learning about how to envision the future and the bigger picture was part oft this
process.
Thanks to the partners of GreenEvents Europe 2014
 Sounds For Nature Foundation e.V. is very grateful to all partners of GreenEvents Europe
2014. Without their help the conference would not have been possible to organize.
 This, in particular, applies to the Foundation for Environment and Development North
Rheine-Westphalia (Stiftung für Umwelt und Entwicklung Nordrhein-Westfalen) who is
funding GreenEvents Europe 2014.
 Other supporting partners are Yourope (The European Festival Association), Go Group
(Green Operations Europe), IBIT GmbH, musikwoche, Bucks University, green music
initiative and Bundesamt für Naturschutz.
Innovations
 GEE 2014 keeps what has proven successful but provides some innovations.
o GEE 2014 puts the focus on Food and Beverages (“Food, Drinks and Rock’n’Roll”) but also
discusses other important sustainability issues.
o The half-day pre-conference workshop “Food & Events” focused on the question why food
and beverage are an essential issue. The participants identified problems and worked out
solutions on food and events with the help of Design Thinking - a method of creative
problem solving.
o GEE 2014 involves young people into the sustainability issue of events with Emphasis on
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student participation
o Culinary UPcycling hosted by karmakitchen, assisted by student and with kind support of
SODEXO.
Between-conference activities
 Go Group workshops 2013 in Vienna (AU), Roskilde (DK), Novi Sad (SR)
 Conference contributions 2014: Eurosonic Norderslag Groningen (NL), Amsterdam Dance
Event / ADE Green (NL), GreenEvents & Innovations, London (UK)
 Green Operations Award 2013
 Greener Arena Network (esp. September workshop at o2 Berlin, GER)
 Supporting Initiatives: „ Love your tent“ at various festivals
 Seminar at Bucks New University (UK), 
GreenEvents Europe’s 2014 slogan
Of course I care about the future – I intend to spend the rest of my life
there.
(Mark Twain)
Welcome address
Jürgen Nimptsch (Mayor of the City Bonn, GER)
Jürgen Nimptsch sees Bonn as an ideal place for the GreenEvents
Europe conference: more than 1000 persons are working at the United
Nations or NGO’s here and are involved in sustainability. Bonn is a
sustainability hub, and conferences around themes of Sustainability and
Festivals are bringing together scientists, journalists, and specialists from
all parts of life. Mentioning the ‚special Bonn spirit‘, Nimptsch remarks
that two previous Green Events Europe conferences have been
supported by the City of Bonn through the European Regional
Development Fund. He wishes the conference every success in
establishing greener and more sustainable events.
Jürgen Nimptsch was elected Mayor
of Bonn in August 2009. Within this
capacity, he also acts as the ViceChair of World Mayors Council on
Climate Change.
http://www.bonn.de/
Welcome address
Wilson Budde-Iser (Stiftung Umwelt und Entwicklung NRW et. al.,
GER)
Wilson Budde-Iser, Foundation for Environment and Development NRW,
states that this institution has a mission to protect environmental
resources, fight poverty and promote global justice. It also provides
Wilson Budde-Iser is project
environmental education as well as financial support for institutions like
manager at the Foundation for
Environment and Development
Sounds for Nature. Mr. Budde-Iser stresses the importance of the live
North Rhine-Westphalia.
music sector in providing good examples of environmental protection like
www.sue-nrw.de
the reduction of CO2 emission. Mr. Budde-Iser stresses the enormous
impact the live events sector has on people/visitors in terms of their
perception of sustainability and food issues (health, waste, food security). He wishes all
participants a good exchange of ideas to motivate everybody in his/her work for sustainable event
management.
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Welcome address
Teresa Moore (Buckinghamshire New University, UK) and Fruzsina
Szép (GO Group / Yourope, HUN / GER)
Teresa Moore from Buckinghamshire New University says ‚The reason I
am passionate about this conference, is that the only way forward is
collaboration, sharing ideas and good practise‘. As organisers were
attracted from far afield, across countries and events, Teresea feels that
their practise needs to be informed by an involvement in research and
exploration, to find out why something works or does not work– the
answers to all the ‚why‘- questions.
Fruzsina Szep, representing Yourope, the European Festival Association,
states that green issues have a major priority for all events. Almost 100
festivals are members of Yourope, and can thus reach more than 100
Million people during a festival season. ‚We are now living towards the
future and set examples to shape our future: green issues for mankind,
freedom at festivals, the experience of music, art, culture, food, drinks and
friendship‘. Food is not only a side-line; if event organizers take the issues
seriously, so many people can be addressed who together shape the
future.
Teresa Moore is Head of the
Department at Buckinghamshire
New University in charge of the
University's Music Events and
Crowd Safety Management
programmes. http://bucks.ac.uk/
Fruzsina Szép is the festival
director of the Berlin Festival. She
was the program & artistic director
of Sziget Festival (H) between
2009-2014
http://berlinfestival.de/
Holger Jan Schmidt (Sounds for Nature, GER)
Main Conference Topic in 2014: More sustainable food and beverage at events
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Holger Schmidt continues in stressing that Food, Drinks and Rock’n’Roll belong together!
Stacks of Marshall without stacks of beer or guitars are unthinkable without food. But what kind
of food do people want? Just French fries?
This summer he went on a personal mission to sample the best food available at festivals, from
‘We Love Green’ in Paris, via Roskilde in Denmark, to Tollwood in Munich. Impressed with the
quality of the catering and freshness of product, he points out the huge influence food stalls
have on festivals themselves. Holger also emphasizes the importance of sustainable events
design and the Culinary Upcycling at GreenEvents Europe 2014.
A special forthcoming event of GreenEvents Europe to be mentioned is „A Potato Show“ in
Cologne, Bürgerhaus Stollwerck, on Sunday, March 15, 2015. GreenEvents goes public
supported by Slowfood Youth Cologne, Kultur.Kulinarik and Prime Entertainment. The event
will focus on food waste and how to avoid it. The public will join in peeling and preparing
potatoes for a big meal, DJ’s and live music will be presented as well as discussions on
potatoes and on food waste.
Key note
Valentin Thurn (director of the multi-awarded documentary “Taste the Waste” GER)
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The double connotation of waste as Abfall (rubbish) and
Verschwendung (wastage, wastefulness) as well as the issue of how
food is valued (‚More than half of our food ends up in the trash.‘) was
Valentin Thurn’s motivation for making his film(s).
The idea for the documentary ‚Taste the waste‘ developed in 2007
during a report on dumpster divers. Valentin Thurn became aware how
quickly, i.e. in just two generations, our society ‚evolved‘ from suffering
post-war hunger to wasting food.
Director of documentaries for
German and international TV
channels and cinema.
http://thurnfilm.de/
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As customers obviously do not plan ahead what they will be able to eat, 40-50% of their food is
thrown away. Three Million tons of bread are thrown away in the EU per year - enough to feed
Spain! The food thrown away in the EU and the US is three times the amount needed to feed
all the hungry people in the world. Yet politics reacts in a way that is not sufficient. Valentin
Thurn reported that when he joined a parliament group for the first time, he noticed the
extensive avoidance strategies in the panel.
Valentin Thurn reported on several initiatives to fight food waste that he or others founded like
o Foodsharing, an initiative supporting individuals and companies in Germany to pass on any
food surplus (foodsharing.de).
o Taste of Heimat, a platform, which aims at bringing together consumers and producers in a
local context (tasteofheimat).
o United againt waste, an initiative in the hospitality sector setting out to tackle food waste in
restaurants and catering (united-against-waste.de).
Valentin Thurn also produced the documentary on food waste in Europe, ‚Die Essensretter‘
(Food Savers). He aims at improving the situtaion, but became aware that the consumer is a
schizophrenic being. Yet, efforts have to be made, since people actually want to do something
good in sustainability and one has to find a way to help them to do so.
Conclusion
Sustainability is a win-win situation. Since 25% of people are interested in sustainability and
avoiding food waste, it is key to involve them to make others feel that this is a normal way to
behave.
Links
o
o
o
o
o
www.tastethewaste.com
www.foodsharing.de
www.united-against-waste.de
www.tasteofheimat
www.foodsharing.de/
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Session: The Show Must Go On
Host: Chris Johnson (Powerful Thinking / Shambala Festival, UK)
We will discuss how we can maintain a thriving industry - creatively and financially - whilst
managing our businesses and brands responsibly. Can we achieve an industry-wide turn to
sustainability and how can we take inspiration from innovative approaches to business such as
circular economy and apply them to our sector?
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Host: Chris Johnson, Powerful Thinking, UK
Chiara Badiali, Julie's Bicycle, UK
Laura van de Voort, Extrema / Green Events Nederland, NL
Sebastian Fleiter, The Electric Hotel, GER
Chris Johnson (Powerful Thinking) UK
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Chris Johnson introduces the session by reporting on a five-year study
about sustainability and environmental impact involving twelve festivals.
The study shows that the average UK Festival CO2 emission amounts to
1 % for water, 34 % for waste and 65 % for energy. Furthermore,
audience car travel of only one UK Festival with 10.000 people amounts
to 120,6 tonnes of CO2.
Chris is interested in the question how the festival industry can change,
whether by legislation, voluntary industry codes or personal convictional
ethics. He points out that in the UK people would be willing to pay more
for a ticket when an event is more sustainable.
The session is meant to report on successes, different concepts and
examples on how the festival industry can go on.
Chris is co-founder and a Director
of Shambala Festival and a
Director of Operations at Kambe
Events. He is also co-founder and
chair of the Powerful Thinking
Campaign. http://www.powerfulthinking.org.uk/
http://www.shambalafestival.org/
(At the end of his talk he shows a short film-clip of the NGO Horizons about technology structures.)
Chiara Badiali (Julie's Bicycle, UK)
‘Sustaining Creativity’
Chiara Badiali points out that Julie's Bicycle aims at bridging the gap
between environmental sustainability and the creative industries. Their
vision is a creative community with sustainability at its heart. Their
mission is to provide the expertise, inspiration and resources to make
that happen.
Creative Industry Green (IG) Tools
Chiara joined Julie's Bicycle in
October 2012 to engage arts
 e.g. carbon calculators for the arts and creative industries for built
organisations and practitioners in
environment like offices and venues, temporary events, the movement of
embedding environmental
sustainability in their activities
art, artists & audiences, production/materials.
Working on initiatives including EE
 Carbon emission can be calculated for different levels, e.g. sector MUSIC
and Powerful Thinking, she
specific, per festival, per performance or per seat per performance.
is reaching out to help harness the
sector's collective power in
Which impact did the provision of IG Tools have?
effecting change.
 One year after introducing environmental policy and action plan
http://www.juliesbicycle.com/
requirements for more than 700 of the revenue funded member
organisations of the Arts Council England, e.g., encouraging results have been found:
 90% of organisations engaged with the programme and nearly 400 provided enough data to
identify savings in energy and water use.
 Included are 62 cultural buildings that point to £810,000 combined savings from energy use –
yet, there are some 16,000 cultural buildings in the UK, showing what the sector could
contribute to the environmental agenda, and how many resources are currently wasted.
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As many organizations are small Julie’s Bicycle together with the Arts Council England will be
continuing to help these companies, offering advice and workshops, and further developing the
Industry Green Tools.
EE music (energy efficient music culture)
 Another example for rising awareness towards sustainability, here energy efficiency.
 EE Music aims at establishing an efficient and sustainable energy music culture in Europe.
 The EE MUSIC web platform provides free access to the EE MUSIC IG Tools.
 Julie’s Bicycle is part of the initiative and develops communication tools to reach a positive
change. Energy has good impact when addressing organizers.
 Sustaining creativity is an open-ended conversation. It's circular, digital and has an
organisational culture. It is about recycling and reusing things from theatres and festivals.
 At the end of her talk she asks what the social contract with the audience is, whether it actually
exists, and if so, how it looks like.
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Laura van de Voort (Extrema / Green Events Nederland)
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Laura van de Voort shows a video about Green Events Netherland, a
platform for sustainable events. This initiative aims at reducing the
carbon footprint of festivals and started in early 2014. During the short
time period, the carbon footprint of the festival Laura works with was
reduced by changing little things, e.g. sharing information and organizing
workshops on waste, catering and energy. By joining those workshops
Green Events Netherland promotes the talk and exchange about
sustainability at events the concept being
Inspiring + Sharing + Connecting = Making a Change!
Laura van de Voort is cofounder of 'Green Events
Nederland', the Dutch platform
for making events and festivals
more sustainable.
http://www.greeneventsnederla
nd.nl
Sebastian Fleiter, The Electric Hotel
Sebastian Fleiter emphasizes the importance of not just talking about
how to change the event industry but also about what messages the
guests take home.
 Here the creative industry can play an important role with regard to
inspiration and innovation like in the following examples.
Sebastian studied fine arts and
Green Nudge
visual communication. He has
The hotel chain Nordic choice hotels in a study together with Green
received various international
awards for his unique approach of
nudge (http://www.greenudge.no/en/) found out that 2/3 of food waste in
putting fun into energy generation.
their restaurants was due to leftovers on plates. They reduced the size
Since 2011, he is touring the
of plates by 12% and were able to decrease food waste by about 20 %
festival scene with his mobile
utopian project THE ELECTRIC
(https://www.nordicchoicehotels.com/social-responsibility-in-nordicHOTEL.
choice-hotels/the-food-revolution/matavfall/).
http://www.the-electric-hotel.com/
The Electric Hotel
http://stromodrom.de/
The goal of the project that started in 2011 is to make festivalgoers and
events visitors feel what electricity is. The mobile phone is used as an entry. People charge
their phone by producing energy by their own muscles. The electric hotel makes an event out
of electricity using technology, ideas and design from over a century of electric history
(http://www.the-electric-hotel.com/).
Stromodrom
stromodrom is a professional slotcar-racing oval for competitions by mini racing cars. People
generate the electricity for driving the cars by riding bicycles. This project includes workshops
and is especially suited for schools by making students familiar with practical insights into the
characteristics of electricity (http://stromodrom.de/, https://www.youtube.com/watch?v=70l9V_FYKs8).
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The essence
 "Give people stories to take home."
Discussion:
Involve the audience
 Festival and event organizers usually do not know who their audience is resulting in the fact
that not the whole audience can be reached by the same message. To involve them Sebastian
Fleiter’s approach might be a good example because people want to have fun and do not want
to be educated. But all of them have the problem of charging their mobile phones.
 One has to use a key to get to the people because sustainability is too complex to talk about on
an event. In the UK, an initiative is being created about festival businesses and audiences
working together for sustainability and climate change in particular on mobility
Involve the organizers
 It is also important to convince festival and event organizers to make green issues part of their
events. But down to the individual event the communications aren't really good. For example
info's about what is done for sustainability on the websites. It is very important to communicate
and tell what the organizers are actually doing.
How to fight low engagements in sustainability and environmental change?
 Looking towards regulations? Lobbying?
o Some participants do not favour regulations; in particular, because the industry can much
quicker react then regulations are coming. Festival organizations can make quick changes.
o Holger Schmidt points out the problem that the Green movement in the industry is only
voluntary; there are no regulations in that part. Answers to "green ideas" are often like "nice
idea, but I have too much to do". If legislations like calculation (GHG or carbon impact)
existed it would work more efficient. Even though he is not a fan of legislation it would,
however, motivate people and, thus, festivals could be the example for the rest of the
industry.
o Legislation has the advantage that people who are not interested in sustainability could
learn what impact they have. Legislations should, however, set realistic targets for festivals.
Regulations do make sense like for logistics or technique.
 Don’t stop engagement and enthusiasm
o Chris Johnson points out that those engaged in green issues shouldn't loose their
enthusiasm because collaborations provides power to an industry.
o Responding to the question what Holger Schmidt’s feeling is about engagements of
festivals he reports that he has been talking to many festivals and begging them to join but
got no positive response.
 Engage artists?
o Could the artist community be engaged, because there are some "green thinking" artists
like Radiohead or Morrissey. Holger points out that he tried to get artists for the elephant
round but nobody responded positively. They like more to talk about their own social
projects and maybe they are afraid of the "green-washing" reproach.
Résumé
There is still need for more and better communications and sharing knowledge. There is an
opportunity like Holger Schmidt emphasized: "We have the chance to spread the word in Europe
and convince others. We should do it!".
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Session: FoodPrints
Host: Sabine Funk (GreenEvents Europe / Sounds for Nature, GER)
An hour with a lot of information about the impact of food on our climate
and the planet. We will deliver some hard facts.
 Sabine Funk (GreenEvents Europe / Sounds for Nature, GER, host)
 Tanja Dräger de Teran (WWF, GER)
 Jan Christian Polanía Giese (THEMA1, GER)
Sabine Funk is managing
director of IBIT, board member
of YOUROPE and co-owner of
BNPD.. http://ibit.eu/,
http://soundsfornature.eu/
Tanja Dräger de Teran (WWF, GER)
'Do our eating habits impact the earth?'
WHY WE SHOULD CARE ABOUT THE “LAND FOOTPRINT”
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o The conversion of natural habitats into grassland or arable land has
Tanja Dräger de Teran is
project manager for Food and
a significant impact on climate and biodiversity.
Climate Protection at WWF,
The Land footprint of Germany
Germany.
http://www.wwf.de
o Land footprint in total for Germany (food, bioenergy, textiles,..) is 24
million hectare
o Food-related Land footprint: approx. 19 million hectare
 14 million hectare for livestock-based foods such as meat, eggs, milk
 5 million hectare for plant-based foods
o Germany’s total agricultural area is 17 million ha
 Germany needs almost 7 million hectare outside of the EU in order to meet the demand
for agricultural products; i.e. more than an additional of 40 %!
The Land footprint of meat
o Every German on average, consumes 89,3kg of meat (products) per year (BMELV, 2012)
 twice the amount from 100 years ago and twice the amount recommended by nutritional
experts!
 This meat consumption would need half of Germany’s total agricultural area of 17
million ha!
The Land footprint of nutrition in Germany
o Total Food Consumption: 2300 m² (2008–2010, in
m2/person)
 Including textiles, bioenergy etc.: 2900m²
 Available area in 2050 – only 2000m²!
Germany’s “land grab” outside the EU
o For complying with the demand for food Germany has to
import “land”.
o The land grab from South America for importing soy
(mostly for feeding animals) amounts to the size of the
Federal State of Hesse.
CHALLENGES
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
Reduction of Land footprint per Capita
Reducing the soy footprint of Germany by eating less and better meat
EVERY STEP COUNTS
Small personal changes lead to big impacts
 First Example – Reduce Higher Consumption
o Food consumption per person increased from 667 kg in 2009 to 677kg in 2010
o Environmental impacts 2009/2010: Significant increase of Germany‘s demand for land of
approx. 215.000 ha
12
Session: FoodPrints


o As Germany cannot increase its domestic agricultural area additional land is taken in
foreign countries (South America: 37.000 ha)
o Emissions caused by land use increased by approx. 40 million tons CO2
Second Example - Healthy Nutrition
o The “Sunday roast” scenario:
If every German consumer eats according to the recommended guidelines
 Reduction of the land footprint by 1,8 million hectare (size of Saxony)
 Reduction of the soy-related footprint by 700.000 hectare
 Reduction of the climate footprint by 27 million tons CO² = emissions of 230 billion km
by car
 Calculated for a family of four: 11.000 km by car per year
Meat-free weekday scenario
o Reduction of the land footprint by 600.000 hectare
o Reduction of climate footprint by 9 million tons CO²
o Calculated for a family of four: 3.600 km by car per year
EACH GREEN EVENT COUNTS
o by reducing land footprint and climate footprint
CONCLUSIONS AND RECOMMENDATIONS




The more vegetarian food the better!
Reduce the share of meat of the whole menu and of each plate!
Offer more organic food!
Include more products from credible certification!
Discussion
Question: Shouldn't we feel bad about eating meat, when being aware of the impact?
Answer (Dräger): Feel bad, when eating such amounts. WWF only says “eat less meat” but forces
no one. Raise awareness. Organic production needs animals!
A (Ecopsychologist): Feeling guilty doesn't help people what to do. It’s better to say “Eat more
vegetables” than “Don't eat meat!”
A Foodsharing: Reducing food waste and eating more regional food is also important!
Q: Is the food print of organic soy smaller than conventional?
A: Organic soy is local, and there are alternative protein sources to feed animals.
Q: Some scientists say that our personal choice doesn't count anymore – we need governments
and policies to change these things.
A: Government can increase the pressure. Still, each of us has a responsibility.
A (Funk): We need both – policy and personal decisions. We can't put everything on someone
else.
Jan Christian Polanía Giese (THEMA1, GER)
More than just numbers – Understanding the carbon footprint of food
& beverages
International Climate Protection
 Global warming is internationally accepted.
 Yet, if business goes on as usual we will end up with more than 80 Gt
CO2eq of Global GHG (greenhouse gases) Emissions in 2050, i.e.
nearly twice the emissions of 2004 (49 Gt) .
 To reduce global warming to 2 °C we need to reduce emissions to less
than 20 Gt CO2, i.e. cutting 2004 emissions by more than half.
At the think-do-tank THEMA1
Jan Christian Polanía Giese
conducts research on product
and corporate carbon
footprinting in different
sectors.
www.thema1.de,
13
Session: FoodPrints
The personal Carbon Footprint

Consumer products and food
alone account for more than 40%
of the per capita footprint of nearly
11t CO2e.
Ecologic footprint of Way Out West Festival
 2010: Travel 24%, catering 62%, accommodation 12%
 2012: Introduction of vegetarian meals resulted in dropping total footprint by 24%
What's a carbon footprint?
 The whole lifecycle of the product is quantified
 Example Beer:
o Barley and crop cultivation: fertilizers; malting and brewing process (e.g. electricity);
packaging and transport; cooling; consumption
o CO2 emission: 0.870kg/l.
o Consumers can influence:
 Packaging (26% of footprint) → Buy local and glass instead of cans
 Transport 26% → Buy local beer.
 Cooling → Efficient and green electricity
 Organic beer might have a higher footprint due to more barley needed.
 Example Hamburger:
o Conventional beef: 2.5kg CO2eq
o Organic beef: 2.1kg CO2eq
o The rest of the Hamburger: 0.2kg CO2eq
o Consumers can influence:
 Transport and packaging doesn't make a difference,
 Organic significantly better than conventional meat
 Imported meat from South America could be worse (higher land use change)
 Quality up / quantity down
CONCLUSION

Carbon footprint:
o Helpful tool to identify the relevant processes.
o Results need to be studied carefully.
o Good for internal communication.
o For external communication, it needs clear messages and explanations.
Discussion input
When calculating footprints be careful which calculator to use (e.g. Julie’s Bicycle)
14
Session: Sustainable Event Design
Host: Fabian Schulte-Terboven (IBIT GmbH, GER)
Speakers from service design, architecture and gamification present
different sustainable approaches for the design of event areas,
infrastructure, actions and processes.





Fabian
-Terboven (IBIT GmbH, GER, host)
Manuel Großmann, Service Design Berlin, GER
Andre Balaz, Charged Mind, SLV / Hendrik Landwehr, Mach dich
Bunt, GER
Matthias Kulcke, HafenCity University / TU Hamburg-Harburg, GER
Fabian Schulte-Terboven was
managing director of the
Australian and German
divisions of eps group.
www.ibit.eu
Manuel Großmann (Service Design Berlin, GER)
'participative design and gamification on festivals – principles of gamification and audience
communication'
“Service is everything that you can’t drop on your foot”!



Manuel Großmann got in touch with festivals the first time during a Love
Parade in the 90s in Berlin and experienced that this big event was not
sustainable at all! The major thing he learned there was that people
behave differently on festivals than they do in the „normal“ world.
Manuel works for Service Design Berlin as a designer. He organizes
non-profit events around knowledge sharing, conferences and
workshops. Food is always an important aspect there!
Manuel Großmann is cofounder of FuxBlau and
Service design can be visualized by the car example: The product ‘car’
Service Design Berlin, a nonas an object vs. Carsharing: the product as a service.
profit organization spreading
knowledge about service
o Carsharing is comparable to a festival: It is not one simple thing, but
design and establishing
a complex system.
professional relationships in
o Service design thinking provides different tools to design these
the field.
www.servicedesignberlin.de/
systems.
o A poster, a chair etc. can be designed, but experience cannot!
Experience can only be planned.
o Without users, there’s no experience – without guests, there’s no festival – users/guests are
the essential element!
Principles/tools from service design thinking that can be used in festival design:
1. User interviews are an important tool to identify what users want and why
 Who are we dealing with?
 Why do they behave like they do?
 UNDERSTAND clients + their needs!
 Don’t try to change the user but the setup – by that influence user’s behaviour!

2. Create an artificial persona
o Take all knowledge you have, condense it in one artificial person - take on the
perspective of users.
o Understand the why not the what!
o See everything from the user perspective, not from your own!
15
3.
Identify touch points: e.g. food, garbage, website, location, showers, other guests…..
 Think about what happens before-during-after, not only during the event.
 Think about the big picture! Interactions can be facilitated: help people to have a good
experience!
o User journeys: Sketch the experience,
step by step. This helps to identify weak
spots!
o Service blueprint: e.g.
 Registration/travel
 Party/sleeping/cooking
 Travel back
 Look at pictures!
 Connect these steps with all parts (e.g. Website, lineup….),
 Connect dots
o A festival is not a product, but a journey  visualizing complexity helps to identify
weak spots.
4. Prototype building!
 Assumptions should be verified  draw a cost/time line!
 Visualizing, measuring, learning is a repetitive cycle to create experience!
o Calculate costs with/without meat
o Use available data!
 You can work with
o Low-fi prototypes, e.g. little sketches, post-its or pictures  They
function as a “mockup” of an interface.
o Spatial prototypes including building a layout, discuss it, try to use it
etc.
 Example: Age-suit enabling young people to experience how it
feels to be old/immobile.
o Acting-out human interactions, e.g. in a sales interview.
o
 Prototypes on festivals:
o Cardboard huts
 To be tried out in the first season (= prototype)
 Improved in the second season compared to prototype.
Take away’s:
#1: Understand the WHY not the WHAT
 Look at everything from the user’s perspective! Talk to them!
#2: A festival is not a product. It is a journey over time.
 Visualizing complexity helps understanding & identifying weak spots.
#3: It is never too early to test something!
 Calculate planned changes and measure results in order to become smarter!
16
Discussion
Q: How can we get into the process? How do festival
promoter become aware of service design?
A: Just take the tools, try them out, talk to me and ask how to
apply them. Don’t think “I’m not a designer I can’t do that” –
give it a try, start with the method/idea, go there step by step.
You don’t have to change the whole existing process, just try
to include the tools in order to improve the user experience. If
you can give the guests a new ritual maybe they’ll stop
expecting the old one.
Q: The focus is at our Festival is on energy this year - we
want to create awareness. I’m not sure what you actually
mean by designing the experience. How can you “get into the
heads” of the audience?
A: You can’t design the experience, you can only plan it and try to get as close as possible to the
person. It’s not a static thing. Talk to them! It’s about understanding. Ask questions, get closer to
who they are. Don’t try to change people, but try to understand their intentions.
Andre Balaz, Charged Mind, SLV / Hendrik Landwehr, Mach dich Bunt, GE
‘Participative design and gamification for festivals'
Gamification
 A process of combining game mechanics and game thinking to engage
audiences in a non-game experience.
 Agood approach for festivals because
o they’re getting bigger and bigger
 making sustainable thinking more important (e.g. 90.000 guests
left behind150t of garbage),
o Gamification can make people part of the solution.
 Example: Burning Man Festival
o The concept of Moop (Matter Out Of Place) is used: no one leaves
trash behind (“leave no trace”), because a map is published online
that makes public who left trash behind.
o This creates public pressure and the festival gets cleaner every year!
 The key to sustainability is public awareness!
Andrej focuses on interaction and
visual design for interactive media.
He is also a freelance graphic
designer and illustrator.
http://www.chargedmind.com/
http://www.balaz.de/
Why do games work?
 People are wired for pleasure
o “Dopamine cycle” i
 challenge  achievement  pleasure
 It’s experienced e.g. when learning an instrument.
 In games, this cycle is created about 100times an hour!
How to create game mechanics?
1. Communicate a clear goal!
 e.g. Super Mario: Mario has to save the princess.
2. Define rules!
o Otherwise people are getting lost in the mass of possibilities.
o Rules help to focus and make the first step.
Hendrik is a game
designer, entrepeneur and
festival enthusiast. He
devotes his time to
combine his skills and
passions.
http://www.chargedmind.com/
http://www.machdichbunt.de/
17
3. Give rewards!
o This creates pleasure, which is important.
o Rewards need not be objects.
o They cost money and festival audience don’t care about hem too much.
o Make the reward an experience! More emotional, makes people happy!
Examples: Waste/rubbish/litter
 Connect collecting trash with a good/emotional experience
o Wheel of rubbish – “bring your waste and ‘dreh voll am Rad’ ”.
o Heavy metal: transparent trash containers  competition on collecting
trash  winner at the end of the fay.
o Golfing: provide people with give golf club and have them get rubbish
into painted barrels.
Gamification examples
 When designing game experiences, consider different target groups!
o Identify their needs by
 questionnaires and audience communication!
 Before the festival by web media;
 During the festival by gamification installataions,
 Afterwards in social media.
 Example: designing a fake band:
 Before:
 Let people invent a name of the band (voting for name on facebook).
 Promote that they can shoot a video on the festival itself.
 Create a “fanbase”.
 During:
 Have people shoot the video.
 Give them a platform to show themselves.
 Give them the feeling to be part of the festival!
 Those who bring the most people (to the video
box) gets most points.
 Reward: points for various challenges.
 After:
 Produce the actual video.
 Promote it on the different media channels.
 Get feedback!
 Incentive:
o Being part of the main concept of the festival, lets you feel more connected.
o This creates a sense of community like on Burning Man festival.
o Everyone is part in it and therefore values the event.
Principles of gamification:
 Make the audience matter! Let them be creative.
 Motivate the audience to participate
 Create memorable experiences – win-win situation  free promotion, happy clients
 Create a community! E.g. via facebook or other social networks
Discussion
Q: What does ‘pushing boundaries of the audience” mean?
A: When creating a community, there is already a certain respect for each other. ‘Pushing
boundaries’ means trying create experience that’s memorable and positive. When people come for
years and create their environment, it’s showing-off but also inspiring for others. Set up rules that
allow others to get active. Littering, e.g., is not caused by one person but by the majority! We
always manipulate, but in a positive way. It’s a process that’s not automatically happening but
18
spreading from guest to guest. Try to harness the energy of the minority and bring it to the majority
- it’s not about making restrictions but about giving positive encouragement.
Q: Regarding gamification on festivals, is there data on whether certain groups respond better than
others?
A: It depends on the drugs they take . Try to adapt to what drunk people like. E.g. rock festivals
have an older audience, give them options to show themselves to the crowd. Participation is better
than consumption, when they participates, they learn. They can be an example for others and
newcomers are inspired.
Q: Gamification has a strong relation to the audience – why don’t all festival use it?
A: It’s expensive, you have to pay the designer. Butt festivals who communicate their goals which
are not just about consumption, can include gamification in their concept. The gamification concept
tries to activate the audience, gets them involved (besides only drinking and listening to bands)!
The story part makes people want to get involved. If you can communicate that in advance, even
vegan food or leave no trace can work perfectly. Put responsibility on the users and they might like
it! Some drink because they want to be part of the community. It’s about the social component. We
want to implement chill-out spaces to enable communication! There should be more quiet, relaxing
places.
A: In UK there are many festivals who have a theme and then people come dressed accordingly
(costume). People feel part of it and it doesn’t cost the organizer anything. Sustainability can thus
be integrated! Festival groups are like “tribes” – they can inspire each other, interact, e.g. make a
contest, collect best photos. Catch them by their play instinct!
Matthias Kulcke, HafenCity University / TU Hamburg-Harburg, GER
'Sustainability in designing event architecture with students'
Matthias Kulcke is lecturer for furniture design and freehand drawing at the Hamburg University of
Technology. He is also lecturer at the HafenCity University, Hamburg, for furniture design and
stage architecture.
Involving students in stage design
 Dockville festival gave students free tickets to get their ideas of how to design
a festival stage.
 These concepts were used for political promotion  “We work with
education/students” and caused great publicity.
 The motivation was: “How can we get people to interact and connect with
Matthias Kulcke is lecturer at
festival?” Students were multipliers by e.g. telling friends.
the Hamburg University of
Technology and at the
 Student’s creativity is also important to be used in order to learn how young
HafenCity University,
people think.
Hamburg,.
o Example: When a stage is not used for musicians, use it for something
http://www.stage-design.eu/
http://www.hamburgermoebel
different in the meantime: e.g. sculpture, upcycling old buildings….
.com/
 Professionals can later be engage to actually implement the ideas!
 Don’t use students (crowdsourcing) instead of professionals (replacing), but as an add-on
(multiplier)!
Incentive for students to engage
 Inspire their creativity!
 Taking part means becoming part of the fame factor.
 Put all participants’ names on the website, “name names”.
 Involve them in contests and collaborations!
 Have people tell a story!
19
Design examples
 Upcycling
o Relying on material that already exists enhances creativity instead of limiting it!
o Collaboration with other institutions, e.g. Hanseatische
Materialverwaltung which is collecting material from festivals,
movie productions etc. and offers these for (re-)use.
 Crates for water bottles were used in stage design (Art
exhibition Millerntor Gallery)  telling a story about Viva con
Agua!
 Sustainability
o Cooperation with morethanshelters on stilwerk
 Challenge: creating a foldable stage easy to transport and to
be set up in 20 minutes.
 Solution: Foldable boxes compressible for storage  minimal
need of material for maximal effect).
 Micro design
o Moveable cinema - design out of the box. This won’t be realized, but it gives ideas and
possible directions.
 Integrating photovoltaic in buildings
o Floating boat, having solar panels on the roof.
Résumé
 It is worthwhile and fruitful to cooperate with students!
 You will get a pool of ideas that can be the basis for professional implementation.
 By using contest and cooperation between professionals, students and customers you can
open a thinking room that can include participants of a project!
 Look out for universities, organize a competition and engage students – get fresh ideas!
Discussion
Q: How does the hanseatische materialverwaltung work? Do festival organizers pay collectors?
A: It’s collective sustainable work (hanseatische-materialverwaltung.de/).
Private and public enterprises donate material, the city cares, low prices
are charged for the material. It’s inspiring and good for promotion.
Q: Did anyone (from the audience) collaborate with students?
A1: We did three times. Two times it was OK. The third time it wasn’t
really great so we stopped. We don’t know why it didn’t work out, probably
not the right persons were involved…we got good ideas out of it but they
weren’t suitable. Here a professional mentor could help. Particularly after
the contest the work begins. Students can’t work on by their own because
they lack experience and knowledge about regulations etc.
A2: We work with students on a regular bases (architecture). They did lightning installations (e.g.
in a lake) but we always underestimated the effort necessary on our side (organization, contact
person…) . A motivated professor/teacher is needed to coordinate everything.
Matthias Kulcke: After I have started organizing the contest more people are approaching me
than before, as they want to work with the students. You should have a clear elaborated concept
about what you want and what you can offer. Sometimes the customer doesn’t know what he
wants. You either need someone from your institution who is engaged or a professional who cares.
Manuel Großmann: Involving students to get inspiration it is a great idea. It’s a lot about
understanding the user perspective, the tools and ways to interact. The challenge is to make
festival and event organizers aware of these tools and to manage their implementation. We
enhance this by using GreenEvents Europe for interactions!
20
Session: Food, Health & Body
How does food affect people, their health and everyday working life? Let's hear what the nutricians
and cooks say.
 Sabine Funk (GreenEvents Europe / Sounds For Nature, GER, host)
 Martin Svitek (Karmakitchen, GER)
 Professor Peter Stehle (Uni Bonn, GER)
Sabine Funk studied Crowd
and Safety Management, BA
(Hons) and is one of the
leading experts for crowd safety
management in Germany.
http://ibit.eu/,
http://soundsfornature.eu/
Martin Svitek (Karmakitchen, GER)
'Karma what?'
Love is everything. Make people happy through food and awareness!
Martin Svitek’s profession and conviction:
 He gives cooking courses and organizes workshops with professionals
from the food industry who want to change their menu.
 He produces vegan wine.
 He organizes supper-clubs to have people eat together and he's serving
them.
 He eats mostly vegan.
 He combines food and awareness.
 He is practicing Yoga and offers private and larger Yoga workshops.
 His motto: The process of cooking brings you to yourself.
Martin Svitek is Bonvivant, Yogi,
Host, Cook, Slow Fooder,
Wineproducer, and Lover.
http://www.karmakitchen.de/
Martin’s personal story:
 He felt bad and had the feeling of losing himself due to stress, hectic, and he was not focussed.
 He had no time for conscious eating or he did not take his time to do so.
 In such a situation most people try caffeine and drugs but this has no long-lasting effect and
even fosters addiction.
 Instead Martin Svitek became vegan, which made him more active and more alert.
 - He started to avoid animal fat and milk, eating fresh food and taking his time to eat.
 Think about where your food comes from, how it is produced.
o You can taste the difference!
→ Martin started practicing Yoga and getting aware of himself.
→ Most important is Love
o Love yourself! If you don't love yourself, you won't be able to really love
others.
o Enjoy your food! Enlighten yourself by cooking for yourself!
o Take food as a „Lebens-Mittel“ (life tool)
Summary:
Be aware of what you eat, be interested in what you eat!
21
Professor Peter Stehle (Uni Bonn, GER)
'Health-promoting diet – 10 guidelines of the German Nutrition Society'
Professor Peter Stehle started his talk by stressing that
 nutrition is part of a healthy lifestyle.
Health-promoting diet
 keeps you in good health
 promotes vitality and well-being
 supports sustainable dietary habits
Professor Peter Stehle is Chair in
Nutrition Physiology of the
Department of Nutrition and Food
Sciences at the University of Bonn.
http://www3.uni-bonn.de/
10 Guidelines of the German Nutrition Society*
(www.dge.de/index.php?id=322)
1. Enjoy the variety of food available!
 Choose different foods – adequate quantities, rich in nutrients,
and low in calories!
 Choose mainly plant-based foods that have a health-promoting effect and foster a
sustainable diet.
2. Eat plenty of cereal products and potatoes!
 Consume cereal products (bread, grain flakes, pasta, rice, preferably from whole grain)
and potatoes.
 Contained are plenty of vitamins, minerals and dietary fibre as well as phytochemicals.
 Combine them with low-fat ingredients.
 A high intake lowers the risk of various nutrition-related diseases.
3. Fruit and vegetables - take ‘5 a day’!
 Enjoy 5 portions of fruit and vegetables daily,
o as fresh as possible, cook for a short time only,
o take one as juice or smoothie – ideally with each main meal or as snack between
meals.
 You profit by consuming plenty of vitamins, minerals, dietary fibre and phytochemicals.
 You lower the risk of nutrition-related diseases.
 Favour seasonal products.
4. Milk and dairy products daily; fish once or twice a week; moderate consumption of meat,
sausages and eggs
 These foods contain valuable nutrients, e.g. calcium in milk, iodine, selenium and n-3
fatty acids in saltwater fish.
 Choose fish products from recognised sustainable sources.
 Do not eat more than 300 - 600 grams of meat and sausages per week.
 Meat contains minerals and vitamins B1, B6 and B12.
 From a health point of view, white meat (poultry) is more favourable than red meat
(beef, pork).
 Rather choose low-fat products, especially with meat and dairy products.
5. Fat and fatty foods in moderation
 Fat provides essential fatty acids and foods containing fat also comprise fat-soluble
vitamins.
 Fat is particularly high in energy. An increased intake of dietary fat can promote
overweight.
 Too many saturated fatty acids increase the risk of dyslipidemia potentially causing
cardiovascular diseases.
 Rather favour vegetable oils and fats (e.g. canola oil, soybean oil and margarines
produced therefrom).
 Be aware of hidden fat in meat and dairy products, pastry, sweets, fast food and
convenience products.
 Overall, 60 - 80 grams of fat daily is sufficient.
22
6.
Sugar and salt in moderation
 Only occasionally consume sugar and food or beverages containing various kinds of
sugar (e.g. glucose syrup).
 Be creative in flavouring with herbs and spices, but use little salt.
 Rather favour iodised and fluoridated table salt.
7. Plenty of fluid
 Water is essential for life.
 Your daily fluid intake should be approximately 1½ litres.
 Rather choose water, carbonated or non-carbonated, and other beverages low in
calories.
 Only rarely drink sugar-sweetened beverages which are high in energy. An increased
intake can promote overweight.
 Consume alcoholic drinks only occasionally and only in small amounts due to the health
risks associated with them.
8. Prepare carefully cooked dishes
 Preferably cook foods on low heat, if possible for a short time, using little amount of
water and fat.
 This will preserve the natural taste, conserve the nutrients and avoid the formation of
harmful substances in food.
 Use fresh ingredients whenever possible. This helps to reduce unnecessary packaging
waste.
9. Take your time and enjoy eating
 Take a break while you eat and do not eat in passing.
 Allow plenty of time for eating, which promotes your sense of satiation.
10. Watch your weight and stay active
 Combine a wholesome diet with plenty of physical exercise and sport (30 – 60 minutes
daily).
 This will help you to control your weight. Walk or take the bicycle from time to time. This
protects the environment and promotes your health.
*The German Nutrition Society (Deutsche Gesellschaft für Ernährung e. V. ) http://www.dge.de Art.-No.
122402, 9th edition © 2013
23
Session: Food Waste
Host: Nadja Flohr-Spence (WWF, GER)
Tons of food wasted, fruits discarded, best-before dates not expired although there are mouths to be fed. This happens at home,
supermarkets, but also at almost every concert, festival or corporate
event. We show how to deal with the fact and minimize food waste.




Nadja Flohr-Spence (WWF, GER, host)
Valentin Thurn (Director of "Taste the Waste", GER)
Nicole Klaski (foodsharing e.V., GER)
Mikkel Sander (Roskilde Festival, DK)
Nadja Flohr-Spence is the project
coordinator of the food waste
initiative 'Savor us!’ – Initiative to
reduce food waste – from
producers to consumers.
http://www.geniesst-uns.de/
Nadja Flohr-Spence (WWF, GER, host)
'Savor us!’ – Initiative to reduce food waste – from producers to consumers'
The initiative (“Genießt uns!” http://www.geniesstuns.de/) bundles
o expertise on the topic of food waste,
o and in terms of public relations
 It’s a collaboration between
o WWF Deutschland
o Deutsche Welthungerhilfe e.V.
 It’s scientifically supported and evaluated by iSuN – the Institute of Sustainable Nutrition and
Food Production at the Mü ster University of Applied Sciences (MUAS)
 It’s funded by Deutsche Bundesstiftung Umwelt.
Savor us! analyses
o To what extent do current conditions cause food waste along
the food supply chain?
o Where exactly does food waste occur?
o Which are the alternatives for actors along the food supply
chain?
o How can food waste be reduced?
 Availability of data on food waste and food loss is still insufficient
in Germany, in particular on its causes and origins.
Goals
 Identifying and highlighting best-practices by selected companies
in selected areas;
 Motivating companies along the food supply chain to actively implement food waste reduction
measures;
 Creating an active network of various stakeholders;
 Reaching the consumer by targeted actions.
Food Waste Check
 Food waste measurement protocol for small to medium-sized companies along the food supply
chain, e.g. supermarkets, food suppliers, restaurants.
o developed by iSuN
 At least 30 companies are expected to take part in this food waste check in 2014 and 2015,
o presentation of an Award in fall 2015 to raise media attention.
 Criteria for Food Waste Check Award
o Transparency: Are waste numbers collected and published?
o Internal food waste reduction measures (logistics, etc.)
o Internal food waste awareness: Are employees educated and informed?
o External Measures: communication with suppliers and customers.
24
Session: Food Waste
Political demands towards the German Government
 How can regulations be changed to avoid unnecessary food waste, i.e. hygiene and liability
regulations?
 Need for a convincing strategy to systematically tackle food waste – in Germany and the EU
Public Events in 2015
 Public food waste event ‘Essensretterbankett’, 04. July 2015 in Berlin: Feed 5.000 people with
unwanted food
 Open-house events for the participating companies
 Presentation of the Awards in fall 2015 at ‘anuga 2015 ‘
Summary of discussion
 One of the main problems of food waste are large companies that only care for their own profit
and that are not addressed by the initiative. This, however, is due to a present lack of money
and will be changed in the next period.
 Another problem is a huge lack of transparency at all levels. Moreover, consumers are
alienated from the source of their food. Here, too, the UK is leading, as a lot of initiatives exist
along the food supply chain. Even if some of them might not change a lot, they are a step in the
right direction.
Valentin Thurn (Director of the multi-awarded documentary 'Taste The Waste', GER)
'Why we throw away half of our food, who is responsible and what we can do against it'
Why is so much food wasted, and what are possible ways to solve this
problem?

These questions were tackled by Valentin Thurn, German filmmaker and
author of several books and documentaries on food consumption and
waste.
Director of documentaries for
German and international TV
channels and cinema.
http://www.thurnfilm.de/
Food waste
 Food waste was a hidden topic before 2010.
 No studies in Germany and most other countries existed, except for Austria and UK
 Extremely emotional response by the public.
 “Taste the Waste” documentary
o Cinema discussions start at „best before date“ and end at hunger in the developing world.
o Spectators didn‘t feel helpless.
o Teachers find their pupils interested in topics such as hunger in Africa.
Scope
 Germany: 10 – 20 million tons of food waste per year;
 EU: 90 million tons, equalling 50 % of production.
 Consumers: 45 % of food waste.
 FAO: worldwide 1/3 of food is wasted.
 Developing countries: Food losses.
 Industrialized countries: Food waste.
 Greenhouse gases: Agriculture plus deforestation = 31% (ICCP)
 Food waste responsible for 10 % of climate change (Transport 12 %)
25
Session: Food Waste
Hospitality sector
 Germany: responsible for 17 % of all food waste (University Stuttgart)
 Differences are huge between large kitchen such as canteens:
o Food waste oscillates between 18 and 40 % (FH Münster)
 Larger quantities in Catering – juridical insecurity
o Large quantities being thrown away in catering services
o Due to legal obligation that prohibits further use of food once it has left the kitchen,
o It cannot be donated either.
 German food inspectors and Foodsharing
o Beiersdorf AG Hamburg: 3000 meals daily – Leftovers for 150 pax in average, mainly
donated to charities
o Association „United Against Waste“ offers consultancy.
o Aramark, Compass Group …
Solutions
 A political solution to the problem of food being wasted should be found
o creating new regulations and economic incentives for industries and businesses.
 United Kingdom: government has implemented a waste resources actions programme in 2007
already.
o Made consumers reduce their food waste by 20%,
o Involved food producing industries and supermarkets in the process.
 In a voluntary agreement, they reduced their food waste by 5% in one year.
o But food is still disposed in landfills.
 Such regulations could inspire solution towards a more sustainable handling of food.
Websites, clips and documentaries
 foodsharing.de
 myfoodsharing.at / ch
 UNEP: Eat, think, save. Short film „Waste“
 YouTube channel: youtube.com/foodwastetv
 Cinema documentary „10 billion“ (2015)
 Online platform: TasteofHeimat.de
 Even though there is a trend towards cheaper food, a counter-movement of consumers exist
who demand more transparency and who are more open to solutions for less waste.
 These solutions, however, have to include the whole production chain because of
interconnections.
 National policies must build on EU regulations that only give minimum standards, for example
in cases when it is more rational to throw food away.
26
Session: Food Waste
Nicole Klaski, foodsharing e.V., GER
'Foodsharing'
Foodsharing (www.foodsharing.de) is an internet platform for consumers
who can use it for giving away their leftover food.
Nicole Klaski, born at the gates of
Cologne, Germany, owns a Degree
of Human Rights. She worked in a
local NGO in Kathmandu (Nepal)
and is engaged in the foodsharig
movement by actively saving food.
http://foodsharing.de/
Activities
 Active since 2012, the platform seems to have exploded over the last
year.
 It now registers 50,000 active users who tackle food waste in their
own households.
 Foodsharing was crowd funded in the beginning, but now it is able to finance itself.
 On a parallel platform, www.lebensmittelretten.de, people can join groups in their cities that
contact local supermarkets, pick up the leftovers from sale and distribute them for free in socalled “Fair-Teiler”.
 Foodsavers, as they are called, do not compete with food banks but rather complement them.
 In Germany, there are now around 7,500 foodsavers cooperating with more than 1,000
companies.

Festivals
 Foodsharing is also active at various festivals in Germany.
 Food sharing stations for visitors on festivals have been installed in 2014, to reduce food left on
the campsite, but also in backstage catering.
 The food collected was given to organisations or local foodsharing groups.
 The concept was approved, and more festivals will cooperative in 2015.
Mikkel Sander, Roskilde Festival, DK
‘Stop Wasting Food'
Mikkel Sander is responsible for Roskilde Festival's food and beverage
strategy.


He highlights what a huge festival like Roskilde can do to reduce food
waste produced by its various food stalls.
He worked together with 75 volunteers from the initiative
Mikkel Sander is a food
fighter. He organizes and
manages food-related
projects, with sustainability
and volunteers as a key
focus.
http://www.roskildefestival.dk/

27,5 tons of surplus food were recovered during Roskilde Festival 2014
and given to charities

The ‘Stop Wasting Food movement’ grew from a small Facebook group to the United Nations
and has by now more than 23,000 members.
‘Stop Wasting Food (Stop Spild Af Mad) is Denmark's largest non-profit consumer movement
against food waste

27
Session: Food Waste






It mobilized Danish retailers, industry, foodservice, consumers and top politicians to fight food
waste.
It organized educational campaigns for schools, the prize-winning Leftovers Cookbook,
campaigns, events, surveys,
Massive national and international media coverage: Stop Wasting Food is featured in
Denmark, USA, China, Taiwan, Brazil, France, UK, Italy, Canada, etc
‘Stop Wasting Food’ has introduced free doggy bags in Danish restaurants with Unilever Food
Solutions - and launched a REFOOD label for restaurants
Massive surplus food recovery events – helping thousands of homeless people
United Against Food Waste national and international events – feeding 6,000 people in
Copenhagen City Hall Square at just one event
 This project did not take place merely at the end but also during the festival.
 It required quite some preparation, for example, developing new recipes for leftover and
unprepared food.
 The project basically was made possible by a change in legal regulations.
 It was financed by Roskilde festival that
o got media attention,
o but also saved money by less disposal,
o made such a project attractive for other organisers in the event sector.
Links
http://www.stopspildafmad.dk
www.surplusfood.net: Surplus Food - new epic national and international food donation system www.unitedagainstfoodwaste.com
Food waste news clips (in Danish):
https://www.youtube.com/watch?v=WFLla4NM0ts (Stop Spild af mad på Roskilde 2014)
http://www.tv2lorry.dk/arkiv/2014/7/6?video_id=92858 (Report on cooperation between Roskilde
Festival and ‚Stop Wasting Food’)
28
Session: The attitude-behaviour gap
Host: Teresa Moore (Bucks New University, UK)
Is there a gap between attitudes and behaviour of individual persons like
organizers, visitors or even service providers? Reasons, effects and
potentials seen from a scientific and psychological perspective




Teresa Moore (Bucks New University, UK, host)
Laura van de Voort (Extrema / Green Events Nederland, NL)
Sophia Becker (University of Stuttgart, GER)
Dunja Karabaic (bureau gruen, GER)
Teresa Moore is Head of
Department at Bucking-hamshire
Teresa Moore (Bucks New University, UK, host)




Teresa stressed that they are a small number of people still. So how do they move from being
just a bunch of people to those who are engaged and make inroads?
Attitudinal surveys have been made since 2007, and the key control questions are of
importance.
Statistics showed that the audience did think there was an impact on the environment.
So they are aware, but their behaviour does not support this:
o 62% said they had left their tent behind at a festival.
What people think and what they do are very often two separate things.
So the question is: can we close the attitude-behaviour-gap and how?
Leaping is too hard: Change behaviour!







On a macro scale with climate change we can see scare tactics at work.
And we can see that scaring people doesn't actually work!
It does not actually change behaviour, the politics of fear just serve to keep the status quo.
Also, too much data in a promotional campaign scares people or puts them off.
Paris imposes car ban after air pollution hits record high.
This does not seem sufficient. Is lobbying too strong to change laws?
Events people want to see people as driving force by principle.
What motivates behaviour?
 Example: Comparison to other people
o Case study US
 A small town wants to reduce towns’ average consumption usage of electricity in
cooperation with utility company
 Information: Your consumption versus town’s average consumption versus lowest
overall consumption.
 Effect over time:
 those who were using the most came down,
 least went up
 overall movement to average
 A motivational theory & reward system is needed.
o Simple,
o ‚well done‘
o sufficient to spur people on.
Recognise what people do, comment on that.
29
Laura van de Voort (Extrema / Green Events Nederland, NL)
Laura reports about Solar Weekend, a 5-day festival in August in
Limburg/NL.
Interactive entertainment
 make visitors aware of the waste problem and make it fun; examples
o handing bottles back,
o goose parade to raise attention for the garbage truck
o collecting waste.
Laura van de Voort is cofounder of 'Green Events
Nederland', the Dutch platform
for making events and festivals
more sustainable.
http://www.greeneventsnederla
nd.nl
Survey on visitors handing back their garbage
 Incentive 2010 to 2012: €5 deposit
o 6-7% of visitors handed their garbage back
 Incentive 2013: €5 discount on ticket + passport visum
o The percentage rises to 11.5%.
 Incentive 2014: €5 discount on ticket + passport visum
o Percentage falls to 4%!
 When being asked, only 74% of visitors know about the garbage bags, even thought 99%
receive one.
 84% know about the discount.
When asked about their recycling people answered:




NO!  26% :
NO, it’s not easy not to leave garbage  21%:
YES, less than possible  45% :
YES, of course!  2%:

While 47% do not leave camping gear behind, 53% do!
30
Sophia Becker (University of Stuttgart, GER)
'Psychological Perspectives on Sustainable Attitudes and Behaviour'
What is an attitude? What is behaviour?
 Attitude: A psychological tendency that is expressed by evaluating a
particular object with some degree of favour/disfavour (Eagly & Chaiken,
1993)


Example:
o Pro-environmental attitude (abstract): It is important to protect the
environmentBehaviour: Visible action of a person
Example:
o Eating vegan/ vegetarian (context-specific)
Differences between attitude and behaviour raise the tension between
behavioural consistency and cognitive dissonance.
o Increasing cognitive dissonance means that people feel bad
 But that does not work!
o Reducing cognitive dissonance means aligning attitude and
behaviour by changing either of them.
Sophia Becker studied psychology
at the University of Münster (GER)
and the René Descartes University
in Paris. She is now preparing her
PhD in the field of environmental
sociology at the Stuttgart Research
Center for Interdisciplinary Risk and
Innovation Studies, University of
Stuttgart.
http://zirius.eu/staff_e/sophiabecker
.htm
http://www.energytrans.de/english/index.php
The Comprehensive Action Determination Model

(Klöckner & Blöbaum 2010, modified by S. Becker)
models how normative, habitual, and intentional, processes interact with situational influences
and cause ecological behaviour.
Nudges


(Thaler & Sunstein, 2011)
smooth pushes
important for decision situations with low attention
How to design choice architectures including nudges?
 Place and order of dishes in a canteen
 Sustainable choice
o should be the easy choice
o gets the default option or social norm
31
Choice architectures
 Defaults: define what happens if the individual does not make an intentional
choice
(Reisch & Sunstein 2013)


Examples
o Print both sides as standard, default for copy machines
o Soy milk as default for latte macchiato or cappucino
Opt-out/opt-in
Examples
o Print on 1 side
o Pay extra fee for cows milk
The menu (no default):
Pls. indicate if you are
o carnivore,
o vegetarian,
o vegan
Spill-over effects
 Positive
o one pro-environmental action leads to another one (recycling, cycling etc.)
 Negative
o one pro-environmental action allows me to pollute more in another field
 process of moral licensing: „I‘ve done my fair share“
 rebound effects
Modell of Positive Spill-over (Thogersen 2013)
Conclusion
 Design choice architectures carefully
 Make sustainable choice an easy choice
 Enable individual to opting out
 Frame sustainable choices as green choices
 Reinforce green identity
o Foster green community feeling (part of good/ inspiring movement)
o Incite spill-over effects
32
Dunja Karabaic (bureau gruen, GER)
' The project "Veedelfunker" – How can we minimize the attitude-behaviour
gap? '
Dunja Karabaic founded "bureau gruen" whose main objective is to promote
and highlight the creative side of sustainability.
Dunja Karabaic founded
"bureau gruen". She is on the
board of Association of
Sustainable Businesses,
"dasselbe in grün" and the
sustainable lifestyle trade fair
"ecostyle".
http://www.bureaugruen.de/
Sustainability through neighbourhood.
 ‘Veedelfunker’ – the magazine – is a project that aims at promoting and
developing sustainability by activating the neighbourhood in Ehrenfeld a
residential district of Cologne (www.veedelfunker.de/).
 The Magazine has been published 12 times since September 2013 and
reports about how people behave in an eco-friendly way in this ‘Veedel’, yet avoiding the term
sustainability.
 The goal is to make people get to know their neighbours as well as acting in a good way and copying
other peoples’ good behaviour.
 Each issue is on a special topic, touches wider/global issues (think global, act local), addresses kids,
crosswords…
 In parallel, monthly happenings, flashmobs and other events are organized and announced.
o ‘Veedelfunker’ issues
1. Intercultural communication: “Ehrenfeld verbindet”
2. Renewable energies: “Ehrenfeld steigt um”
3. Sharing economy: “Ehrenfeld schenkt”
 Veedelfunker is funded by DBU- Deutsche Bundesstiftung Umwelt
(www.dbu.de/)
Responsibility through neighbourhood.
 When identifying with your neighbourhood you will automatically feel
responsible for your environment.
4. Sustainable consumption: “Ehrenfeld kauft ein”
5. The resource water: “Ehrenfeld wäscht”
Sustainability through action
 It’s not the information that is most important but the action and having fun.
 Why not gaining knowledge by acting or imitating people's good behaviour?
6. Valuable waste: “Ehrenfeld räumt auf”
7. Green fashion: “Ehrenfeld kleidet sich”
Sustainability through identification
 The project is aiming at establishing the identification of the Ehrenfeld citizens
with their district, e.g. as a green district and by communicating on equal
terms.
8. Urban gardening: “Ehrenfeld pflanzt”
9. Alternative mobility: “Ehrenfeld bewegt sich”
10. Upcycling and DIY (Do it yourself) : “Ehrenfeld wohnt”
33
Sustainability through simple-mindedness
 The gap between attitude and behaviour is shrinking because most of the
people do not necessarily think about what kind of attitude they have.
 You automatically feel responsible for the place you live in if you like it.
11. Downshifting: “Ehrenfeld entspannt”
12. Organic food: “Ehrenfeld kocht”
Sustainability through multiplication
 To spread these ideas the organizers will present their project in ten
German cities between January and March 2015.
 There will be a manual as a guideline for work in other cities.
 A survey is planned to quantify the social impact.
Summary of discussion:
 Connect pro-environmental feeling to identification with local area. That creates a positive identity
 Setting the scene influences behaviour: ‚broken window theory‘
o Love Your Tent campaign: Put the festival and the LYT logo on tent for each festival
 Place value on things: Such initiatives create an added value on these things.
o Shambala: stamped water bottles were issued (normal bottles outlawed) which were taken home
as a souvenir
o Try different kinds of values/rewards
 Monetary reward does not work except if being quite high.
 Symbolic value communicates uniqueness, expresses something about yourself, represents
an emotional value
 Giving people access to area with cheaper drinks
 Reduce big problems and scale them down into something people can comprehend
o Create small solutions for individual spaces and sustainable city development
 How to create community? Mechanisms & tools
o Create identity with district/neighbourhood
o Festivals: social pressure on behaviour by other festivalgoers.
o Remove anonymity
o Provide collective rewards (for CO2-footprint reduction)
o Give people the possibility for self-discovery by emotional, spiritual and social experience
 Community kitchens
 Mysteryland: community hours, social impact (www.mysteryland.us/en/)
 The Bloom Series: Documentary on transformational festivals (http://thebloomseries.com/)
 Communicate with volunteer group, make people feel good
 Quantify results linked to group behaviour, make them public!
o Watch spin-off behaviours in groups (burning tents, flares in crowds..)
 On the terms sustainability, environment
o It has no substance and should not be stressed, even not named
o Festivals are about taste, quality, and fun not environmental
o Sustainability as big brand: Re-claim the word
o Sustainable intentions do not need to be named
 Messaging: research is needed on how people react to different types of messaging..
Five things to bear in mind:
 Make it compelling to group
 Consistency across group
 Design the behaviours to be public
 Be sure to link the behaviours to the group
 Keep an eye on social eddy currents
34
Session: Mobility Session
Host: Martijn Hulshof (MovendiuM, NL)
The largest source of emissions at events is audience travel and transport. Smart solutions, also in
internal production logistics and transport management, enable immense improvements in the
environmental impact of an event.




Martijn Hulshof (MovendiuM, NL, host)
Helen Schepers (KonzertKultour, GER)
Christof Hertel (Evangelischer Kirchentag, GER)
Michael Schramek (EcoLibro, GER)
Martin Hulshof (MovendiuM, NL, host)
’Smart Mobility Management’
Martijn Hulshof is founder of MovendiuM – Smart Mobility Management, a
company that helps all kinds of events to make the traffic to, from and on their
festivals, parades, running & cycling events smart and green.
 Crowd management is equivalent to traffic management
 To explain his approach he shows a video clip of his collaboration with
OpenAir Sankt Gallen Festival in Switzerland.
Festival traffic expert and founder
of MovendiuM smart & green
mobility management.
http://movendium.com/
Traffic plan/road signs
 Carefully planning the traffic before and after the event is essential.
 Using navigation signs instead of a navigation system might be necessary and more efficient.
Emissions/fuel use
 Traffic jams are generally characteristic when people go to and lave events.
 Take emissions into account!
o Fuel use l/100km
 Traffic Jam (20km/h)
 Car: 11.1, Bus: 50.0
 Traffic Flow (80km/h)
 Car: 6.67, Bus: 25.0
 Capacity of a bus is about 30 times higher than that of a car!
o Bus emissions are lower.
o Busses need much less parking space than 30 cars!
Kiss & Ride
 Have people drop their cars quite away from the festival site.
o Pick a different area.
o Use shuttle busses to the event site if
possible.
o Count vehicles on inflow.
o Calculate capacity for outflow given the inflow.
o Account for different drivers’ behaviour.
Smart parking
 If a person guides parking cars
o 334 cars fit on a football field
o 110 more than without a guide!
Introducing planning, coordination & instruction
 makes your event
o more efficient and sustainable
 lowers costs and increases profit,
 reduces carbon footprint.
35
Discussion
Bikes are not taken into consideration by Martijn’s concept. In planning mobility, more emphasis
should be put on bikes.
Helen Schepers (KonzertKultour, GER)
Helen Schepers is one of the founders of FahrradGarderobe like a wardrobe
for bikes instead of jackets.
 More and more events focus on sustainable mobility solutions for their
audience.
 Together with festival and event producers FahrradGarderobe creates and
offers flexible safe solutions for bicycle parking.
 If people can be sure that their bikes are not stolen they will likely be willing
to ride their own bike to the event.
Helen founded KonzertKultour &
FahrradGarderobe and is
responsible for sustainability
management and the operational
business.
http://fahrradgarderobe.de/about/ko
nzertkultour/
FahrradGarderobe
 Mobile module-based solution for bikers at large events.
 Offers sheltered, safe, guarded and insured bike parking
 Advantages
o Avoid blocking escape routes.
o Saves lots of parking space.
o Reduce CO2-emissions
 E.g. Immergut festival 2012: 80kg CO2; Dockville: 1,267kg CO2.
Bike Rentals
 not only rent bikes.
o In addition, they organize tours.
o They emotionalize the relationship to the bike by giving them names.
Bike rental & bike valet
 Network of sustainable services
 Emphasize sustainability in a positive way
Riding bicycls is more than saving tons of CO2-emissions.
 It’s fun, it’s healthy, it’s community building, it’s a symbol of freedom and it’s a statement about
one’s attitude.
Examples
o Hurricane bicycle club together with Viva con Agua de Sankt Pauli
 5000 people joined.
 Members of the club could park their bikes free of charge in FahrradGarderobe
 others could also by paying a small fee
 FahrradGarderobe organized a 70 km bike tour from Hamburg & Bremen to Hurricane in
Scheeßel.
o ‘Müssen alle mit-Festival’ BikeTour (40km) from Hamburg to Stade
36
Discussion
Q: What are the costs?
A: About 2 Euro/day. It’s a mixed calculation, however. Usually the organizers pay the fee but also
sponsors support FahrradGarderobe.
Q: Do bicycle guests have privileges?
A: Yes, that is very important. They have good places for their tents. They save money at different
occasions, like at Bike Tours or at primary spots.
Christof Hertel (Deutscher Evangelischer Kirchentag, GER)
‘Cycle Logistics at Big Events – The German Protestant Churchday, Hamburg 2013’
What is Kirchentag?
 The German Protestant Churchday is an Event that tasks place every
second year
o > 100,000 participants, 40,000 one-day participants
o 2,000 single events, 800 concerts/gigs, 50 Program groups
o 50,000 volunteers
o Bike-friendly
Motivation for Environmental Action
 The German Protestant Churchday wants to be the environmental
friendliest big event in Germany.
o “Testfield” for environmental innovations
 e.g climate- efficient catering.
o EMAS-certified by Ecocontrolling
o 80% bus and train modal split share in trips to the churchday
o 98% usage of recycled-paper
Christof Hertel develops
and manages environmental
projects for the German
Protestant Kirchentag, a
biannual five day church
gathering and a leading event
when it comes to green
measures.
www.kirchentag.de/umwelt
General Cargo-Logistics of the Churchday
 Waste-reduction through good calculations and reuse of material every two years.
o 20 truckloads event material
o 12 truckloads office equipment are relocated every two years
o Volunteer-catering, stage and exhibition stand construction,
o Rental furniture  direct-delivery or service provider
o Everything else is distributed through central own warehouse and own distribution service
o Rental motorised fleet of trucks, vans and cars (>100)
o 15 Cargo bikes and 30 bike messengers
“Emission-free logistics at big events”
(Emissionsfreie Logistik bei Großveranstaltungen)
 Funded by German Federal Transport Ministry (BMVBS)
 National Cycle Plan (Nationaler Radverkehrsplan)
 15 Cargo-Cycles close the gap between cars and bikes to raise efficiency
 Five operational areas to test Cargo Cycles
How are cargo bikes integrated into the mobility system?
Areas of cycle logistics
 Promotion
 Courier/messenger
 Catering
 Warehouse Deliveries: easy to go with the bike inside and load off
 Bike Angel: helps to fix bikes
 Exhibition
37
Results:
 498 documented trips for bike or cargobikes
 > 3,366 km travelled
 > 4,000 automobile km saved given a detour-factor of 1,2
 Motorised traffic cannot be substituted.
Preliminary Conclusions
 Size of necessary transport volume is often overestimated.
 Cycle logistics can substitute motorised transport and movements within event organisation.
 Transport quality can even be higher (e.g. service to backstage areas)
 Need for motorised transport with trucks and vans remains.
 Cargo transport can be easier shifted than transport of people (e.g. by rickshaws).
 The bike angel is a real benefit for the whole event
 Cost saving, if less cars are rented!
 Cargo bikes are environmental and visitor friendly.
Links
 Material,

manual,
results
of
Conference
on
Cargo
Bikes
2013,
www.kirchentag.de/no_cache/ueber_uns/umweltengagement/projekte.html?sword_list[]=fahrrad
Documentary “Lastenräder im Einsatz -- Emissionsfreie Logistik
https://www.youtube.com/watch?v=fH0-ilgRneQ&feature=youtu.be
beim
etc.
Kirchentag”
www.youtube.com/watch?v=fH0-ilgRneQ
Speaker: Michael Schramek (EcoLibro, GER)
’Concepts for sustainable arrivals and catering for events’
Michael Schramek is management partner of EcoLibro, a company that
consults companies and organizations about sustainable mobility.
 EcoLibro pursues a holistic view
 Providing intelligent mobility
o combining resource efficiency with environmental perspectives
o considering full costs, attractiveness and environmental impact.
 Employee perspectives are considered, too.
Regional and Federal Scout Camps (VCP),
 Michael Schramek focuses on VCPs, which have been organized in
Germany at different places since 1994.
 The number of participants from up to 20 nations increased steadily to
4,000 in 2014.
As managing partner Michael
Schramek focuses on customer
relationship management and
business development as well as
building and expanding the large
network of specialists..
www.ecolibro.de
Mobility
 In 2008, VCP aimed at organizing participant arrival and departure as well as catering as
sustainable as possible.
o They negotiated for special trains with German Rail (Deutsche Bahn).
o Also special bus lines were offered.
 Today
o participants are offered the reduced-price eco-friendly Event-Ticket by DB
o Maybe Intercity Busses will be used in the future.
 All material was transported by trucks, no private cars were used.

Transferring the experiences of the scout camps to other events
o UPS or DHL could send the material
o All participants arrive via bus, train or by carpools.
38
Catering
Supply
 Grocery shopping,
o Reduces packaging and waste
o Lowers prices compared to wholesale.
 Small producers were preferred over industrial producers.
o Buy regional, seasonal, organic, less meat.
 Each group of scouts was responsible for
o bringing the vegetables in
o green foldable boxes
o filled twice a day.
 Other ingredients for the meals were bought in bulk containers.
Cooking
 Use of software program
o Software master data: - recipes, ingredients, suppliers, group sizes
o Software Output: orders, delivery notes, packing lists, cookbooks
 Supporting regional producers, social aspect
o One woman produced the pasta for seven months.
o Thereby she started her start up.
o Several women cooked the marmalade
o They started one year before the event to use fruits of all the year
Edutainment
 Visiting producers and harvesting operations
How to support sustainable mobility?
Information on your homepage:
 Which transport is best to get to the event.
o Describe the fastest modes of transport by using a tool from
mobility consulting practice
o Dynamic journey description by e.g. cost-free routeRANK widget
for event homepages
o Rank mobility types
 Criteria: costs, CO2-emissions, time
o Travel together and save: Dynamic online Car Pooling Portal
 Install pooling software on your homepage, e.g. Match Rider
 Taxi sharing software, e.g. BetterTaxi
“All the forces in the world are not as powerful as an idea whose time has come” Victor Hugo.
Start now!
Discussion:
When only using public transportation it can be very crowdy after a big event. Therefore, public
transport may not always be a good solution.
39
Session: The Elephant Round – Let’s talk about responsibility
Host: Holger Jan Schmidt (GreenEvents Europe / Sounds for Nature, GER) & Sebastian Fleiter (The
Electric Hotel, Ger)
Do fans want a modest artist? Should a promoter promote political messages? Can agents prefer
ecological solutions over economical ones? We want to discuss the
influence of the players in the game. Responsibility, conscience,
sustainability. Who's job is it? The "heavywheights" onstage will try to find
out and carry over the discussion to the audience.
Participants
 Holger Jan Schmidt (GreenEvents Europe / Sounds For Nature,
GER, host) and Sebastian (The Electric Hotel, GER, host)
 Jacob Bilabel via Skype Conference (Green Music Initiative, GER)
 Ruud Berends (Eurosonic Noorderslag, NL)
 Fruzsina Szép, (Yourope & Berlin Festival, HUN / GER)
Holger Jan Schmidt is Co-founder of
Foundation e.V.
www.soundsfornature.eu/,
www.go-group.org/
‘Let’s talk about responsibility’
Panelists’ motivations
After having introduced the panelists Holger Jan Schmidt started asking
them why they have entered the events industry and what has been the
purpose when entering?
 Motives to enter
o Even though the particular motives where quite different, they either
were fascinated by music or wanted to do something for the
environment.
 Purpose when entering
o Festivals can generate a rather big outreach into the minds of
people. If sustainability can be added to the feeling of peace and
happyness festivalgoers can really take home a lot.
o Music and music industry became job, life, love and/or passion.
What are penelists doing now and is it different from what they had thought
to do when entering the business?
 Some had no masterplan, things happen as they happen.
 Jacob stopped asking the “why?” question and is now trying to
understand things. Understanding is growing over countries, which
gives him a far more optimistic feeling now than before.
 Fruzsina is happy with her job as her work is her passion.
What was the first decision related to sustainability?
 Sometimes a wrong decision makes you aware of the importance of
sustainability, e.g. w.r.t. saving energy.
 Realizing how much waste was left behind after a festival, made it
obvious, that festival organizers can influence the young generation to
change behavior.
Sebastian studied fine arts and
visual communication. He has
received various international
awards for his unique approach of
putting fun into energy generation.
Since 2011, he is touring the
festival scene with his mobile
utopian project THE ELECTRIC
HOTEL.
http://www.the-electric-hotel.com/
http://stromodrom.de/
Jacob Bilabel is Founder of the Green
Music Initiative, which provides a
platform for the music and
entertainment industry to coordinate
projects in the fight against climate
change.
http://www.greenmusicinitiative.de/
When do panelists take unsustainable decisions?
 Mainly for economic reasons and because of time pressure, e.g. taking the plane instead of a
train.
Responsibility in the live music and event industry
Who is responible for sustainability in the music and event industry?
 People are living like on different islands. They have to collaborate to organize tours and
events (internationally) but everybody thinks along his own lines, his own interest.
40


Responsibility is a matter of time.
o We have to take responsibility now: even though In 10 years, our
decision today may prove wrong.
Who is responsible for what in a multi-stage process is not easy to
decide.
o Is the artist responsible?
o He/she hires the management. It’s very modular in the end.
o With festivals it is much easier to influence the different layers.
If we hold the artist responsible, is that a realistic option that we want? If
not, does that mean that nobody takes the responsibility?
 Assigning responsibility in general is a weird thing.
o First of all, you yourself have to be aware of what you are doing at
the moment.
o Most important is to understand what you could do.
o Responsibility does not mean to do everything right, and if you can’t
do that, you don’t care about sustainability any more.
o It’s something in between.
o Do small tiny steps. That’s the real responsibility you have.
o Understand your role! Understand your leverage!
 In the industry, not many people have this feeling of responsibility.
o Only very few people seem to be aware of the problem.
o Many people may be disappointed that there are only small things
to achieve if at all.
o However, the responsibility issue is moving on from the mere point
of conversation!

What can we do now?
 We are not perfect from the beginning and we can’t do it all at once.
o The responsibility of the single parts of the industry is to
 include sustainability into the conversation
 think about what kind of solutions we can find now for our part of
the industry.
Artists seem to be very aware of the problem but fear green washing.
 Example: The requirement of a headliner for electricity was so large
that they had to be taken on generators and off the grid.
o In an interview the artists recommended green power, eco power!
o The interviewer and the artists did not know about their special case
w.r.t. power.
o The decision on the required amount of power was obviously taken
by someone completely different.
 The artists obviously did not know what the production needed.
As a European agent Ruud worked
for and with a great many of artists
and bands like Nirvana, Soul
Asylum, Buffalo Tom, Motorpsycho,
The Wipers. In 2001 Ruud founded
his own company 'Networking Music',
a one-stop shop for the international
(live) music industry.
Fruzsina Szép is the festival
director of the Berlin Festival. She
was the program & artistic director
of Sziget Festival (H) between
2009-2014
http://www.berlinfestival.de/
Chiara joined Julie's Bicycle in
October 2012 to engage arts
organisations and practitioners in
embedding environmental
sustainability in their activities
Working on initiatives including EE
MUSIC and Powerful Thinking, she
is reaching out to help harness the
sector's collective power in
effecting change.
http://www.juliesbicycle.com/
Should they?
 Yes. It is their responsibility to know everything about production etc.
o The industry has to know where the money goes.
o If someone else takes the decision they always can say ‘we didn't know’.
Do the wrong people take the decisions?
 Many people back off from decisions because they feel ‘it’s not my responsibility’
o People down in the hierarchy have to be backed up by people on the top w.r.t. sustainability
decisions.
41



Sustainability obviously was not a target of production in the above example.
o Production managers were not included in the information process.
To overcome specialization in the industry and raise awareness
o make it an issue of next GreenEvents Europe Conference
o invite suppliers to the next GEE Conference.
It’s important to make sustainability as important as the music program
o Certain festivals can work together in order to achieve this.
 If you find one person to start others will follow. It’s a slow process but worth doing.
o Involve the people from the other parts of the music industry.
How to solve the problem?
 A mandatory framework is needed.
o As a mandatory framework for security, for instance, exists, legislative regulations towards
sustainability issues may be implemented as well.
o The EU has clear targets to be reached. Why should the music industry be out of the
discussion?
o The music industry is not well enough organized to counter the respective EU lobbies.
o It seems that w.r.t. sustainability a serious incident is lacking like in the safety issue.
 That’s not correct, because incidents are there already and are affecting the industry.
 Festivals were affected by strong winds (stages, tour busses), they have been
cancelled and delayed.
 But the industry thinks ‘it is not our problem. If others don't change why should we?’
What can be done?
 Fight the above wrong attitude.
o Communicate what is done already.
o The more sustainability is made an issue the
more people are infected by ‘a positive virus’.
o As to lobby EU: You have to repeat it over and
over again, even if getting an influence in EU is
hard.
o Use every possibility to address this issue in the
public, the more often the better.
 Pls. do not give up! We need all of you!
o Feeling responsible for sustainability is just not
on the minds of those active in the life music
business (including tours and concerts in arenas
etc.)
o It’s not arrogance; it’s just not perceived as to be in an agant’s responsibility.
 It is not what an agent does.
o If EU would initiate a law then something may change.
 But mostly because of an economic incentive.
o Maximizing the profit is the main goal. The one offering a higher profit wins the competition!

A regulatory framework is needed that sets the right incentives and puts consequences on
structures unwilling to change for the better.
o The targets of the EU are clearly set as to CO2 emission.
o Fewer festivals would result but with clear benchmarks that are greener.

What about sustainability labels for festivals? Could that assess clear benchmarks?
o Opinion 1:
 The change will be too slow because labels are discussed for years now and nothing
substantial has changed.
 Labels are useful. But without any mandatory framework that makes them work nothing
will happen.
42
o Opinion 2:
 Labels like a Greener Festival do help communicate a festival’s missions.
 Labels are not the best example for voluntary actions that are not working.

Information and communication
o A legislatory framework is absolutely necessary. But that's not enough.
o All the accessible information in the industry about good sustainable practice and problem
solutions has to be put together and communicated.
 That's the first step in particular because there is no legislation. One has to work in the
reality one has.
o In EU there is quite a lot of information out there on how to run a sustainable festival
(Sounds for Nature Guidelines, A Greener Festival, Yourope)
 But many festival promoters don't see the need to use this info because they don't think
they have to.
 Their responsibility seems to have bigger acts instead of making their festival
greener. Although they could work on both issues.
o Sustainability is a very complex, dynamic constantly changing system
 Nobody (no single person) really knows what is right or wrong because there is no right
or wrong.
 What might be right for one festival w.r.t bio-degradable cups might be wrong for
another festival because of the different location.
 There are different solutions for the same problem.
 Therefore
 collect the relevant information,
 spread the information by gathering people like in this conference!
 Do not come up with ultimate answers “yes or no”.
 It will be a constantly on-going process for many more years.

Support and encourgement of the leaders in the process towards sustainability
o The present conferece is the forum where all interested people can inspire each other and
go on with this fight or mission creating a sustainable world.
 It’s important that festivals encourage each other.
 Some of conference participants have been here for some years now and experience
the bad feeling when things are not lifting off.
 Not all has changed but we are getting closer, things are going into the right direction.
 Festivals all over Europe are working on the green issue.
 Hopefully we can use conferences like this to share our experiences.
o Sustainability is becoming important on a high political level, e.g. also in EU, in
municipalities and cities even though slow.
 When countries like Denmark have to go on renewable energy a lot of other institutions
will work with this subject. That will make it easier for the festivals and others to promote
sustainability.
o Economic arguments are most important in some parts of the festival/event organisation.
 But luckily economic efficiency is one area where people can reduce costs.
o We make and made steps in the right direction and not all went the wrong way.
o Festivals are the leaders in the movement towards sustainability and a lot has been
achieved already. Things are so much better than 10 years ago.
o It would have been great if the other sectors of the live music industry had been inspired
more by what the festivals did.
 All sectors of the live music industry should be involved in the sustainability issue.
o For the last years many of the conference participants working with sustainability learned
that this topic is worth working on for many more years.
o And there are many people who are worth fighting with for this goal.
43
Holger ended the session by coming back to GreenEvents’ 2014 motto:
“Of course, I care for the future. I intend to spend the rest of my life there” (Mark Twain).
Since he would like to live in the future, his children hopefully will live in the future and everybody
else’s as well, it is worthwhile fighting for sustainability and a better world in the future.
44
Session: Social Impact
Host: Claire O’Neill (A Greener Festival / AIF, UK)
Potential and actual impact of events or the events industry on society. How
to take responsibility for the public welfare beyond the actual business
sense?
Participants
 Claire O'Neill (A Greener Festival / AIF, UK, host)
 Vladimir Vodalov (EXIT Festival, SER)
 Nienke Bassle (10.000 hours / ID&T, NL)
Claire is the Senior Manager of the
Association of Independent
Festivals and Co Founder &
Director of A Greener Festival.
http://aiforg.com/,
http://www.agreenerfestival.com/,
http://www.erialc.co.uk/
Vladimir Vodalov (EXIT Festival, SER)
‘R U Ready4 The Future!’
Vladimir Vodalov is Executive Manager of AAA Production d.o.o. in charge
of EXIT Festival program and production. EXIT is located in Novi Sad,
northern Serbia. The city has 350,000 thousand inhabitants and is the
second largest city in Serbia. The festival ground is located in Petrovaradin
Fortress – a historical, architectural, artistic and touristic jewel.
How EXIT started
is Executive Manager of
 EXIT started as a student movement fighting for peace and democracy Vladimir
AAA Production d.o.o., an event,
In Serbia and the Balkans. Even today EXIT has a strong social mission booking and promotion company
from Novi Sad, Serbia. AAA
and is run by a non-profit organisation.
Production is the production
 EXIT festival features its 15th anniversary in 2014. 15 ago Vladimir company in charge of Exit Festival
couldn’t have imagined that the EXIT festival would become that big as it
program and production.
http://www.exitfest.org/sr
is now (185,000 in 2014).
 When EXIT started, chances emerged for lots of young people to exit
their problems.
 That doesn’t mean to run away from them but there’s a place beyond the rainbow to visit –
topics like rebellion against the Milosevic regime were highly relevant then.
 The first festival – located near the students’ campus – lasted for 100 days showing illegal
movies, having various parties and altogether gave place for political rebellion.
 The final event was the “get out to vote”-party that took place one day before the elections
deciding about Milosevic’s loss of power.
 In 2001, after the elections, the new government offered to collaborate with the organizers –
the result was the first real festival.
 Since then, the organizers aimed at being as professional as possible like in other countries,
tried to grow, get good acts.
 An important goal, however, was giving people hope of freedom. The topic of responsibility
came later.
 Many small festivals tried to copy EXIT over the years, but most of them didn’t survive.
Are you ready for the future?
 2002: EXIT installed a banner on the fort saying “Serbia,
are you ready for the future?”
 2003: The “STATE of EXIT” was proclaimed: a state for
those who share valu es, environmental awareness and
tolerance and are open to different cultures (e.g. artists from
Croatia) wanting to make the world around them a better
place
o Festival flyers were printed as passports.
o Nearly 15-20.000 tickets were sold.
45




o Since 2003 EXIT’s motto is “R U Ready4 The Future” highlighting the power of young
people that can and will have an impact to change the world
o A whole city is sustainable, thinking about the future, making new grounds.
o They communicate the message “If you want to do something do it yourself”!
2004: To raise awareness of trafficking and sexual exploitation in the region MTV Europe
foundation partnered with EXIT producers, anti-trafficking organizations and local media.
o About 20.000 information booklets were distributed on EXIT and workshops were organized
with journalists, police, activists and people from culture and politics.
o MTV produced a one-hour documentary about EXIT including these issues.
o BY broadcasting the documentary in 20 European countries it had a huge impact.
2005: The “free your mind-stage” sponsored by TV gave space to discuss topics like gender
issues, economic pressures etc..
2006: EXIT focused on the visa abolishment campaign.
o To increase awareness about unemployment issues MTV hosted the free your mind-stage
with a huge campaign.
2007: Focus was the movement campaign to increase tolerance and respecting diversity.
o MTV & EXIT were even supported by the UN.
At some point, however, people were drowning in information and forgot everything in the
end!
 Organizers learned from that mistake!

2014: “Serbia, Bosnia, Croatia need your help” was the slogan, a
huge campaign to support people who had suffered from the
floods in the area.
o EXIT Foundation donated goods worth over 30.000€.
o EXIT’s sponsor VODAVODA donated 100.000 litres of clean
bottled water.
o Moreover, 140,000€ SDF were raised.
o Artists and partners supported the campaign.
o Only 60 to 70 volunteers were needed for organization.
Today, all cameras and spotlights in Serbia are turned to EXIT when
it’s happening.
 Social networks create in an even higher impact.
You need to be socially responsible!
 Challenge: how to communicate this massage without being boring
o “Be cool, but also recycle”!
Awards
 2007: UK Festival Award for Best O Festival
 2013: European Festival Award for Best Major European Festival
Discussion
Q: What about you guys when organizing the event?
A: We were three guys, one generation, and in the beginning it was dangerous. 2003 there were
also changes, one year before our minister was shot. Then the two main guys were arrested. One
was in prison for one month, which is the maximum time someone can be arrested without charge.
As a reaction, EXIT organizers built the biggest stage of the festival opposite to the court. Many
upcoming bands have been playing there. Things change!
Another example: A moment of silence was organized. This had to happen in secret, as we were
not officially permitted to do so, and the police wasn’t willing to give protection for that day. So the
organizers told the artist to support them in that and they did it!
As a message: Try to do something but try to stay allowed!
46
Q: Which political issues you will deal with find in the coming years?
A: We’re trying to create a better country! Since the prices (of the artists) started to rise it’s not
easy. The festival shall be accessible for young people and those without money, to let them see
big and powerful events. EXIT is like a mirror of that; we don’t want to be specialized but as much
diverse as possible (metal, D’n’B, techno..). Because we want to let kids feel that, were always
trying to keep the prices low! Food and beverage prices are also on the lowest possible level,. We
fundraise and do various projects. We try to stay independent because otherwise we have to return
favours. Trying to make a better future is what we do!
Q: What about international tickets?
A: We try to provide 10,000 -12,000 thousand tickets to international guests. The goal is 50/50 but
that’s not easy. UK people want to buy their tickets in December and by then already want to know
the line up; everyone wants to be settled in time. People from my country want to buy it one day
before the price goes up. 74,000 people is the maximum.
‘The social impact of Riskilde Festival’
Mikkel Sander is the sustainability manager of Roskilde Festival:
 8 days, 8 stages, >160 bands, 100.000 guests and 30.000 volunteers,
 1mio l of beer, 17 tons of mayonnaise, 40.000l organic milk
 A real BIG event.
Mikkel Sander is the
sustainability manager of
Roskilde Festival'.
http://www.roskilde-festival.dk/
Four ways of looking at the social impact of Roskilde Festival
Non-profit since 197
 Roskilde has always been a non-profit organization.
 Roskilde strives to be socially and environmentally sustainable.
 They support initiatives for children and young people.
 After each year profits (2014: 500,000€) are donated to social initiatives (e.g. sports clubs);
 2.3 Mio € are donated additionally from food stalls etc.
 Roskilde’ bottom lines
o economic
o cultural and creative
o ethical
Volunteering
 Roskilde forms a platform with almost 500 volunteers per paid employee.
 About 1000 people help the year round, during the festival many more!
o Security staff, in the artist catering, in waste management...they’re everywhere!
 Motivations
o Social purpose  They like partying and getting to
know people.
o Creativity  e.g. creating a piece of art, and
Roskilde can be a platform for that.
o Local patriotism  earning money for their sports
club or they love the city of Roskilde.
o Professional reasons  learning something and
making experiences.
o Do it just for the ticket.
 It doesn’t matter on Roskilde what you are in real life, as volunteer you can be everything.
o It’s about training people,
o Empowering them to understand that they can change the world
o It’s a lot about democracy!
47
Sustainability culture
 Roskilde rebooted their sustainability work in 2014.
o In 2015, a new plan will be implemented including all topics
 traffic, garbage, electricity, raw materials and so on.
 Two main points
o Creating a sustainability culture in the Roskilde organization
 making it a natural, socially acceptable and economically passable choice
o Doing things themselves without creating new groups, teams or sub-organizations
 Outsourcing doesn’t work well;
 They want to work with the people who actually are involved in the end.
 It’s harder but the only way to implement the changes in a sustainable way.
Responsibility of size
 Different organizations and NGO’s want to cooperate due to Roskilde’s huge impact/social
reach.
 That brings responsibilities!
o Roskilde cooperates with at least three universities who work with their empirical data and
send 30-40 interns from universities for whom it’s part of education.
 E.g. these people can cook in 100% organic kitchen.
 Roskilde will start a volunteering school
o People can join for half a year after having finished high school.
o They get taught about doing festival stuff.
Roskilde is doing a lot already. But there’s still a lot more to do!
Discussion
Q: How do you train the volunteers?
A: It depends on task. Securities get basic training. Fence guards
don’t need that, here’s a natural training. People start with an „easy“
job for one year. Later they know more/want more, get better. We
don’t have official trainings.
Q: How do you create a natural way of volunteer work without
training?
A: People need to know about the importance of what they’re doing,
that they know we have to change our behaviour. It’s also supposed
to be socially acceptable and economically. There should be room to
make sustainability a topic. People who decide about budgets should
be aware of that. We also have to make the right materials available! (e. g. organic pork...). We
have to talk to industry in advance that they’re prepared. We have vegetarian dishes at all food
stalls (French fries don’t count). In 2013 year, a vegan guide to the festival was provided (30-40
vegan dishes altogether)
Q: How do you get the volunteers to commit?
A: If you’re managing volunteer, you have to be aware of the diff motivations. With people who are
there for social reasons it’s easy. For nerds you make a tech workshop, for those who are there for
career options you have to write a recommendation letter. Meet the motivations!
Q: Do you have a „contract“ with sustainability stuff for volunteers?
A: Kind of; they get a small book with necessary festival knowledge.
48
Nienke Bassle (10.000 hours / ID&T, NL)
Nienke Bassle works for the 10.000 hours Foundation that empowers
young people to actively contribute to their society. It organizes voluntary
days in the environment of music festivals since 2012.



The 10.000 hours project was developed in the sustainability
department of ID&T, a company, which organizes big electronic music
dance events all over the world (e.g. Misteryland, Sensation, Defqon).
People there are convinced that music is deeply rooted in peoples’
souls and celebrates that together other people.
Cultural differences become irrelevant and people become more open
for issues of ecological impact.
Since four years, Nienke has been
a general manager of the 10,000
HOURS foundation in Amsterdam.
10,000 HOURS is a foundation that
empowers young people to actively
contribute to their society.
http://10000hours.nl/
http://www.id-t.com/
The three pillars: celebrating unity, nature and talent!
 Unity Together on the festival, the feeling of unity is experienced when
partying together.
o The 10.000 hours project is part of this pillar.
 Nature
o Projects: Don’t waste, Ecological food, 70% biological food, Put effort in closing the loop,
Waste management for paper, plastics etc.
 Talent: Give talents a stage on the festivals
o DJ talent school
How the 10.000 hours project started
 Experiencing the power of unity at festivals inspired Nieke to give something back to local
communities – that’s how the idea of 10.000 hours was born.
 The first partner was the festival “welcome to the future”; later Defqon joined, and in 2013,
Solar Festival.
 Social media channels were used to activate volunteers; the 1st year was a success already!
 A foundation was launched to have as many festivals involved as possible.
The goals
Working for a common goal reaching 10.000 hours of voluntary work with other music lovers
 Donating 10.000 hours of time to local communities,
 People are asked to actively contribute to a social issue/team.
o Poeple are asked for their time and be part of the solution.
o They are NOT asked to donate money, goods or other things
 In order to reach that, 10.000 hours cooporate with festivals.
 Communication is according to the style of the festivals to make use of the strong communities!
Projects
 Make social contacts with elderly people
o 70% of elderly people in the Netherlands are lonely,
17% of them never have any contact with family or
friends – they need help of volunteers;
o Many young fans were inspired! It’s nice to do
voluntary work!
 By getting famous people involved, e.g. doing a
volunteering day, making a promoting video
o 10.000 hours organized a barbecue, invited musicians,
danced together to old Dutch songs to foster social
contacts for older people
 Projects concerning nature (planting trees)
o Increase respect for nature and feeling more connected when plant trees together.
49
Video: http://youtu.be/AGRMYxLokGY
Achievements
 Doubling the primary goal
o 20.000 hours
 > 2.700 volunteers
 flowers, trees planted,
 children, elderly and homeless people helped
 about 50 DJ’s involved.
 The foundation actively communicates the results
o to show volunteers what they have done!
What volunteers think
 Questionnaire: what is the best thing of the
volunteers’ day? (Scale from 1 to 5)
o Many people never have done voluntary work
before,
o But afterwards they feel good/rewarded,
 There’s a good chance that they might do it
again
o The emotional value is much higher when
people worked for earning a reward
 instead of getting it for free (e.g. a T-shirt,
the festival ticket..).
Communication
 Festival homepages, newsletters and social media
o to attract new people .
o Many applicants, but only a small amount of
applicants can join the volunteers day
 Involve role models for the younger generation!
o Ambassadors are important to raise attention:
 Dj Nicky Romero, Dj Duncan
o spreading the message in a cool way.
o Many fans started thinking about the topic
Electronic dance music is spreading all over the world
 Spread that community feeling, together with house music,
 Make it a lifestyle of the IntelligenceDanceMusic-community.
Discussion
Q: how many people do voluntary work afterwards, are there statistics?
A: That’s an important goal. There was a survey a year later; half of the people said they did it
again. The voluntary days are really popular, many people want to join but not all can – difficult to
guide, infrastructureAbout 50 to 100 are chosen. People have the chance to do 5hrs before the
voluntary days already.
Q: How do you identify the projects you chose? Connection to festivals?
A: For indoor projects they don’t chose nature work, but for outdoor festivals they do. They chose
spots that are near, like elderly homers, places for people with special needs, that’s hands-on work
and social work. They try to have a balance in the types of work, e.g. for old people 2 hrs of
gaming is enough.
Q: How did you initiate get that started, how did you approach the first people?
A: The project was set up with Carlijn Lindemulder, the Head of Sustainability at ID&T. Such a
project needs to be set up months before the festival. They made a nice facebook message, wrote
50
a blog and put it on a website. People were asked to email their motivation to join – they were
nervous if it works, but after the first day already 40 people were subscribing, in the first year there
were 500 people in total.
Q: Do you have another team? Resources?
A: Nienke has organized it on her own in the beginning, then many people wanted to help e.g. by
talking with organizers. Especially people who are real fans of the festival wanted to help.
Organizers of festivals are role models, get integrated. She believes in the organizers’
responsibility.
Q: Do you think volunteers behave differently during
volunteering than on the festival?
A: I hope so; there are more than 60.000 people on Misteryland,
so it’s difficult to measure. In a survey, people were asked if
after doing voluntary work they understand more about the topic
and/or behave differently – people agreed. Some even said
years later that they’re still inspired. Emotional sparkles are
created, people are motivated to take care of the environment.
People wear their shirt during the festival because they are proud!
Q: Do you plan to make a step to pop music or only dance?
A: For now we’re focused on dance festivals, but we think about it. For now it’s only electronic
music festivals.
51
Session: Post consumerist economy
Hosted by: Teresa Moore (Bucks New University, UK) & Friederike Behr (Kulturwissenschaftliches
Institut Essen, GER)
What happens to the event industry, if the economic system changes? The dependency of the
economic system on consumerism and growth is a one-way road, not only for the event industry.
This applies for the idea of efficiency and green growth to prevent an ecological collapse, for trust
in the availability of natural resources, which are not renewable. In this session, we'd like to
discuss the general idea of post-consumerism and look at some good examples, e.g. organizing an
event with limited use of resources and without the idea of growth.
 Hosted by:
Teresa Moore, Bucks New University, UK
Friederike Behr, Kulturwissenschaftliches Institut Essen, GER
Teresa Moore (Bucks New University, UK)
‘Post Consumerist Economy – DeGrowth and the Events Industry’
Teresa Moore started by introducing the
Three-pillar model of sustainability:
 the social, economic, and environmental pillar.



Teresa Moore is Head of
Department at Bucking-hamshire
Assumption:
o Economic growth in GDP (gross domestic product) makes us better off and increases our
well being.
o Eventually if growth continues poverty will end as it spreads far and wide.
Yet the three-pillar model seemed to have changed to a three-pillar model of more, i.e. we think
we need more.
Consequences:
o Economic growth
 The model of never-ending economics growth diminishes our resources
o Environment
 Finite resources: All resources are taken from environment, come back as waste, which
goes back to the environment.
o Social:
 Diminishing returns of growth where more fails to improve people’s
Growth, the Global Economy and Environmental impacts
 Impact of our behavour on the environment:
o Climate change, biodiversity lost, stratospheric ozone depletion, deforestation, ocean gyres
and plastics pollution……....
 Assumption: the more we have – the happier we are

Is that true?
o On an idividual level it means a virtuous circle
 Work harder and harder, earn money, buy things, keep going…
52
The Problem:
 Growth is the measure of progress
 It results in a culture that values owning and consuming over doing and being
 Business model: – Growth and Profit are synonymous
Growth and festivals:
 2005 – 2009 average annual attendance increased by 1,64 million
 7.000 major outdoor events annually in UK
 Festival industry growing in Europe
 More than 50.000 people employed.
However
 Festivals over the past 50 years have had their roots in
o counter culture
 exploring different ideas about
 the way to live our lives.

Have today’s festivals been hit by a creeping consumerism?
What we can do instead
 New Business Models generating shared value
 Business structures less prone to growth
 Adopt new measures for business success
But: We are adapted to this industry so there might be problems for
a change.
Friederike Behr (Kulturwissenschftliches Institut Essen, GER)
‘Solidarity Economy and Convivialism’
Some new business models that are less prone to growth or focus on
degrowth have already been developed.




Community-orientated activietes and changed economic perspectives
Community-supported agriculture for food at festivals
Local/festival currencies
o get involved in the festival organisation
o use the festival currency to buy food and drinks
Sharing material in a large scale to reduce waste
Friederike Behr studied political
science, law and peace and conflict
studies in Marburg and Prague. In
2008, she founded ecocontrolling
Gbr together with Arne Cierjacks
and supports events to strengthen
their environmental performance
http://www.eco-controlling.de/
http://www.kulturwissenschaften.de
Examples
Über Lebenskunst – Festival (On the art of Living), 2011, Berlin
 From 2009 to 2012 ÜBER LEBENSKUNST (ÜBER LEBENSKUNST – Initiative for Culture and
Sustainability) dealt with the question of how we define "good living" given the global ecological
crisis. Participants from the fields of art, culture, science, education, politics and society
developed ideas and approaches for a sustainable living.
o The festival (http://www.ueber-lebenskunst.org/05.html).
o Objective: How good life might work.
o 101 hours of conferences, workshops, installations, performances, concerts, films,
excursions, discussions and readings
o Financed by Kulturstiftung des Bundes in Kooperation mit Haus der Kulturen der Welt
 Food was produced by local iniatives, art projects and collected by private persons.
53
o To empazise the value of food it was presented in a special way– for example special hal
hour for real coffee
o Salad was grown on the pool in front of Haus der Kulturen der Welt to visualize that food is
needed
o Extra buildings were made from wood that was collected when the festival was over
o Thus, material was reused by giving it to artists and local initiatives

New wordings with special notions have to be created to describe these new ways of living and
making business
o where Business doesn't mean Business in the sense we are used to.
Degrowth 2014 Conference, Leipzig, Germany
 Fourth International Degrowth Conference for Ecological
Sustainability and Social Equity.
o Main topic:
 How to establish a society without growth
o Key aspects
 Grass roots democracy and gender equality
 Participation fee was free to choose, starting from 15€.
o Vegan, organic, seasonal and regional food was offered
o cooked by non-commercial kitchen collectives.
o A large part of the vegetables was grown at the local
vegetable cooperative “Rote Beete”
 Almost 3.000 people took part in the conference.
o Lots of people where involved in making the program – open for new ideas
Discussion and comments
Comments:
 Example of Toms Shoes: For every shoe they sell, they donate another pair of shoes to people
in a country where they can’t afford own
 Voluntary pricing: Research shows that people are happy to pay. Radiohead put their last CD
online and you could pay what you wanted
 Crowdfunding – new model to raise money and share the risks
 In societies where people don't have so much money they share more
 Festivals are a kind of community – we can try out new ways to life and postconsumerism
Q: Voluntary pricing: It’s really hard for some people, they didn't want to think about it.
A: Make a suggestion like minimum price, regular price, solidarity price.
Sharing initiatives
 “Pumpipumpe”: Stickers for the Mailbox , what you have and neighbours can come an borrow
from each other (www.pumpipumpe.ch/sticker-bestellen/)
 Leiladen (Borrow Shop), Carsharing, Blablacar and similar, Smart Cities – sharing lots of things
and have a community, Misfits (Berlin – selling not good looking food), Foodsharing
54
Session: Sustainability in extreme situations
Crisis areas, refugee camps, infrastructure to be built in extraordinary circumstances. Let's
find out how institutions deal with sustainability in these situations and whether we can
learn from that.


Fabian introduced the session by stressing the five key topics
 Cultural sensitivity
 Longevity
 Economic feasibility
 Local participation
 Sustainability
Fabian Schulte-Terboven was
managing director of the Australian
and German divisions of eps group.
www.ibit.eu
‘Sustainability in extreme situations’
morethanshelters (MTS), founded in 2012, is a social enterprise providing
shelters for humanitarian purposes.
Motivation, Vision, & mission
 About 45 million people per year have to find refuge.
 morethanshelters works towards a housing solution for people in need of
shelter also giving them the opportunity to help themselves.
 Four principles guide the social business
o Humane Living,
o Local Participation,
o Modular Architecture
o Sustainable Design.
Example
 Za'atari refugee camp, Jordan
o 3,5 sq km, 95.000 people
o 58.000 aged under 18
o 29.000 tents / caravans
o 14.000 households
o 4 million litrers of water trucked to the
camp per day
o 750.000 USD electricity cost per month
o 50 Mio USD overall costs per month
o Coverage of future costs (2015): <40%

Morethanshelters offers innovative
architecture and social-designconcepts for humanitarian needs to
create a temporary home for
people in distress and to give them
the opportunity to help themselves.
http://www.morethanshelters.org/
Source: http://www.morethanshelters.com/wp-content/uploads/2014/05/mts_slider_ipa1.jpg
Approx. 2 million refugees are not registered by UNHCR
„Let us connect the most deprived with the opportunities of the 21st century!“
(Innovation and Planning Agency Mission Statement)
55
Projects: A Modular Emergency Shelter System for Humanitarian Purposes
Goal
 Develop a shelter system,
 adapted to climate and according to the needs of the refugees
Challenges in refugee camps
 Refugee camps are long-lasting institutions
 Camps develop into a city
 Political, social and economic structures are needed
 Refugees’ envolvement is important
The present situation
 Tents are planned for five people
 BUT: family sizes are larger
o So people connect tents
 3.000 shops and enterprises in the camp
 Often, shelters are self-built
 People are using every material they can find
Solution
 MTS developed a variable flexible Prototype Tent System
o Tents can be combined to build larger structures
o Local recyclable material is used
o Tents have variable ventilation system
o When critical political situation ends  Material is reused and recycled!
 MTS tents are more expensive, but are more sustainable and last longer
Sustainability: Challenges & Opportunitie
Project WASH
 To cope with the water supply on the camp water tanks were installed at
certain spots on the camp
 Yet: People took everything to their shelters and built their own
bathrooms
o Result: bad hygiene situation!
 To change the situation
o People were involved in structuring the camp thus creating an
emotional value
 Greywater Gardens: using greywater to plant trees and vegetables
 Most people in the camp are farmers
Solution by MTS
 „X-Wash“
o automated purifcation and decontamination facility
o needs less than one minute per person
o Only 25 % water consumption of conventional facilities
o Cannot be moved to individual shelters
Other projects
 3D-printed prosthetic limbs
o many refugees are injured
56
Conclusion / Discussion
 Sustainability is more than ecology.
 Sustainability is about building social relations.
 Sustainability strategies offer (even economic) opportunities
To live in safe and healthy conditions – even in a temporary home –
is an absolute human right, not an option!
Discussion
 Some Festivals take place every year at the same place. Therefore sustainability makes
sense
 Proposing sustainable solutions to decision makers, could help to establish long-term
cooperations.

Q: What's a long-term strategy for a festival? Do Festival organizers want to do think about
long term?
A: Tents should be already build up, but must be cheap and not too big
Q: When building long term facilities what happens during non-festival timr?
A: Planning is important! E.g. other institutions can use these facilities.
Audience comments
Natural Event: Compost toilets are another sustainable aspect. The cost more at the
beginning, but there are no extra costs for emptying. Festival could take that into account
https://www.youtube.com/watch?v=f0ui_wCHLQw (in German)
57
Session: Greener Touring
Hosts: Holger Jan Schmidt (GreenEvents Europe / Sounds for Nature, GER) &
Lena Buck (Green Music Initiative / THEMA 1, GER)
How to implement environmental-friendly and energy-efficient aspects in the touring business?
This area of the event industry has the greatest potential for improvement, but does not embrace
the subject.
 Holger Jan Schmidt (GreenEvents Europe / Sounds For Nature, GER, host) and Lena Buck




(Green Music Initiative / THEMA 1, GER, host)
Volker May (IMMF / FZW Dortmund, GER)
Danny Simons (Grand Hotel Van Cleef, GER)
Jutta Landkotsch (Dein Speisesalon, GER)
and Roundtable Discussants
The discussion was held in German as only German speaking bookers, artists, production
managers, designers, agencies and other participants attended the session.
Hauptfragestellung
Wo liegt das eigentliche Problem, Konzerte nachhaltiger zu gestalten?
Aktuelle Situation
 Aktuell sind eine positive Entwicklung und ein steigendes
Bewusstsein für das Thema Green Touring zu verzeichnen.
Holger Jan Schmidt is Co-founder of
 Dennoch ist die Anzahl derjenigen, die sich mit dem Thema aktiv
befassen und es angehen, immer noch marginal.
Foundation e.V.
 Die Absagen vieler wichtiger Akteure der Event- und Touringwww.soundsfornature.eu/, www.golandschaft im Rahmen der Green Events Conference verstärken
group.org/
diese Auffassung noch mals.
 Im September 2014 fand ein runder Tisch mit Veranstaltern von
Tourneen und Venues statt, im Rahmen dessen die zentrale Frage erörtert wurde, wo das
Problem liegt, Konzerte nachhaltiger zu gestalten.




Zu einer effektiven Umsetzung gehören viele verschiedene Akteure und Kooperationspartner.
Somit liegt gibt es ein großes Potenzial, bei diesen ein Pronblembewusstsein zu schaffen und
das Empfinden für die Wichtigkeit dieses Themas zu stärken.
Das Problem in diesem Kontext liegt vor allen Dingen in der Schwierigkeit der Umsetzung.
“Grün” steht momentan nicht auf der Agenda steht und es bedarf sehr viel Zeit, um richtige
Impulse zu setzen. “Man will viel und am Ende sind andere Dinge wichtiger.”
Bereiche, in denen Akteure aktiv werden können
 Mobilität von Band und Gästen
 Konzertproduktion
o Technik und somit Stromverbrauch innerhalb der Konzertstätte
 Service der Venues & Catering
Lena Buck is head of production and
Schlüsselfragen
project manager at THEMA1. She is
Generell
responsible for conducting the major
events of the Berlin-based Think-Do Was sind die Verantwortungsbereiche? Wer ist für was zuständig?
Tank and works on various projects
 Wie kommuniziert man Aktionen und Fortschritte?
including the Berlin Debates,
Renewables-Grid-Initiative and Green
o Im Rahmen einer öffentliche Diskussion?
Music Initiative.
o Innerhalb der Branche, um die Thematik des Greenwashing zu
umgehen?
http://www.thema1.de/
 Was könnten Tools sein, die den Leuten aus dem Touringbereich für
ihre Arbeit hilfreich sind?
o Wie könnten Green Music Initiative, Sounds for Nature, Energieagentur NRW
entsprechende Verhältnisse schaffen?
58
Künstler
 Wie kann man die Tour als Künstler planen?
 Wie kann man die Botschaft als Künstler an die Veranstlater
kommunizieren, die noch kein/nur geringes Bewusstsein haben?
Veranstalter
 Was kann die Veranstalsungsstätte machen?
 Wie kann man seine Aktivitäten kommunizieren, um Partner,
Veranstalter und Lieferanten mit ins Boot zu holen?
Infos, die nötig sind, um eine grüne Tour durchzuführen
 Welche Partner/ Clubs sind geeignet?
o Schaffung einer zentralen Auskunftsstelle?
 Welche Busvermieter sind grün?
 Welche Technikvermieter sind grün?
 Grü es Konzept den Bands “verkaufen”
Volker May is managing partner of
Energie Publishing and Energie
Concert GmbH since 1982. From
1991 to 2000, he was the exclusive
booker for Die Fantastischen Vier,
one of Germany's first and most
successful German Hip Hop act.
http://www.fzw.de/
http://immf.com/
Voraussetzung
 Das Konzept ist nur dann umsetzbar, wenn
o eine win-win Situation entsteht
o alle Beteiligten am Ende einen monetären und medialen Vorteil
haben.
Vorgehensweise
 Bewusstsein muss vorhanden sein, um Konzept umsetzen zu können.
o Erster Schritt: Bewusstsein schaffen, dass
 es die Green Music Initiative gibt,
 was man mit ihr erreichen kann
o Zweiter Schritt: Den Sprecher der Akteure dazu veranlassen, eine
Initiative zu unterstützen
o Dritter Schritt: Dann kann überlegt werden, welche Aktivitäten in
diesem Rahmen geplant werden.
 Wichtig hierbei: Marketing
 Medienaufmerksamkeit als wirksamer Hebel
Danny Simons is the Co-Owner of the
Artist Management Company Liftboy,
where he takes care of german Top
Ten Artists Thees Uhlmann & Band
and Kettcar. He is also the Head of
the Booking Departement of Grand
Hotel van Cleef Musik GmbH,
representing international Artists like
John K Samson (CAN).
http://www.ghvc.de/
Logistische Probleme, die die Durchführung von Aktionen erschweren
 Konsens zwischen Band, Agenturen und Veranstaltern
o Große Anzahl von Akteuren/Partnern aufgrund
 komplexer Aufgabenverteilung und
 Auslagerungen von Services, Catering, Musikequipment, etc.
 Verhandlungsposition
o keine Möglichkeit große Ansprüche zu stellen
 man möchte keinen Stress mit Management etc haben.
 Wessen Interessen vertritt man?
o Des örtlichen Vertreters?
o Von dem, der in der Namenskette weiter oben steht?
 Bandrider:
o Internationale Rider werden nicht auf die deutschen Standards angepasst.
 Anforderung von Riesenpersonalaufgebot und Massen an Lebensmitteln,
 die wiederum Massen von Verpackungsmüll erzeugen.
o Best practice:
 Jack Johnson, wo der Impuls vom Künstler kommt
 Drei Tage vor dem Konzert anfragen, ob Rider noch aktuell ist, um
 Einsparmöglichkeiten herauszufinden.
59
Vor-/ Nachteile für den Wettbewerb? Wie gut ist “grün” für das Image des Clubs/ der Arena?
Monetäre Motivation
 Beispiel:
o E-Werk/ Palladium sind Mitglied des Green Club Index.
 Stromerzeugung u.a. durch Eisatz einer Tourbine.
 Einspeisung des produzierten Stroms ins öffentliche Stromnetz
 Monetärer Gewinn und somit Schaffung eines finanziellen Vorteils
 Investition in neue Leuchtmittel und Heizkessel
 Wesentlich geringerer Energieverbrauch und somit Energiekostensenkung.
Medienaufmerksamkeit, publicity
 Gute Kommunikation von Fortschritten
o damit kein Gefühl des Greenwashing oder des “Ökogotts” entsteht?
Aktionen
Vorschlag 1 (verworfen)
Geldaufschlag auf Tickets für grüne Zwecke (auf freiwilliger Basis)
Vorschlag 2 (verworfen)
Weiterleitung eines Teils der Energieersparnisse an
 Künstler/Veranstalter
o um einen Anreiz zu schaffen.
Jutta Landkotsch is managing
Vorschlag 3
director of DEINspeisesalon, a
Ein positives Beispiel schaffen,
catering company she founded in
es national kommunizieren und vorstellen,
2008. The heart of
DEINspeisesalon is rock'n'roll
um andere zur Replikation zu bewegen.
catering for concerts, festivals
 Eine Tour realisieren mit
and tours.
o Drei Bands
http://www.dein-speisesalon.de/start/
o in vier Städten und
o vier Clubs Deutschlands.
Die Tour muss an Beispielclubs gebunden werden,
 Wichtig: Alle Instanzen werden mit eingebunden.
 Bewusstsein vom Veranstalter bis zum Künstler muss vorhanden sein.
Beispiele: Fabrik (Hamburg), Schlachthof (Wiesbaden), FZW.
o Kluge Kommunikation an Medienpartner aus verschiedenen Bereichen
 Coolness- Faktor” über die Promotion erzeugen.
 Wichtig: Medienpartner!
 innovative Aktionen
 negatives Feedback vermeiden,
 verschiedene Medienpartner für wirksame und kostengünstige Publizierung
 Wichtig
 genau kommunizieren, WAS man tut
 nicht die Tour als grüne Tour zu kommunizieren.
 Forderungen:
 Mülltrennung
 vernünftiges Catering
 Reduzierung des Stromverbrauchs
 Coachservice mit Biodiesel.
 Vorteil bei Zusammenarbeit mit kleinerer Venues:
 Kommunikationskette ist nicht so lang.
 Man kann aktiver mit Künstlern arbeiten.
 Führt schneller zu einem Ergebnis.
 Effekt ist zwar zahlenmäßig kleiner, kann aber gut kommuniziert werden.
60
Vorschlag 4:
Punktuelle Messungen des Energieverbrauchs am Tag des Events selbst
 Schaffung eines Richtwerts
o Gleiche Show in 10 verschiedenen Spielstätten,
o Grundlage für Verbesserungen

Was passiert in meiner Halle?
o Instrumentariums und Monitoring schaffen
 über einen gewissen Zeitraum, um zu sehen
 wann warum der Messgang ausschlägt.
o Footprint von einem Konzert erstellen
 “Übrigens, Dein Konzert sieht so…aus”
 Diese Informationen haben Tourleute und Manager nicht.
o Konkrete Eisparungsmöglichkeiten aufzeigen
 Hochrechnung anhand von Messungen, Ergänzung durch Durchschnittsdaten
 Energieberater einbinden, um einen guten Eindruck für den Anfang zu bekommen.
 Wichtig:
 Energieberater sollte eine Affinität zu Musik haben.
 Green Club Index schult Energieberater in diesem Bereich.

Fragen
o Wer kann solche Informationen gut bzw. am besten kommunizieren?
 Verbände?
o Wieviel Einsparpotential gibt es beim green touring?
o Ab welcher Größenordnung gibt es Einsparpotenzial?
Vorschlag 5
Wie erhält man die Information über Stromverbrauch von Spielstätten/ Clubs?
 “grü e Aktionen” der Spielstätten/ Clubs.
o Booking-/Managementinstanzen haben eine größere Hebelwirkung und eine höhere
Wertigkeit bei Clubs.
o Eine solche Instanz sollte gefunden werden, die sich bereit erklärt. mit GMI zusammen
diese Informationen von Clubs anzufordern.
Vorschlag 6:
Partnerschaften mit Akteuren aus dem Bio-/ grünen Energiebereich.
 Sponsoring
o z.B. Nightlinerstrom
 Eine Anzeige/ ein Schild, zusammen mit einem Zähler bei den Steckdosen neben dem
Nightliner aufstellen mit der Aufschrift “Von der Firma xyz gesponsort”.
 Schafft Bewusstsein bei Künstlern/ Besuchern/ Mitarbeitern
Der Club spart die Stromkosten.
Follow-Up Treffen
 Erstellen einer Teilnehmerliste, um Informationen zu bündeln und Beispieltour zu bauen.
o Wo kann man was machen?
o Hotspots & elementare Dinge, die zu beachten sind.
o Was verbraucht wieviel Energie bei der Bühnenproduktion, beim Reisen, etc.
 Runder Tisch mit Partnern aus NRW:
o Kann es eine gemeinsamen Initiative geben?
 ins Auge gefasster Termin: Ende Januar
61
Ziel
 “Denkt mal drüber nach” Broschüre/ Flugblatt für Booker und Agenten
o Informationen müssen leicht zugänglich sein
 Ein Manager hat “zu viel zu tun hat, um sich mit dem grüne Zeug zu beschäftigen”
 “keine Lust hat sich 30 Seiten durchzulesen.”
o Gestaltung muss das Interesse wecken.
o Green Music BBQ C/O Pop Broschüre.
 Zeigt den bisherigen Entwicklungsverlauf auf diesem Gebiet.
Discussants:
Booker, Veranstalter, Designer, Künstler, Energieagentur:
 Birte Dahl, Uni Hamburg, (vorher Veranstaltungskauffrau bei FKP Skorpion)
 Christian Elze, Freelance Booker
 Sybil Franke, Velomax Berlin Hallenbetriebs GmbH
 Ernst- Ludwig Hartz, EL Hartz Promotion
 Michael Kellenbenz- KonzertKultour (Fahrradgarderobe, Fahrradtour zum Hurrican, u.m.)
 Jasmine Klewinghaus, Institut für Musik Osnabrück
 Hendrik Landwehr, Mach Dich Bunt
 Verena Müller, Energieagentur NRW
 Hans-Jörg Sticker, Köln Event
Hilfreiche genannte Inititiativen/ Ansprechpartner:
 GreenClub Index
 Greener Arena Network
 Energieberatung NRW
o Analyse und Sachstandsermittlung: Wie effizient wird Energie im Club etc. eingesetzt?
 IMMF- International Music Managers Forum.
o Weltweit größter Verband von Musikmanagern (in 35 Ländern aktiv)
 IMUC – Interessenverband Musikmanager & Consultants e.V.
 Love Europe Initiative:
o Verbund von 13 Clubs aus EU. EU Netzwerk von Clubs
 BDV – Bundesverband der Veranstaltungswirtschaft
 Livecom
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Session: Food, drinks and Rock'n'Roll
Host: Claire O'Neill (A Greener Festival / AIF, UK)
Best-practice examples of how to consciously handling food at events, longterm strategies for developing sustainable catering at large events and
challenges in the event context.




Claire O'Neill (A Greener Festival / AIF, UK, host)
Marie Sabot (We Love Green, FRA)
Stephanie Weigel (Tollwood Festival, GER)
Claire is the Senior Manager of the
Association of Independent
Festivals and Co Founder &
Director of A Greener Festival.
http://aiforg.com/,
http://www.agreenerfestival.com/,
http://www.erialc.co.uk/
Marie Sabot (We Love Green, FRA)
‘conscious food program’
Marie Sabot is the founder of ‘We Love Green Festival’, Paris.
A ‚disposable’ event
As the founder of We Love Green
 ‘We Love Green Festival’ (WLG) started from the desire
Festival, Marie Sabot has an
extensive experience in cultural
o to produce a transient event rooted in current issues.
events management of almost
o a festival concerned with the event’s overall impact on the outside twenty
years. In 2004, she decided
world.
to launch We Love Art, a cultural
and entertainment event agency.
 ‚We Love Green’ aims at
http://weloveart.net/
o raising public awareness,
http://www.welovegreen.fr/
o influencing the public in their behaviours and
o taking part in an unavoidable groundswell which anyone can collaborate in.
 From the artistic programme to the innovative eco-friendly stage design, We Love Green offers
a coherent content with its commitments in
o playful, esthetic, experiential way, and especially away from preaching.
 ‚We Love Green’ is a testing lab for
o achieving sustainable solutions in the events industry and the performing arts.
o changing practices and awareness on consumption, eating habits, and citizens movements
3 Principles: INNOVATE, RATIONALIZE, SENSIBILIZE





INNOVATE
o develop solutions and organizational practice
RATIONALIZE the carbon footprint
o towards ‘zero influence’
SENSIBILIZE
o create awareness and share good practices
In 2010, the ‚WE LOVE GREEN SUSTAINABLE DEVELOPMENT CHARTER’ was written by
independent advisors to define the goals of the festival
o implementation is handled by the LABORATORY WE LOVE GREEN, that developed a
range of concret actions split into 6 big issues :
 Energy, Waste, Food Bars, Water, Transport logistics, Communication
“CONSCIOUS FOOD PROGRAM” WLG 2014
1. Manifesto
o offering a range of diverse food, rich, wise, sensitizing and awareness,
o offering good quality products.
o "Eating good, clean and fair."
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o Willingness to enroll in the approach advocated by the Slow Food manifesto for a new ethic
of gastronomy.
2. Experiences from 2011/2012
3. Un Programme 360°
o WLG aims at reducing the carbon footprint as well as creating new networks around
organic, fair trade and seasonal products.
o Selection of special restaurants
 Each year, eight restaurants are selected to provide
food according to the WLG goals.
 A restaurant is placed at the centre of the festival as a
symbol of it’s message.
 WLG wants to give value to good and vegetarian
food: no waste.
 To keep biodiversity, several recipes/dishes with rare
vegetables are created.
 People can order a picnic basket on the website in
advance (raw foods) from WLG’s network of farmers
100 km around Paris.
o Actions against waste
 Containers especially adapted to fight food waste.
 Waste Composting
 Collaboration with
 Phenix – seconde vie des produits in up-/recycling,
 youmiam cookery website
 Moulinot (www.moulibox.fr) in composting organic waste, sort waste, retrieve oil
 Unsold food given to charities
o Raise Awareness
 Communication to the public
 Highlight the European year 2014 against food waste
 Collaboration with Stuart Tristram and Caroline Delboy (Disco Soup).
 Fun exhibition on how to avoid packaging
 Numerous workshops and cooking classes at the festival.
 Clear and simple instructions were signposted on boards to sensibilise the visitors.


Paris is enthusiastic about the new composting system.
It is important for the message to be really clear
o for the audience to understand, what you are doing and why.
o Use your website to your advantage
Recall: waste = energy= money
‘Sustaiable food on Roskilde festival’
Characteristics of Roskilde Festival
 8 days, 8 stages, 160 bands, art& performance programme:
 All profits go to charities
 Festival site is the 4th largest city in Denmark!
Food
 3 million sustainable meals served to 130.000 aprticipants
 150 food & beverage stalls, food event programme, volunteer canteen,
3 artist restaurants and campsite food,
 1 million litres of beer, 14 tons of mayonnaise, 70 tons of bread, 49 tons
Mikkel Sander is a food fighter. He
organises and manages foodrelated projects, with sustainability
and volunteers as a key focus. He
is responsible for Roskilde
Festival's food and beverage
strategy.
http://www.roskilde-festival.dk/
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
of minced beef, 20 tons of cheese, 9 tons of butter, 20 000 heads of lettuce
40% organic
Motivation
 The purpose of the food event is not to feed a lot of people but to crearte food experineces that
challenges the participants’ perception of food.
 State controlled labelling for event food premiered in 2013
 Uniqueness, responsibility, marketing, food quality, value perception and participant support
o Fair products to buy
o 80% of visitors support sustainability
o Organic/ local/ biodynamic foods
o One vegetarian dish at every foodstall (no fries!)
o Street food incubator
o Roskilde food court
 Involvement of visitors
o Create food experiences
o Experimental kitchens; different taste experiments
o Food jam
o Teach filleting etc. skills  3,000 participants:
 From trash to take-away
o Collaboration with stopwastingfood.org
 Three artists restaurants serves Nordic seasonal menue
o 6,000 meals
o almost 100% organic
 Favourable conditions but also higher sustainability demands
Future goals
 90% organic in 2017
 Organic beer in 2017
 Half of total revenue goes to social sustainable NGO
 Save 30 tons of food waste
Stephanie Weigel (Tollwood Festival, GER)
‘Tollwood – Festival of Culture in Munich’
Tollwood was founded in 1988, and has 1.5 Million visitors per year.
 Two festivals are run for four weeks each; one in winter, one in
summer.
o Location: Theresienwiese at the Olympic Park in Munich.
o International theater companies, performances, all kinds of
concerts, Rock and Jazz concerts, arts and installation art.
o ‚Weltsalon‘: ecological and societal issues at stage.
o ‚Market of ideas‘: 250 non-food stalls plus 50 caterers.
Stephanie is head of the
sustainability management of
Munichs Tollwood Culture Festival
(founded in 1988) attracting around
1.5 million visitors twice a year
(Summer/Winter festival).
http://www.tollwood.de/
Philosophy
 Culture for everyone: entry and 70% of the cultural programme is free.
 Open peoples’ minds, bring the world together, international and multicultural
 Be sustainable and ecological!
 Be fair!
 Stay independent!
‚Don’t betray what you believe in‘
Towards a sustainable festival
 Campaings
65



o Climate protection: 100% green energy, reduction goals, CO2-ompensation, mobility
concepts,
Waste management:
o No single-use tableware, recycling, no plastic bags.
o 50% of total waste recycled.
Fair trade
o Compulsory goal for food and non-food.
‚Weltsalon‘: a call to rethink
Let‘s talk about food
 Green Catering – overview
o 50 (external) food caterers offer international specialties for 1.5 million visitors
o Eco-certified since 2003, first major event in Germany
o Status today: 100% organic food, goal for beverage as well.
 Food is an attitude!
Every vision needs a strategy...
 Be precise!
o Vision „ 100 % organic“  was translated into concrete and compulsory objectives
 Work with friends!
o Long-lasting partnerships
 Demand and support
o Support during transition, avoid „price explosions“, build bridges
 Clap your hands!
o incentives and marketing
 Control!
o Eco-certification and own controls (flow of goods), visit livestock farms
 No waste:
o Collaborate with foodsharing, lebensmittelretter.de, organise pick-up of food, provide a
service
Welcome to Bavaria: The „beer challenge“..
o Vision- 100% organic beer
o Challenge: find a local brewery as partner
o Long way: first eco-beer in Munich brewed for Tollwoods
o Status: not 100% organic yet with regard to soft drinks and spirits
Food is part of you – and more than what you find on your plate!
 Emotionalise: Arts and installations
 Support: Free NGO areas
 Discuss: Panel discussions / „Weltsalon“
 Engage: Campaigns in cooperation with NGOs

Embed issues of food, health and animal welfare into festival programme!
o E.g. Esszimmer: 100% vegetarian/vegan food served
Once you’ve started walking… go beyond the festival borders.
 Bio für Kinder (Food4Kids)
o 640.000 meals since 2006
 Influence politics!
o 50% organic food in kidergarten and public schools
o 100% ‘species-appropriate’
 Campaign „Artgerecht“
o Federal: Change of the German Animal Welfare Act
o Local: Munich goes „artgerecht“
66
If we can do it, everyone can!
Stay independent in financing
 For profit: market of ideas
o 50 food, 200 non-food stalls (rented and leased); some sponsors
 Not for profit:
o free entry, projects like ‚World Salon‘
 Tollwood‘s Green Catering adds up to 116 t CO2-savings per year
 Social component of food jam at Roskilde: cooking together, filleting fish, great lunch, best
festival food (apart from Tollwood and We Love Green)
 Roskilde is subsidised by the Ministry of Food
 Leave an emotional footprint of your festival such that people return year after year.
 Festivals can be a lever for creating sustainability.
 To check and keep prices use food tokens; 2-3 per meal (NL)
 Examples for reducing food waste:
o Libby receptive supper club, Fair share food distribution network
o Fine dining vs. Food waste: Waste collection at the end of festival
 All people involved are responsible for food wast including artists.
 A documentary on last year’s conference is important.
 Do not only set rules and regulations. The values you communicate are important and make
the difference.
 Mission statement
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Session: Greener Arena
Host: Lena Buck (Green Music Initiative, GER)
What can venues do to promote sustainable events? They are places of
magic as well as places of masses, consumption and comfort. We try to
find ways to bring it all together.
We talk about how to deal with it and how festivals can join forces to
make things better.



Lena Buck (Green Music Initiative, GER, host)
Lena Buck is head of production and
project manager at THEMA1. She is
responsible for conducting the major
events of the Berlin-based Think-DoTank.
http://www.thema1.de/
'Max-Schmeling-Halle Berlin'
Sybil Franke, Sales & Marketing Director of Velomax Berlin, member of
the Greener Arena network, demonstrates the various efforts made and
problems encountered in making Max-Schmeling-Halle in Berlin a more
sustainable venue.
The venue
Sybil Franke is Sales & Marketing
 Projected for the expected Olympics 2000 in a smart building concept
Director of Velomax Berlin
Hallenbetriebs GmbH and is member
by Jörg Joppien.
of the managing Board of Velomax.
o Maximal capacity with centre stage of approx. 11,900 persons
The company operates two huge
o integrated into sports park
multifunctional arenas in Berlin, in
Prenzlauer Berg - The Maxo located amidst a residential area.
Schmeling-Halle and the Velodrom.
o Green Bridge connects former East and West Berlin
http://www.velomax.de/
http://www.max-schmeling-halle.de/
o Green and rounded roof - 2/3 planted greenery
http://www.velodrom.de/
o Small eco system and natural thermal insulation
o Preconditioning of outside air for heating and cooling
o Block heating and power plant for power and heat production plus additional energy from
the grid
o 1,064 solar collectors on roof
A main problem
o The venue is very well accessible by public transport.
o Intentionally very limited car parking (for production and handicapped only)
o Still, people use their car to go to the venues
 causing many problems with regard to climate and traffic.
Environmental activities
 Team Spirit
o Team meets regularly since 2011 to raise climate awareness among the employees.
o Neighborhood and anchor tenants are included to develop sustainable processes.
 Cooperation with the Senate of Berlin to fulfill the sports and cultural guidelines of the
City of Berlin
 Cooperation with regional suppliers
 Networking and knowledge exchange within the industry
 Sustainable operations
o Reduction of power used
 18,5% between 2010 and 2013
o Reduction in water use
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o Shelter for regional insects and animals (bees and foxes)
o Catering
 Reusable cups, regional suppliers, freshly made food
o Separation of visitors’ trash
 Mixed trash, handling of food remains, disposal of clap
banners.
o Green & clean
 Biodegradable detergants, reduction of ressources (power
and water), improvement of air by using Hepa filter, reduction of noise, using huge
doormats
Communication & Networking
 Communication
o Green Globe Certification every year since 2011
o Marketing/press information
o Communication to end customer via Homepage, Newsletter and other advertising material
o Carbon dioxide emission calculator on homepage
 Transparent communication allows changes with little money
 Networking
o Greener Arena Network
 The only existing network in the entertainment industry focussing on venues and venue
operations
 to exchange knowledge, bundle informations, find matching suppliers, define
benchmarks
 brings together players in the industry
Goals and challenges
 Further improvements to ensure a holistic sustainability approach
o Keep Green Team motivated and going on the „sustainable track“
o Roll out our activities onto our other two venues Velodrom and Rittal Arena
o Decrease carbon emissions, power and water consumption
o Solve the trash problem in public areas
o Motivate the neighborhood to cooperate with us
o Reach the audience and create awareness for sustainable journeys to the venue
 Public transport is not included in the ticket price, even though usual procedure in other
states, for example North Rhine-Westphalia
 integrate public transport into the tickets
o Reach the promoters and establish the first green music shows
o Be an efficient and dedicated member of the Greener Arena Network
69
'Greener Arena Network'
Who „EnergieAgentur.NRW“ (EnergyAgency.NRW) is
„EnergieAgentur.NRW“ (EnergyAgency.NRW) is an independent, noncommercial institution working on behalf of the state government of
North-Rhine Westphalia (NRW).
 NRW bears a huge responsibility towards climate, climate change
and sustainability because of its industrial history.
 NRW and EnergieAgentur.NRW prefer to be part of the solution, not
of the problem.
Verena Müller has been working for
the EnergieAgentur.NRW since 2001
on public relation and media.
Together with the Green Music
Initiative she launched the Green
Club Index and Greener Arena
Network in North-Rhine Westphalia.
http://www.energieagentur.nrw.de
What „EnergieAgentur.NRW“ (EnergyAgency.NRW) offers
 Energy consultancy without having to payfor it.
 Focus on sensible and reasonable solutions as well as sustainable
energy.
 Engagement in campaigns, networks, information and continious training programmes
The Greener Arena Network
Starting in 2013, the network was formed to address arenas with questions
about the standards they have implemented for climate protection, their
usefulness and steps towards to achieving a better performance.
 Motivation
o High concentration of venues and arenas, ~ 80 stadiums in NRW
 High energy use and CO2-emissions, high possible savings
o Regional law for climate protection in NRW
 aims for a broad public movement for climate protection
o Have operators act as multiplicators
 To influence visitors, culture and sport sector, service companies
o High number of event locations in NRW
 20% of Germany’s 50 event locations with a capacity >6.000 visitors are located in NRW
 Workshops
o Two workshops in 2013 and one in 2014 were established as platforms for exchange and
communication between arena operators.
o Participants
 had taken first steps in monitoring energy use or implementing energy efficiency
measures
 are active in terms of energy saving and climate protection
 are heterogeneous in the form of organisation.
o Fields of activities
 Utilization of rainwater or solar power, certification (e.g. Green Globe Label), innoveative
heating,waste management, efficient air conditioning etc.
 Traffic did not seem to raise any responsibility among the operators.
o Results
 Need for more technical know-how
 Database for best, but also worst practice information.
 Motivation tools for employees to establish ecological awareness and efficient
behaviour.
 Communication tools for different target groups like business partner, owners, service
providers, guests, municipalities, ...
70
o Prospects
 Establish and enlarge the Greener Arena Network
 Develop smart communiction tools
 Create an online database for best and „worst“ practise
 Develop instruments for employees and service providers
 Include the complete value chain into climate protection.
 Establish pilot projects
 to guide a way to more sustainability in the events sector.
 An exchange also needs to be established among promoters, not only between operators and
promoters. This seems to be a difficult task to perform, however, but problems may be solved
better and faster.
 It appears to be quite difficult to handle international contacts and to make them act more
sustainable.
 Involving students may be an effective way to solve the waste problem. Students, having an
objective view on facts and the venue, usually have a lot of ideas they are more than happy to
share and to implement.
 Awareness from visitors to operators must be raised that being sustainable is accompanied by
saving costs and does not go along with spending more money. This is the more improtant as
money, in this industry, is the most important thing. Feeling better because contributing to
climate protection ranks much lower.
71
Culinary UPcycling
Hosted by: Martin Svitek (karmakitchen, GER)
"culinary UPcycling" Lunch!
For lunch on the second day of GrrenEvents Europe 2014 we dished up rejected fruit and veggies.
If knobbly or gnarled, too long or too short, heart-shaped or two-legged: Strict cosmetic
requirements – reflecting the food industry's idea of how fruits and vegetables should look – means
that such 'ugly' products are often wasted. Sourcing from local farms and markets, we gave an
UPlift to the culinary careers of these fresh and delicious products.
Culinary UPcycling was brought by Martin Svitek and Teresa Sieblein of ‘karmakitchen, assisted by
students from Bonn University and other helpers. We highlighted the unimaginable amount of food
wasted globally and we catalyzed action through promoting delicious solutions to food waste.
Special thanks go to regional farmers around Bonn and the housecaterer Sodexo for making this
event possible.
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Hosted by: Holger Jan Schmidt (GreenEvents Europe/Sounds for Nature, GER)
"culinaryManuel
UPcycling"
Lunch!
Großmann
(Design Thinking Berlin, GER)
Half-day pre-conference workshop: Food & events
Why is food and beverage an essential issue at events? Isn't it all just about entertainment? The
participants will identify problems and work out solutions on food and events with the help of
Design Thinking - a method of creative problem solving.
Holger Jan Schmidt (GreenEvents Europe 2014, Sounds for Nature, GER)
Manuel Großmann (Design Thinking, Berlin, GER)
‘Making events greener with the help of Design Thinking’
After introducing the main theme of GreenEvents Europe 2014 ‘Food & events’, Holger Jan
Schmidt passed the floor to Manuel Großmann. Manuel introduced the leading pronciples in
Design Thinking not only by giving explanations but also by hands-on examples:
 Designing the perfect food booth at a music festival in 5
minutes!
Design thinking
 is a problem solving approach focusing on end-users.
 is a combination of elements
o Process
 Which tools to use.
 What to do when.
o Space
 In which environment.
o Mindset
 How to work.
 User-centered, collaborative, multydisciplinary.
 Particularly important: User-centered!
The elements
 Mindset
o User-centered, collaborative, multydisciplinary.
o Particularly important: User-centered!
 Process
o Non-linear!
o Double Diamond method
 Discover
 User research
 Interview users, talk to experts,
 Think about what your users want!
 Personas
 Take all knowledge you have, condense it in one artificial person
 Take the users’ perspective.
 Understand the why not the what!
 Define
 Problem definition
 Find problems not solutions!
 Develop
 General ideas
 Ideation: Illustrate your ideas
 User journeys: Storyboard
 Deliver
 User testing, usability testing
Build protoptypes
 Low-fi prototypes: cheap, developed fast and help imagination (e.g.mock-up
interface)
 Prototype experience (age suit), human interaction, action in space
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Hosted by: Holger Jan Schmidt (GreenEvents Europe/Sounds for Nature, GER)
"culinaryManuel
UPcycling"
Lunch!
Großmann
(Design Thinking Berlin, GER)

Space
o Free and open space
o Work while standing
o Create a good atmosphere
Group Work of Workshop Participants, Wrap-Up, Discussion
Find a group (2 min)
 Team up with 4 other people who you think are very different from you.
Each group: Grab a persona (5 min)
 Read the information about the persona.
 Check the challenge.eit
Ideation warm-up (5 min)
Generate 20 CRAZY ideas (15 min)
 Come up with the craziest ideas on how to solve the
challenge of your persona
Vote on your ideas (5 min)
 The group will continue to work on the idea that has the most
stickers on it.
Refine your idea (10 min)
 What can make this idea even better? Or what could make it
more realistic?
Describe your idea (5 min)
 Fill out a template for an elevator pitch  convince
somebody of your idea in 120 seconds
Make your idea tangible (40 min)
 Create a prototype of your idea
Present your work (3 min)
 Who is your persona?
 What was your challenge?
 Read out your elevator pitch!
 Present your prototype!
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Sounds For Nature Foundation e.V. in Zusammenarbeit mit Slow Food Youth, und
Kultur.Konzepte.Kulinarik präsentierten eine Veranstaltung, bei der Kartoffeln einmal nicht
nur Beilage, sondern die Stars waren!
Mehr als jede zehnte Kartoffel kommt nicht in den Handel oder wird gar nicht erst geerntet, weil sie
zu groß, zu klein oder zu knubbelig ist. Andere Gemüsesorten haben eine noch viel größere
Ausschussquote weil sie vermeintlich unverkäuflich, dabei völlig genießbar sind.
Um
das
Thema
Nahrungsmittelverschwendung,
Nachhaltigkeit und Ernährung einem breiten Publikum aller
Altersgruppen bewusst zu machen, fand am Sonntag, dem
15. März 2015, im Bürgerhaus Stollwerck in Köln von 12:00 –
18:00 Uhr die eintrittsfreie ‚Große Kartoffelshow’ statt.
Bei der Kartoffelshow standen die krummen Knollen und Dinger
im Rampenlicht. Gespendet von Bauern aus der Region wurden
die Kartoffel und ihre Freunde gemeinsam zu leckeren
Kartoffelgerichten verarbeitet. Die Besucher brachten Brettchen
und Messer mit oder konnten diese ausleihen und schnippelten
gemeinsam.
Das Ergebnis wurde später gemeinsam verspeist. Es wurden Kartoffel- und Gemüsesuppen,
Pfannengerichte und Reibekuchen in vielen Variationen angeboten. Dazu gab es ebenso Musik
wie auch wertvolle Experteninfos, Interviews und Vorträge rund um nachhaltige Ernährung und zu
Fragen wie:




Was kann jeder gegen Lebensmittelverschwendung tun?
Wie kann man kreativ mit Resten kochen?
Warum ist es gut, wenn es mehr als fünf Kartoffelsorten
gibt?
Wann hat welches Gemüse Saison und warum ist es
sinnvoll, seinen Speiseplan danach auszurichten?
Zu dem Kartoffelfest für alle Sinne und alle Altersgruppen kamen
knapp 600 Besucher – zwischen 8 Monaten und 80 Jahren!
Die große Kartoffelshow ist eine Veranstaltung der Sounds For
Nature Foundation e.V. und wurde gefördert von der Stiftung
Umwelt und Entwicklung NRW.
Freundlich unterstützt von Prime Entertainment, GreenEvents Europe, Slow Food Youth
Düsseldorf, Slow Food Düsseldorf, Köln und Bonn, Slowfood Youth Deutschland, Green Music
Initiative, vaelju:design Luisa Möbus, Rheinlandkorb, Gertrudenhof, Biohof Bursch, Valentin Thurn,
Allgastro, Bäckerei Schell Bonn, Gemeinschaftsgarten Neuland, Archehof Windeck, Interludio,
Zack Umzüge und Dienstleistungen GmbH, Magic Garden Supper Club, Verbraucherzentrale
NRW, Judith Mattes und Stefanie Thomas.
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Programm
Bühne im Saal
12.00
Doors Open & Musik
13.00
„Krumme Dinger“
Impulsvortrag von
Konzepte.Kulinarik)
Verschwendung
13.25
„Food, Drinks & Rock’n’Roll“
ein Gespräch zwischen Carsten Schumacher (Chefredakteur vom
Festivalguide) und Holger Jan Schmidt (Veranstalter der GreenEvents Europe
Konferenz, ehemaliger Chef der Bonner RhEINKULTUR) darüber, was die
Kartoffel Show, GreenEvents und Großveranstaltungen miteinander zu tun
haben.
14.00
„Kartoffel hoch drei – ein Gespräch unter Essperten“
– Kathrin Schwermer-Funke im Dialog mit Lisa Anschütz (Archehof Windeck),
Judith Levold (Gemeinschaftsgarten Neuland)
14.40
“Was hat Lebensmittelverschwendung mit der
Welternährung zu tun?”
Valentin Thurn, der mehrfach ausgezeichnete
Dokumentarfilmemacher (u.a. “Taste The Waste“)
schaut für uns ein gutes Stück über den eigenen
Tellerrand und liefert ein paar wichtigen Antworten auf
die Frage
15.10
Ju & Me
Zwei Stimmen, eine Gitarre, viel Herz – Ju & Me ist ein deutschsprachiges
Singer/Songwriter-Duo aus dem schönen Bonn am Rhein.
16.00
DJ-Set
Zum Abschluss gibt’s nochmal gepflegt etwas auf die Tanzschuhe. Wir freuen
uns auf ein fettes DJ-Set von Thorsten Vogel (Scheinbar/Köln). Er wird uns
einen schönen Vinylsalat zubereiten und zwar vor allem aus 60er und 70er
Northern Soul und Funk. Hier reinhören
Kartoffelkino
“Kartoffelliebe”,
ein Film von Bertram Verhaag auf Dauerrotation
Im Saal
„Kinderprogramm“
mit Kartoffel-Stempel-Aktion
Katrin
zum
Schwermer-Funke (Kultur.
Thema
Lebensmittel
&
„Faktenwand zu Kartoffeln & Food Waste“
die kollektiv ergänzt und kommentiert werden kann
Im Foyer
„Foto-Station mit Herzkartoffeln“
Infostände
 Sounds for Nature Foundation e.V., Slow Food Youth, Stiftung Umwelt und
Entwicklung NRW, Gemeinschaftsgarten NeuLand
Drinnen und
draußen
3 Kochstationen
Bildquellen: 1, 2, 4-8 http://topfsache.de/kartoffelshow/; 4 Michael Dettmer pixelio.
76
Sounds For Nature Foundation e.V.  Auguststr. 18  53229 Bonn

GreenEvents Europe 2014 Full Conference Report

Transcription

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