Towards a Community of Practice in International Environmental Artivism
In the face of hostile environmental politics, what can we learn from environmental activists and artists in Southeast Asia? Drawing on deliberative workshops in Malaysia and the UK, Dr Felicia Liu and Dr Thomas Smith explore how artists, activists, and researchers collaboratively reimagine our relationship with the environment to shape behaviour and action. Three insights emerge: art as a form of environmental knowledge in its own right; art has the power to bridge disciplines, geographies, and lived experiences; but there remain structural challenges in enabling art-activist-researcher collaboration. While tensions persist, these encounters highlight the potential for building an international community of practice for sustaining imagination, resistance, and collective environmental futures worldwide.
At a time of escalating climate and ecological crises, what lessons can we learn from environmental artists and activists in Malaysia in driving environmental action in an increasingly hostile politics for climate action?
In the summer of 2025, Thomas Smith, together with a research team from the University of York led by Felicia Liu, hosted two deliberative workshops in Malaysia and the UK to explore this question. Together, these gatherings brought artists, activists, and researchers into the same room to explore how artivism, i.e. the fusion of art and activism, can shape climate discourse and resistance.
Despite differences in geographies and our lived interaction with the environment, three key themes emerged from both workshops. outreach.
‘Art’ as Knowledge
Across both Malaysia and the UK, participants challenged us to break down exclusive definitions of ‘art’ and contributed their conceptualisations of what ‘art’ means in their own culture. For example, one participant pointed out that in some cultures there is no specific vocabulary for ‘art’ and ‘artist’. Rather, ‘art’ is woven into everyday social, cultural, and spiritual rituals, which are in turn deeply embedded within the natural environment.
Participants returned to one crucial point: art in itself is a form of environmental knowledge.
As such, art should not be reduced to an instrument to translate environmental science into cognitively digestible and emotionally relatable messages. This “art versus science” knowledge hierarchy is especially sensitive within Southeast Asian contexts, wherein ‘environmental science’ is often associated with ‘Western’ authority, while other forms of knowing the environment are marginalised.
To this end, participants discussed approaches to artistic practice as a site of inquiry, critique, and imagination in its own right, which ranged from outdoor classrooms by the River Klang, artistic documentation of (re)introducing native species, to using public spaces as canvases to solicit interaction with the general public.
Bridging Worlds Through Art
Participants come from diverse artistic, academic, professional, and personal backgrounds, representing practices in painting, printmaking, sculpture and music, as well as research in science and humanities.
It became clear very quickly that art acts as a bridge between disciplines, sectors, and geographies. For example, Greenpeace Malaysia shared its success in galvanising awareness and action through a haze art exhibition. The pieces reminded the general public of the emotions they felt during a haze crisis, and motivated them to take action outside of the haze season. Similarly, Beyond Borders in York shared the power of storytelling in instilling hope, building resilience, and empowering the general public to construct more environmentally progressive narratives amid the climate crisis.
In both workshops, our participants stressed that by evoking shared memories of lived experiences of anthropogenic environmental change, art can make abstract crises immediate. It can also give voice to communities and perspectives, especially the perspectives of Indigenous communities, women, and ethnic minorities, that are typically marginalised in mainstream environmental discourse and science. Amid the dominance of techno-scientific approaches in environmental discourse, art rehumanises the conversation by reminding us that the environmental crisis is, at its core, a lived experience.
Collaboration Within Structural Limitations
Despite the enthusiasm in the room, we are realistic about the challenges of praticising environmental artivism’. Even though international collaborations across art and academia can be generative, but they are not frictionless: academic timelines do not always align with activist urgency; artists often navigate precarious funding and employment landscapes; institutional structures can privilege certain forms of labour over others.
Participants in both contexts stressed the need for:
● Clear shared values and goals
● Ongoing, open communication
● Attention to power imbalances, including but not exclusive of the tensions between Global North and South, between institutional employment and freelance work, between ethnicities and races
● Resources to support the time and care required for genuine co-creation
Our workshops demonstrated that while deliberative spaces can catalyse collaboration, including multiple funded follow-on projects since the workshops, they do not automatically undo entrenched hierarchies in how knowledge and creative labour are valued.
Towards an International Community of Practice
The Malaysia and York workshops revealed both possibilities and fragility. We’ve built friendships; we’ve shared our common goals and purposes; we’ve begun to explore new collaborative frameworks. Yet, there remain unanswered questions that only continued conversation and deliberation can resolve.
Moving forward, we aim to foster deeper exchange between Malaysian- and UK-based participants and to develop a shared framework for ethical artivist collaboration, co-authored with those who contributed their knowledge to the workshops. This has already led to the commissioning of seven art works and a piece of gamelan music to be produced by Malaysia- and UK-based scientists and artists/musicians.
Southeast Asia, with its rich creative cultures and varied political contexts, offers powerful lessons about how art can help people to imagine and galvanise action to forge alternative futures. As governments worldwide tighten controls on speech and climate action, these lessons resonate internationally. In a time when formal environmental governance channels often feel blocked or insufficient, art sustains the spaces in which better futures can still be collectively imagined, debated, and acted upon.
If you are interested in joining this evolving conversation, we welcome you to get in touch and be part of what we hope will become a lasting international community of practice in environmental artivism.
*The views expressed in the blog are those of the authors alone. They do not reflect the position of the Saw Swee Hock Southeast Asia Centre, nor that of the London School of Economics and Political Science.
**Banner photo by Elena Mozhvilo on Unsplash
The post Towards a Community of Practice in International Environmental Artivism first appeared on LSE Southeast Asia Blog.
