I believe that we are all connected by these invisible threads, the shared sinew amongst all living things, that includes humans, plants, animals, what have you, and that what art is, is the lighting up, making those invisible threads visible. … It doesn't really explain in that analogy what art is, but it certainly speaks to the way it functions and why it should matter to society : why arts should matter.In this episode, Robin Sokoloski (she/her) discusses her recent experiences and current work in the arts research sector with a focus on how the arts community can have meaningful impact on  climate change and on community-engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.Robin has been working in the arts and culture sector for over twenty years. I remember her coming to us while I was working at Canada Council with this crazy idea for Mass Culture and 20 years later it is wonderful organization where she is Director of Programming and Research of Mass Culture, where Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research.My last conversation with Robin Sokoloski was e61 from research to action in 2021. This time we focused on the end of the world as we know it and the role of art came up, including how to use tools such as the Living Climate-Impact Framework for the Arts project, (see e195 emma bugg - art, scholarship and environment for details) and how to better mobilise the arts sector around climate change. Robin, who is a co-founder of SCALE and a leading voice in the Canadian arts service organisation climate action movement and I like her ideas: We're so good at bringing people together and having conversations, as an arts community, on a very surface level about very serious, complex issues. But we need the tools beyond just facilitation and different convening models. We actually need measuring sticks or whatever is at our disposal that we can feel confident in to be able to have those deeper level conversations. And that's what this framework does. I'm noticing as I'm bringing the art service organizations together around these conversations around climate, it's been very focused on climate mitigation. Fine, fair enough. I think that's a very important and valuable thing to be aware of. But now, whether we like it or not, we're at a point where we need to start thinking about climate adaptation. And this is a new frontier for me. I know it's also a very new space for the funders. And so what I think we need to be able to do, and what I feel very proud of what we're starting to achieve, is bringing both the funders together with different actors within the arts community to apply tools like Emma's framework to have these deep conversations about how we can move towards action. What does this look like for us now? What changes do we need to make?Robin also believes in community-engaged arts and the in ‘walking her talk’ by integrating participatory processes in everything she does: Community engaged arts is really a set of principles that I have completely been able to live by throughout my career. So fortunately, specifically within mass culture, I align community engaged arts very closely to a methodology within academia called participatory action research. And what's so relevant and how I feel that community engaged arts can have a real significant impact on art and climate is because of these principles which always rate relationships above anything else. After our conversation, I wrote to a friend that ‘Robin is one of the holders of key knowledge for the future of the arts in this country’ and I think she’s just getting started. Robin recommends the following resources:Research in Residence: Arts’ Civic Impact by Shawn NewmanEmergent Strategy by Adrienne Maree BrownDesigning Immersive Gatherings workshop  by Zach Morris *Sections of the podcast (generated by AI and reviewed by Claude Schryer)Welcome BackIn this introductory chapter, Claude welcomes Robin back to the podcast after three years, setting the stage for an engaging conversation about art, climate change, and community arts.Introducing Robin SokoloskiRobin shares her background, including her roots in Brantford, Ontario, and her role as the director of Mass Culture, emphasizing the importance of understanding the art sector’s impact on society and the environment.The Climate Crisis and Art’s RoleThe discussion shifts to the current climate crisis, with Robin reflecting on her work related to environmental issues and how the arts community can contribute to meaningful change.Living Climate Framework for the ArtsRobin explains the Living Climate Framework for the arts, a tool designed to help the arts community navigate complex conversations about climate action and its intersection with art.Barriers to Engagement in the ArtsThe conversation delves into the barriers faced by arts organizations in addressing climate change, highlighting the need for deeper discussions and tools to facilitate meaningful engagement.Community Engaged ArtsRobin discusses the principles of community engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.The Future of Arts in a Changing WorldThe discussion turns to the future of community arts in the face of societal changes, exploring how arts can foster solidarity and cooperation in local communities.Arts as Meaning MakersRobin reflects on the role of the arts in making meaning of the world, especially in a time when trust in information is crucial, and how artists can narrate diverse truths.Recommended Reads and ResourcesRobin shares her current reading list, including insights from research on civic impact in the arts and the importance of experience design in bringing people together.
*END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020. It’s my way to give back.This Indigenous Land Acknowledgement statement was developed by members of the Algonquin community for my former employer the Canada Council for the Arts. I have adapted slightly to make it my own.I acknowledge that my studio, located in Ottawa, is on the unceded, unsurrendered Territory of the Anishinaabe Algonquin Nation whose presence here reaches back to time immemorial.I recognize the Algonquins as the customary keepers and defenders of the Ottawa River Watershed and its tributaries. I honour their long history of welcoming many Nations to this beautiful territory and uphold and uplift the voice and values of our Host Nation.Further, I offer my respect and affirm the inherent and Treaty Rights of all Indigenous Peoples across this land and honour commitments to self-determination and sovereignty that have been made to Indigenous Nations and Peoples.I acknowledge the historical oppression of lands, cultures and the original Peoples in what we now know as Canada and fervently believe the Arts contribute to the healing and decolonizing journey we all share togetherIn parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish a free ‘a calm presence' monthly Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.Share what you like, etcI am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on January 9, 2026

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