How can we make a theatre production, a design event, a festival, or a cultural institution more sustainable? What role can the creative sector play in making new ways of thinking, social models, and more sustainable visions visible?
These questions were explored in the sustainability webinar of the Visegrad Art Market – happy to share project, presented by Gábor Lévai, founder of Scale Impact and the Sustainable Business Academy. The discussion examined the sustainability opportunities in the cultural and creative industries not from a theoretical perspective, but through practical examples.
What does sustainability mean in the creative sector?
One of the starting points of the webinar on March 27, 2025, was that sustainability is not solely an environmental issue. In the cultural and creative sector, it manifests simultaneously in:
- material use,
- energy consumption,
- transportation and logistics,
- social messaging,
- working conditions,
- and the long-term financial viability of institutions.
The three pillars of sustainability—environmental, social, and economic sustainability—are particularly closely intertwined in the cultural sector. A cultural institution or creative enterprise has an impact not only through the way it operates, but also through the stories it tells, the people it makes visible, and the values it conveys to its audience.
Why is sustainability important for cultural organizations?
Cultural organizations use a significant amount of materials: sets, costumes, printed communication materials, installations, packaging materials, and event technology equipment. These often have short lifecycles and become waste after a single production or event.
At the same time, this is precisely where the opportunity lies. The creative sector is capable of reinterpreting materials, giving objects a story, and setting an example of how to create a powerful visual, artistic, or community experience using fewer resources.
Circular Thinking in Theatre, Film and Design
One of the central themes of the discussion was the lifecycle approach. This means that right from the very first moment of planning, it is worth considering:
- where the material comes from,
- how long we will use it,
- what happens to it after the production or event,
- whether it can be reused for another purpose,
- whether it can be shared with another institution or creator.
Traditional operations are often linear: we build it, use it, then throw it away. A more sustainable approach, by contrast, is circular: sets, costumes, installations, or technical equipment can be given a new life in other productions, community projects, or creative upcycling processes.
Upcycling and Reuse in Creative Productions
Upcycling, or creative reuse with added value, fits particularly well with how the creative sector operates. Old wood can become sets, vintage clothes can become costumes, used banners can become bags, and tents left behind at festivals can be turned into new products.
This is not only beneficial from an environmental perspective but can also create aesthetic and economic value. Reused materials can give a production a unique texture, story, and character, while reducing costs and waste.
The webinar highlighted the London National Theatre’s material-sharing practices, as well as the sustainability efforts of festivals and bands.
Sustainable Communication and Printed Materials
Cultural events are often accompanied by posters, flyers, programs, catalogs, banners, and merchandise. These are important communication tools, but their short lifecycle can also result in a significant environmental impact.
More sustainable solutions may include:
- using recycled paper,
- employing digital program booklets and QR codes,
- designing reusable signs and modular installations,
- producing fewer single-use promotional items,
- creatively reusing old banners and signs.
An important lesson from the discussion was that digitization is not automatically sustainable. Online solutions also have an environmental footprint, so the goal is not to replace everything with digital alternatives, but to consciously choose the solution best suited to the given situation.
Sustainable Event Planning: Transportation, Catering, and Waste
The cultural and creative sector has significant event-organizing capacity, making the sustainability of events a priority. The webinar also addressed audience and performer travel, catering, food waste, waste management, and the environmental footprint of festivals.
Practical steps could include, for example:
- encouraging public transportation,
- supporting travel by bicycle,
- promoting carpooling,
- prioritizing plant-based or local catering,
- implementing reusable cup systems,
- recycling and waste separation,
- reducing unnecessary decorations and single-use items.
One key insight from the discussion was that, when it comes to transportation, it matters whether hundreds or thousands of audience members travel to an event, or whether the performers take the production to multiple venues instead.
The Role of Social Sustainability in Culture
Sustainability does not stop at materials and energy consumption. The cultural sector has a particularly strong social impact, as it shapes stories, role models, and community norms.
The discussion highlighted that sustainability can include:
- diverse casting,
- increasing the visibility of women, creators with disabilities, and other underrepresented voices,
- ensuring fair working conditions,
- preventing burnout and exploitation,
- engaging communities,
- and the conscious organization of volunteerism.
One of culture’s greatest opportunities is that it can not only become more sustainable in its operations but also influence the way the public thinks.
Volunteering and Community Participation in Cultural Projects
Based on the experiences of the Polish participants, the webinar also focused specifically on the role of volunteering. A well-organized volunteer program is not simply short-term assistance, but a tool for community building and skill development.
Volunteering works sustainably when:
- volunteers are given clear tasks,
- they are provided with training and support,
- they feel the meaning and impact of their work,
- they can become part of a real community.
This is particularly important for cultural events, festivals, and urban community projects, where volunteers can bring fresh energy, creativity, and social connection to the processes.
Economic Sustainability: Greener Operations Don’t Always Cost More
One recurring question during the webinar was how smaller cultural organizations can become more sustainable when they’re already operating on tight budgets.
An important part of the answer: sustainability does not always mean additional costs. In many cases, it actually results in savings:
- lower energy consumption,
- less printing,
- shared use of equipment,
- renting instead of buying,
- reused sets and costumes,
- communication materials designed for the long term.
The economic side of sustainability is therefore not merely a question of financing, but also a question of operational models. Cultural organizations should consider where they lose the most resources and what data and metrics they can use to make step-by-step improvements.
Sustainability Communication: Authenticity Without Exaggeration
An important point of the discussion was the authenticity of sustainability communication. Cultural organizations should showcase their best practices, but it is important to avoid exaggerated claims.
The foundation of authentic communication is to clearly articulate:
- what we have done,
- why it is important,
- what impact it has,
- and where we still want to improve.
Sustainability is not about perfection, but about continuous learning and improvement. This is particularly important in the cultural sector, where audience trust and institutional credibility are of paramount importance.
The Cultural Sector as a Driver of Sustainable Change
One of the webinar’s strongest messages was that culture can be not only a follower but also a shaper of the sustainable transition. Creative professionals, performers, institutions, and creative communities create stories, images, and experiences that influence how we think about happiness, consumption, community, and the future.
The greatest resource of the cultural and creative sector is creativity itself. This can help us not only to do less harm, but also to create new operating models, new community practices and a new ways of imagining society.
The goal of the Visegrad Art Market – happy to share project is to initiate a regional dialogue on these issues and connect creative professionals from the Visegrad countries. The sustainability webinar clearly demonstrated that change often begins with simple questions. What do we use? How do we organise? Who do we involve? What story do we tell? And how can we operate a little better tomorrow than we do today?
