_The Creative Wealth of Nations_ United States, the second largest emitter of carbon dioxide (at the moment), colleges have increased courses on the arts and climate change.<sup>85</sup> In Europe, Imagine 2020 – Art and Climate Change network, has brought together 11 European performing arts organizations to increase awareness of climate change within the arts community and the public at large. “2020,” the network argues, “is a realistic date to work towards for making changes necessary to stabilise the climate and secure a sustainable future.” Ultimately, art “should provide a physical and imaginary space where people can take a step back, away from the corporate, the commercial and the educational, to exchange and engage with each other.”<sup>86</sup> With support from the European Union, Imagine 2020 works in nine countries now. (These are Belgium, Croatia, France, Germany, Latvia, Netherlands, Portugal, Slovenia, and the United Kingdom.) It hopes to recruit more countries from Europe and across the Mediterranean.<sup>87</sup> Artists like U2’s Bono (a common guest at the WBG) use their ‘star power’ to sensitize the public about climate change. _An Inconvenient Truth_ , a documentary about former American Vice President Al Gore’s efforts to promote awareness on global warming, garnered international acclaim. These artistic endeavors communicate in ways policy speeches may fail to deliver.

In direct terms, it “is also argued that the types of jobs created in the cultural sector are greener, more enjoyable and deliver greater non-pecuniary rewards to workers than is the case for jobs in other sectors such as manufacturing.”<sup>88</sup> And, as “a basis for effective employment policy,” Throsby argues, “the culture industries offer governments a particularly attractive target for investment, since the labour content of cultural output is typically higher than in other sectors.”<sup>89</sup> Needless to say, artists enjoy what they do.

This passion, coupled by necessity, perhaps propelled the creation of the Recycled Orchestra of Cateura, Paraguay that uses instruments made out of garbage. This story inspired the documentary called Landfill Harmonic. We conclude this section by highlighting this innovation in box 7.

|| Box 7 || Landfill Harmonic: ‘The world sends us garbage. We send back music’<sup>90</sup>

**The Recycled Orchestra of Cateura, Paraguay**

Favio Chávez, the Director of The Recycled Orchestra of Cateura became acquainted with children and their families “while working on a waste recycling project at the landfill of Cateura. In this area more than 40% of children don’t finish school because their parents need them to work. [This connects to Adam Smith’s observation discussed earlier.] Being an environmental engineer but with a musical background, one day he decided to help the children by teaching them music lessons. The idea was simply to keep the kids from playing in the landfill.

‘At first it was very difficult because we had no place to rehearse and we had to teach in the same place where the parents were working in the trash,’ said Chávez. ‘The children knew nothing about music and it was very difficult to contact parents because many of them do not live with their children.’

> 85 Richard Pérez-Peñamarch, “College Classes Use Arts to Brace for Climate Change,” _New York Times_ , March 31, 2014, accessed July 1, 2014, http://www.nytimes.com/2014/04/01/education/using-the-arts-to-teach-how- <u>to-prepare-for-climate-crisis.html?_r=0.</u> 86 Imagine 2020, accessed July 27, 2014, http://www.imagine2020.eu/. 87 Ibid.

> 88 David Throsby, _The Economics of Cultural Policy_ , 40.

> 89 Ibid., 39-40

> 90 Landfill Harmonic, accessed July 28, 2014, http://www.landfillharmonicmovie.com/.

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