Theatre Academy alum Iiris Laisi: “Ecocrises underlie everything there is”
“I don’t want to be simply escapist, difficult or abstract in my art but use my time and position on political art and actions in a more direct way. It’s important to bring up the structural connections of the ecocrisis and boldly point a finger at those who are able to change things or who maintain the current state of affairs. My aim is to instil faith in that people want to see change around them and also change themselves.” Read Iiris Laisi’s interview.
How have themes, questions or practices of ecological sustainability been visible in your own work or studies now or in the past?
Our culture and society aren’t ecologically sustainable, as they’re based on overconsumption, fossil fuels and global oppression. I’m active in the Elokapina/Extinction Rebellion Finland movement and think that ecological sustainability is something that we activists work towards. A lot of times my days as a student seem to be separate and detached from this reality, and I hope that people would devote more attention, time and resources to these things. Climate has overheated already by over one degree, and globally, the effects of ecological crises include flooding, for example, which forces millions of people to leave their homes.
During my studies, the ecocrisis and social issues in art have barely been discussed. There’s a lot more potential in the field of dance when it comes to exploring a more sustainable, different way of being, but if I don’t anchor my practice to this kind of examination of “different way of being” I would feel that I practise my skills only for the stage or virtuoso dance art, not for a sustainable world. Openly social and opinionated art can also offer a wonderful art experience.
Besides dance, writing is an important form of self-expression for me. I want to be political and socially aware in my own practice and art and also bring up conflicts. I don’t want to be simply escapist, difficult or abstract in my art but use my time and position on political art and actions in a more direct way. It’s important to bring up the structural connections of the ecocrisis and boldly point a finger at those who are able to change things or who maintain the current state of affairs. My aim is to instil faith in that people want to see change around them and also change themselves.
Why do you think ecological sustainability is important or interesting in your own work or studies?
Ecocrises underlie everything there is. Without functioning ecosystems, my life or anyone’s lives wouldn’t exist, and neither would art.
We live amid these crises and are part of them. The artist’s role is rare in the sense that we have more freedom and autonomy compared to a lot of others when it comes to where we can steer our own and our collective attention. Nobody should afford to be an apolitical artist detached from the reality. Not all artworks need or should discuss ecocrises, but all publicly active artists could use their visibility for promoting collective awareness of crises and supporting operators that build a more sustainable world.
What is Uniarts Helsinki’s role in environmental issues or what should it be?
Uniarts Helsinki’s primary mission is education, and I wish that students would be steered towards also other paths than individual artistry and branding of one’s work. I’d like to see the university make room for collectively expressing concern, showing care, sharing things we have learned and for collective agency. We need more courses and teaching where people could examine ecocrises and their systemic backgrounds in a practical and comprehensive way. Environmental crises stem from racism, capitalism and eurocentrism.
Uniarts Helsinki could also be more publicly vocal about matters and show its support to those who fight against fossil capitalism. Elokapina, for example, has published an open letter and call for action addressed to cultural institutions.
The fourth goal in Uniarts Helsinki’s strategy is that “art is part of the solution to the ecological sustainability crisis”. What does this make you think? If art is or was part of the solution, what kinds of things could that mean in practice?
We already have the means to curb environmental crises, so it’s not like we need to reinvent the wheel. What we need now is political pressure to start implementing these measures, and Uniarts Helsinki could take on a stronger role than before in this work. Staying neutral is not part of the solution to sustainability crises.
The goals that Uniarts Helsinki has set for itself could also be more ambitious. The target year for reaching carbon neutrality could be earlier, for example, preferably right now.
What do you think of Uniarts Helsinki’s environmental programme?
I endorse the cause that the environmental programme represents, but I find the programme too slow and insufficient. There should be more concrete actions and more efficiency and ambition. Supporting collective cooperation is an especially good measure, but that, too, should be more concrete: what is the university doing and how?
What kind of art has made an impact on you?
Openly political works have made the biggest impact on me. When I was younger, Noora Dadu’s monologue Minun Palestiinani was really important, for example, as was the play Veriruusut at Kom Theatre. These performances were one of the reasons that made me want to apply for dance studies – they have been powerful, they have affected my body and thinking and what I want to work for in my life. Pina Bausch’s performance at Dance House Helsinki was also really impressive, although it didn’t deal with the climate crisis.
Brazilian Gabriela Carneiro da Cunha’s Altamira 2042 was also very significant and inspired me to examine my own studies in even quite a ruthlessly critical way. The piece focused on how the lands, forests and water areas defended by indigenous people are being destroyed. In the piece, a real event, a situation, a place, people and experiences were brought here, and even as Finns, we were able to take part in the experience of how that isn’t right. Through my studies, I got to meet with two artists of the working group when they held a workshop, and I’m really grateful for that. I wish these kinds of things could be at the core of our studies and not available to just a limited, small group of students who are interested in them.