To co-create a cultural transformation, we wish to enable the creation of thematic + community Networks for the Planetary Arts.
Planetary Arts Networks can be established for themes or principles reflected in the Manifesto for Planetary Arts, with a national, regional, and global reach, bringing together like-minded organisations and communities for collaborative action.
Planetary Arts Networks can be established with virtual or locally based communities to enhance local engagement with creatives and inspire imaginative, creative community events.
Planetary Arts Networks can co-brand collaborative events + activities, and share highlights with the wider Planetary Arts community.
Volunteers for Planetary Arts Networks:
Volunteers for Planetary Arts Networks can identify the theme or community they wish to coordinate and advance.
Coordinators for Planetary Art Networks can identify their scope, objectives, and future plans in discussion with the 91黑料网 of Art and Science, become part of a community of Planetary Art Networks, and share highlights with the wider community.
Aim: to source, coordinate, and provide human and textual resources for spoken-word or Ecopoetry elements of PAM/WAAS materials, events, and publicity, and ensure such resources are broadly in alignment with WAAS aims and goals.
Objectives:
1. Engage organisations/partners to apply Ecopoetry as a catalyst for insight, pro-environmental change & peace;
2. Engage organisations/partners to seek ways to enmesh artistic activity towards greater collaboration that drives mutual enrichment, transformation & ecological respect;
3. Enhance diverse word-based exchanges that foster a sense of oneness in difference, towards greater global unity and ecological respect;
4. To grow a stable of Ecopoetic and spoken-word excellence; to deploy when requested for PAM’s ongoing engagements with general audiences, schools/youth, the media, key influencers, and communities worldwide; and to act as main liaison and record-keeper for said stable;
5. Contribute to the Plan for the Planet by orchestrating high-impact Ecopoetry & spoken art participations and interventions that persuade/challenge/celebrate rather than blame or merely indict, in accordance with the principles upheld in the Manifesto for Planetary Arts;
6. Provide said resources in support of PAM projects and activities in corporate and other sectors.
Mario Petrucci (born in Lambeth, London) is a British-Italian poet, literary translator, educator, and broadcaster. Known for his pioneering work in science poetry听补苍诲听ecopoetry. Trained as a physicist at Cambridge, and later earned a PhD in crystal growth at University College London. He also studied and taught environmental science at Middlesex University before turning fully to literature.
He became the听first poet-in-residence听at both the Imperial War Museum and BBC Radio 3. His debut collection听Shrapnel and Sheets听(1996) won a Poetry Book Society Recommendation. Over his career, he has won more than 20 national and international poetry competitions, with themes ranging from love and loss to war and ecological issues.
Petrucci鈥檚 work extends into听translation听(including Hafez, Montale, Catullus, Sappho, Rumi, and Saadi) and听film, notably听Heavy Water听补苍诲听Half Life, which explore the Chernobyl disaster. He also created听Tales from the Bridge in collaboration with Martyn Ware, a large-scale poetry soundscape for the London 2012 Cultural Olympiad, experienced by millions.
Beyond poetry, he has contributed to听cross-disciplinary projects听linking science, ecology, and the arts. He has delivered talks for organizations such as the British Council and the United Nations. His archive is held by the British Library, and his recordings are preserved in The Poetry Archive, cementing his role as a major voice in contemporary poetry and eco-literature.
mmpetrucci@hotmail.com
Aim: Weave alliances, initiatives, and gatherings from Pacific archipelagos to Indigenous homelands across the Americas, nurturing a visionary arts current that treats shared systems of place, infrastructure, and interconnected media as evolving communal canvases shaped by collective imagination and care.
Objectives:
1. Engaging organisations and partners who are using artistic practice to foster peace, cultural renewal, and healing, with special attention to Pacific Islands, Indigenous communities, and people with disabilities.
2. Working with groups that are experimenting with new forms of shared governance, cooperatives, and community infrastructures, and helping them see their work as a form of living art in which systems themselves become expressive media.
3. Co鈥慶reating exchanges, residencies, and events that bring together indigenous knowledge, design science, spatial computing, accessible media, and AI to tell new stories about energy, climate, and community futures.
4. Linking local experiments and campaigns to the broader Planetary Arts constellation so that lessons, images, and methods can travel between places without erasing their cultural specificity.
5. Supporting youth and emerging artists as co鈥慳uthors of this work, and treating civic tools such as PACs and cooperatives as creative instruments that can be tuned toward greater participation, stewardship, and care.
6. Reaching out to aligned philanthropies, patrons, and innovators in technology to support projects that make advanced tools (AI, digital twins, mixed reality) available as instruments for community imagination and self鈥憆epresentation.
Gordon Lee Fuller is an artist, futurist, design scientist, systems architect, and author whose work fuses imagination, civic purpose, and planetary responsibility. Guided by what he calls his “Future Sense,” he has spent five decades at the intersection of visual art, emerging technology, and community stewardship. As co-founder of Fullervision Design Science, he develops frameworks that treat the planet itself as a shared artwork in progress.
Fuller pioneered the world’s first digital twin cyber-physical cities of the metaverse, demonstrating that three-dimensional worlds, broadband networks, and real-time data can become navigable public spaces. His early work proved that immersive media could serve spatial justice, expand accessibility, and allow communities to rehearse and co-author their collective futures.
Across decades of entrepreneurship and systems design, he has shaped projects spanning community broadband, resilient communications, renewable energy, and human-centred smart city frameworks. He approaches infrastructure as a macrocommons 鈥� a shared field of resources designed for common prosperity rather than extraction 鈥� applying AI and networked tools to widen participation, strengthen local capacity, and honour culture.
Fuller is also a widely recognised author and inspirational speaker, known for translating complex systems into clear, compelling narratives that bridge policy, philosophy, and lived experience. His writing articulates an “age of awareness” in which energy, information, and value form one living continuum, calling humanity to act as future ancestors rather than short-term consumers of the planet.
Grounded in place-based responsibility and indigenous wisdom traditions 鈥� including kuleana, aloha 驶膩ina, and relational abundance 鈥� Fuller aligns advanced technology with cultural respect and intergenerational care. Through collaborations with the 91黑料网 of Art and Science he contributes as both systems thinker and practicing artist, developing planetary civic artworks and narrative digital twins that make global risks and opportunities tangible to broad audiences.
fullervision@me.com
Aim: Coordinate related planetary arts partnerships, activities, and events to enhance a culture of peace.
Objectives:
1. Engage organisations and partners that apply the arts as a catalyst for peace.
2. Engage organisations and partners that work together on creating cultural transformation.
3. Enhance East-West cultural exchange and understanding through planetary arts activities and events.
4. Connect partner activities to related planetary arts events and apply AI and innovative technologies to enhance community engagement to create a culture of peace.
5. Contribute to advancing the Plan for Peace and youth leadership by enhancing the role of planetary arts in creating a culture for peace.
6. Active outreach to the corporate sector to mobilise resources that support the planetary arts movement, deliver projects and activities related to enhancing a culture of peace.
Fumiko Green听is a Planetary Arts Network Coordinator advancing a culture of peace through intergenerational arts, cross-cultural dialogue, and governed cultural collaboration across Japan, the United States, and global partners.
For over three decades, she has built bridges between communities, educational institutions, civic organizations, and international networks. Her work integrates hands-on artistic engagement, historical memory, and cultural diplomacy to strengthen human security from the individual to planetary level.
She is a long-standing leader in the听Kids Guernica Peace Mural Project听(est. 1995), engaging children globally in collaborative mural creation inspired by Picasso鈥檚听Guernica, fostering early peace literacy and community resilience. She also coordinates the听Dual Peace Violin Tours, featuring the Hiroshima Hibaku Violin and Violins of Hope, using music as a gateway to historical consciousness and reconciliation across cultures.
Her initiatives extend to kimono cultural preservation, youth STEM engagement (including nuclear workforce education), architectural sustainability internships, and AI-assisted cultural knowledge transfer鈥攁ligning with the Age of Culture (TAOC) and Horizon鈥檚 governance vision of culture as infrastructure.
Through collaboration with Rotary International, universities, cultural schools, and civic partners across Kakogawa, Bethlehem, Fujinomiya, Pittsburgh, and beyond, she strengthens East鈥揥est exchange and youth leadership.
Her work embodies the Plan for Peace principle: culture as a living system that connects individuals, communities, and nations toward planetary peace.
mikogreen@yahoo.com
Aim: coordinate artistic behavioral-change initiatives aligned with planetary well-being within PAM, and integrate creative expression, community engagement, and cultural narratives to develop an intersectoral network of stakeholders interested in shifting ethics and norms towards stewardship and sustainability.
Objectives:
1. Establish a cross-sectoral network and database of organizations interested in SBC Arts.
2. Build a global professional network of companies producing artworks or conducting research on SBC Arts and related fields.
3. Facilitate stakeholders’ matchmaking, connecting governments, intergovernmental organizations, civil society groups, private enterprises, in particular, media production, and think tanks for providing social behavior change campaigns and creating policies.
4. Provide a collaborative environment to enable easy and effective communication among SBCA professionals, as well as interaction with representatives from other sectors.
5. Create both virtual and in-person spaces for sharing research findings on arts and ethics, behavior change, communications philosophy, and sustainability.
6. Organize thematic events aimed at implementing SBCA projects on a planetary scale and exploring the role of art as a catalyst for social change.
Alena Maslova is an international media producer, ethicist, language philosopher, art researcher, and active co-author and supporter of the concept of Sustainability and Well-Being Arts. Graduated with honors from Lomonosov Moscow State University and Kingston International College in Singapore.
In 2022, Alena founded a Sustainability Arts think tank and production company, “Dobrosphera,” which produces research-based films, cartoons, songs, translations, and poems on the well-being of humans and nature to provide social behavior change communications worldwide. At the intergovernmental level, Alena has been highlighting the “art as a social change tool” agenda.
Alena is the speaker of COP28 and the organizer of side events on arts for COP29, COP16 Colombia, COP30, and SB64, co-authored by Nobel Prize laureate Alexey Kokorin and Svet Zabelin, a Goldman Prize winner. In 2023, Alena became a winner of the UN Women EXPO prize as an entrepreneur and of the UNDP media contest 鈥淗ow can Kyrgyzstan achieve carbon neutrality by 2050?鈥�
The Social Behaviour Change Arts framework, developed by Alena at Dobrosphera, combines therapeutic hypnosis with effective communication strategies and an orientation to kindness, human and nature rights, and respectfulness. Nowadays, 76 pilot research-based behaviour change art projects in 49 countries have been launched, bringing both impact and international teams鈥� cooperation.
writetokindmedia@gmail.com
Aim: To bring together street artists to create meaningful and empowering art projects, helping to transform public spaces and give a powerful voice to marginalised communities.
Objectives:
1. Foster international networking amongst street artists through collaborative ventures such as street art events and festivals, shared spaces and studios, cross-disciplinary partnerships, and digital platforms.
2. Promote street art as a global tool for activism because of the visible, accessible, and memorializing way it can change urban environments into canvases for social and political commentary.
3. Advocate for street art as a means to enhance community identity and narrative ownership, social cohesion, and aesthetic revitalization.
4. Democratise art through street art by breaking down traditional barriers, removing gatekeepers, and increasing societal participation.
5. Provide mentoring and guidance to emerging street artists in regard to technique and style, legal and ethical considerations, and engaging with organizations and communities.
For over half a century, Andy has worked in various artistic disciplines, from photography for London’s Vogue in the 1970s to contributing to Bristol’s vibrant street art movement in the 1980s. After stepping away to live in Europe to overcome addiction, Andy has returned to the UK and re-established himself as a central figure in Bristol’s art scene, including using his lived experience to guide other addicts toward recovery through art-based programs.
As a prolific British painter and muralist whose visceral, technical mastery is forged from a life of profound upheaval and creative resilience, he emerged from the Bristol punk scene of the 1980s. Colwill pioneered a singular “soak-stain” technique鈥攄eveloping a method akin to those of masters like Helen Frankenthaler鈥攂y using untreated canvas, curtain linings, and household paints to achieve a raw, startling precision.
A former scenic artist for the BBC and theater backdrops, he is known for grand-scale ambition, notably his 1988 solo exhibition at Ashton Court Mansion, which drew over 1,000 visitors. Now supported by a dedicated global following of collectors, his work serves as a powerful intersection of fine detail and grit, documenting a life of “self-belief” shaped by the streets of Bristol and the landscapes of the Mediterranean.
andisart@live.co.uk
Aim: To establish and coordinate a thematic Planetary Arts Network that advances art as a cognitive, relational, and systemic interface 鈥� integrating Meta-Neuro Art and Neuro-Diplomatic Art Systems (NDMA) 鈥� to foster planetary awareness, human alignment, and transformative interdisciplinary collaboration across artistic, scientific, and technological domains.
Objectives:
1. To engage organisations, researchers, artists, and institutions in developing art-based frameworks that function as systems for cognitive regulation, perceptual transformation, and relational alignment across cultures and disciplines.
2. To advance the integration of Meta-Neuro Art methodologies, enabling artistic practice to operate as a translator of complexity into perceptual and experiential forms that connect scientific data with lived human awareness.
3. To design and develop interdisciplinary environments in which art, artificial intelligence, and neuroscience converge as structured systems, with AI functioning as a human-in-the-loop analytical tool supporting adaptive cognition, relational awareness, and global dialogue.
4. To develop and implement Neuro-Diplomatic Art Systems (NDMA) as a methodological and applied framework, enabling scalable models for cultural diplomacy and coherent, ethically grounded interaction between human consciousness, technological systems, and planetary processes.
5. To facilitate collaborative ecosystems 鈥� including laboratories and creative initiatives 鈥� that generate measurable cognitive, cultural, and social impact through closed-loop adaptive systems, translating conceptual frameworks into lived experiences, public programmes, and artistic interventions.
6. To serve as a bridge between knowledge systems 鈥� connecting scientific data, indigenous wisdom, artistic intuition, and policy frameworks 鈥� to support integrative Planetary Arts approaches grounded in Earth observation systems, environmental data infrastructures, and other planetary sensing systems.
7. To support youth and emerging artists as active contributors and co-creators within this evolving field, integrating art, science, education, and global dialogue into accessible and transformative learning experiences.
8. To contribute to the Plan for the Planet by demonstrating how artist-directed, human-centered artistic practices 鈥� supported by AI as an analytical and translational instrument 鈥� can foster planetary coherence, ethical awareness, and peace.
Natalia Rojcovscaia-Tumaha stands as a formidable figure in the contemporary landscape of art and science, operating at the intersection of composition, art-ecology, and cultural diplomacy. As a Fellow of the 91黑料网 of Art and Science (WAAS) and the visionary leader behind 伪RTivellux, she has pioneered the concept of planetary-scale artistic systems that function as cognitive interfaces for global dialogue. Her work is not merely creative but deeply academic and systemic, evidenced by her leadership in the WAAS X-EXIST initiative and her role as President of the Culture & Art Creators Guild. By bridging the gap between high-level institutional frameworks and grassroots artistic expression, she has established a unique position as a cultural diplomat who utilizes the arts to address complex, planetary-scale challenges.
Her compositional philosophy extends far beyond traditional musicology, treating the creative process as the construction of living, symbiotic ecosystems. Rojcovscaia-Tumaha has developed groundbreaking methodologies such as the ArtWay Method and Meta-Neuro Art, which synthesize digital media with neuroaesthetics, artificial intelligence, and complex systems theory. These frameworks explore the profound relationships between neural plasticity and multisensory integration, aiming to foster global empathy and ethical reflection through artistic immersion. Projects like the ART Imaginarium and Cross-Art Microfilm exemplify this approach, transforming abstract scientific inquiry into resonant, participatory experiences that have gained significant traction within the international academic and creative communities.
The global impact of her work is reflected in a sprawling network of collaborations and institutional partnerships spanning nearly every continent. From developing microfilms at Florida State University to aligning with The Jena Declaration alongside UNESCO and the Club of Rome, her reach is both geographically and intellectually vast. Her commitment to social impact is particularly evident in the “Children’s Voices Matter!” movement, a civic initiative that leverages humanitarian and educational networks to support youth in conflict zones. This blending of artistic mastery with civic activism underscores her belief that creative intelligence must be harnessed for tangible social good and the advancement of human rights on a global stage.
Rojcovscaia-Tumaha鈥檚 career is distinguished by a litany of prestigious accolades and a robust presence in international media and academia. Recognized with honors such as the “Woman of the New Renaissance” and awards from the Ministry of Culture of Moldova and the Robert Avalon International Competition, she is celebrated as a transformative force in contemporary art. Her influence is further amplified through extensive public dissemination on platforms ranging from MIT-affiliated radio to major European broadcasting networks. Ultimately, her multidisciplinary practice鈥攊ntegrating the rigors of scientific research with the emotive power of music and visual media鈥攅stablishes her as a leading architect of a new, ethical, and interconnected cultural paradigm for the 21st century.
Aim: To coordinate and support a pan-African network of artists, cultural practitioners, researchers, and partners working with visual and lens-based practices as forms of storytelling, knowledge creation, and social engagement. The Network Coordinator acts as an ethically and context aware mentor, connector and convenor 鈥� supporting collaboration, exchange and equitable participation rather than directing activity from a central authority.
Objectives:
1. To identify, connect, and support artists and cultural organisations across the African continent working with photography and lens-based practices, with a focus on ethical and indigenous authorship, local narratives, and culturally grounded storytelling.
2. To support and develop new exhibitions, festivals, and public programmes that foreground visual narratives across the African continent and encourage dialogue, reflection, and audience engagement locally and internationally.
3. To encourage artists and organisations to engage visual practice as a means to explore histories and futures, cultural identity, and lived experience, contributing to and intervening in broader conversations often still shaped by historical and ongoing structural inequalities.
4. To foster sustained collaborations between artists, institutions, and communities across the continent and internationally, strengthen creative infrastructure, and enable South-South and South-North knowledge exchange through creative practice.
5. To support the documentation and exchange of artistic processes, methodologies, and outputs contributing to the long-term development of a sustainable archive of African artistic practice and visual culture.
6. To contribute to the development of methodologies that support artists and cultural practitioners in reshaping how images in and about Africa are produced, shared, and understood on the continent and globally, fostering more equitable and locally driven image-making practices.
Kerstin Hacker is a photographer, practice-based researcher, and academic based in Cambridge, UK, known for her distinctive approach to visual storytelling and long-term collaborative research. Her work challenges established documentary conventions, engaging critically with how African visual narratives are produced and circulated, and supporting more equitable, locally grounded forms of representation.
Her research focuses on enabling emerging photographers – particularly in Zambia – to develop their own visual languages and narratives. Through collaborative, practice-led methodologies, she foregrounds processes of 鈥渦n-learning鈥� that address the enduring influence of colonial histories, social hierarchies, and economic structures in photographic practice.
Educated at FAMU (Academy of Performing Arts, Prague), she holds a BA (1993) and MA (1995) in photography. She later completed a practice-based PhD, Shooting in Zambia: (Re)negotiating Zambia鈥檚 Colonial Library Through Photographic Practice, establishing a research approach that integrates artistic practice with critical inquiry to rethink photographic representation.
Her work has been recognised through international awards and fellowships, including Female Photojournalist of the Year in Germany (1993) and the Alexia Foundation Award (1995). She has received support for her collaborative research through initiatives such as the British Council Education Partnership in Africa (2009鈥�2012), the Affect and Colonialism WebLab Fellowship at Freie Universit盲t Berlin (2021), and the Cambridge Visual Cultures Fellowship (2023-2024), working closely with photographers and curators from Zambia.
Prior to her academic career, Kerstin Hacker worked as a photojournalist for publications including The Guardian and The Daily Telegraph, as well as with organisations such as Sight Savers International, Comic Relief, and Save the Children, developing an ethical, human-centred documentary practice.
Since 2008, she has taught undergraduate and postgraduate photography at Cambridge School of Art, Anglia Ruskin University, supporting the development of critically engaged practitioners. She is co-founder and strategic lead of Stories of Kalingalinga and the Bakashimika International Photography Festival, both initiatives that support emerging African photographers and contribute to building a sustainable, connected infrastructure for visual storytelling across the continent and beyond.
kerstinhacker14@gmail.com
Websites: kerstinhacker.org
bakashimika.com
Aim:听To coordinate and support a global network of artists, practitioners, and communities utilizing authentic artistic expression as a universal tool for self-healing, transformation, and conscious empowerment.听The Network Coordinator, Dr. Jana Nirvana, serves as a mentor and “Curator of Souls,” bridging scientific research, ancient wisdom, and lived creative practice to foster a living field of solidarity rather than a centralized authority.
Objectives:
1. To establish and grow an international community听of artists and cultural practitioners working at the intersection of art and human transformation, utilizing the book听Souls United in Art听as a foundational testament to creativity’s power to unite diverse cultures and lived experiences.
2. To launch and sustain a global storytelling platform via the Art Heals听podcast, sharing first-person narratives that center on transcultural perspectives and illuminate the universal journey from personal struggle to creative wisdom.
3. To expand the vision of the Souls United in Art听book into an ongoing documentary series, capturing unfiltered, 10-minute artist portraits from every continent and offering an honest, visually compelling archive of the creative process as a vehicle for transformation.
4. To foster radical inspiration and accessibility by hosting artist stories on a dedicated digital platform (), connecting featured creators to a global audience, and reinforcing the belief that transformation is within reach for everyone.
5. To develop participatory educational initiatives and workshops鈥攊ncluding painting, meditation, singing, and movement鈥攖hat invite individuals of all backgrounds to experience art as a practical tool for resilience and self-discovery.
6. To nurture the creative courage of the next generation by integrating children into the heart of the network鈥檚 educational work, providing environments where imagination and emotional expression are protected and encouraged.
7. To bridge the gap between science and spirit by integrating research from arts therapy, psychology, and consciousness studies with global wisdom traditions, providing a practically grounded framework for human flourishing in times of global change.
Dr. Jana Nirvana is an artist, historian, and curator of consciousness based in Hannover, Germany, known for her transformative approach to visual and spiritual expression. Her work positions art not merely as a decorative object, but as a “living instrument of consciousness” and a technology for quantum healing, challenging traditional separations between artistic practice, academic inquiry, and personal transformation.
Her research and practice focus on enabling individuals to access higher vibrational states through the intersection of intellect and intuition. Through a methodology she calls “Quantum Healing,” she foregrounds the creative process as a portal for self-mastery, allowing participants to dissolve inherited illusions and subconscious barriers. This approach integrates spiritual teachings with contemporary art to rethink how identity and reality are perceived.
Educated in history and the arts, she holds a Ph.D History from Leibniz University Hannover (2020), along with an M.A. in Literature and Linguistics. Her academic background provides a rigorous foundation for her creative exploration, which underwent a decisive evolution during the 2020 global pandemic. This “global rupture” catalyzed her transition from academia to a full-time artistic vocation dedicated to creating spaces of light and restoration.
Her work has gained international recognition through exhibitions in major global hubs, including London, New York, Berlin, Dubai, and Zurich. She has collaborated with global thought leaders, including Marie Diamond, and has been featured on German television for her insights into the transformative power of creativity. Her contributions to the field include co-authoring the book听Global Conscious Entrepreneurs 2, where she details her unique methods of energy work.
Prior to her current practice, she conducted research and teaching projects across Europe, grounding her later work in a transcultural perspective. This background in historical research and cross-cultural lived experience informs her current mission to support an energetic transition toward collective healing.
She is the initiator and curator of听Souls United in Art听(SUIA), a global movement and anthology project that brings together artists from across the world to document their personal transformations through creativity. Through this initiative and her supervised painting sessions, she helps build a sustainable, global infrastructure for spiritual and artistic growth, shifting how we understand art and leadership in the 21st century.
info@jananirvana.com
Aim: To establish and coordinate a network of people using art to engage communities, raise awareness, and promote environmentally responsible, sustainable, and culturally appropriate death practices that value both people and planet.
Objectives:
1. To link artists with people in death related professions, scientist, academics and environmentalists, to create community-based art events that raise awareness about the environmental impact of current funeral practices and promote alternatives that support and nurture both people and planet.
2. To facilitate mutual understanding, respect and learning between scientistic, death professionals and keepers of indigenous wisdom for the benefit of the planet and people. To engage with and promote the mutual positives where traditional knowledge and practices, and scientific developments can meld together for the benefit of societies and nature.
3. To engage with artists drawing parallels and learning between the experiences of loss, grief and bereavement with that of eco-anxiety, facilitating positive ways of creating personal and environmental hope that translates into constructive, informed and hopeful action.
4. To be all-inclusive, using art to engage across the social spectrum, to create equity in access to environmentally responsible death practices for all people.
5. To network with artists working with communities to bring about positive change by forging a pathway through barriers, such as legal, colonial and habitual obstacles, to clear the way for the development for death practices that bring about sustainable environmental change.
6. To use art to foster knowledge and appreciation of the wide variety of different death practices locally, nationally, and globally to raise curiosity, questioning, and flexibility in people鈥檚 approach to their own understandings of the purpose, meaning, and value of death practices. To promote the application of this openness to creating and facilitating culturally appropriate and sensitive practices for a flourishing people and planet.
Art, creativity, and humor are powerful tools Helen has been using for decades to engage people in conversations around complex and difficult topics. Art is Helen鈥檚 go-to medium for responding to existential threats such as the environmental crisis and nuclear weapons: creating banners, giant puppets, and costumes to communicate, campaign, and engage people with challenging issues. As an example, Helen facilitated a community project, Painting the Village Green, in the New Forest, England, with local artists, working in various outdoor locations to create pieces that highlighted the current and potential impacts of the climate crisis on the local environment.
More recently, Helen began creating Play Dead with Barbie, using Barbies (and Kens) in an entertaining, informative, funny, and life-affirming way to inspire conversations about a wide range of issues related to death, dying, and bereavement. Death art is universal, tapping directly into our fears, hopes, losses, and dreams, and the one single event we will all have in common: our own deaths. By weaving death art with a focus on the climate crisis, Helen highlights the intimate connections between our own lives and deaths and those of other creatures, people, ecosystems, and, potentially, the planet itself.
Using art, Helen enables diverse communities to explore their thoughts and feelings about death and the climate crisis from the individual to the global level. By connecting people鈥檚 personal choices, such as their funeral options, with their planetary impact, Helen鈥檚 art emphasizes the possibilities of positive action, moves people from despair to empowerment, and reinforces the power of individual and communal action.
Helen has facilitated community rituals and ceremonies marking the seasons of the year and significant life events for many years, prior to training as a funeral celebrant. This was built upon a deep interest in the inspirational celebrations of D铆a de Muertos, the Day of the Dead, in Mexico, and in the creative power of Mexican artists and communities. Many moons ago, Helen gained a BA in psychology and trained as a teacher before going on to a career working with and for adults with learning disabilities. She then went on to study for an MA in Death, Religion and Culture, which she was awarded, with distinction, in 2025. This academic background provides Helen with a solid foundation for her art and community engagement work, ensuring that the information, issues, and ideas expressed in her art are based on a thorough study of current understanding, research, and theories.
By facilitating a network of death artists, scientists, death professionals, and academics globally, Helen hopes to generate a powerful force for engaging communities with their hopes and fears around their own death and those entwined with the existential crisis, and to inspire people to move from grief and despair into active hope, positive action, and a force for a flourishing life for both people and planet.
playdeadbarbie@gmail.com
Websites: playdeadbarbie.com
Aim: To mobilize a global, transdisciplinary community of young creators, innovators and visionaries, leveraging participatory leadership, co-creation, cross-sectoral partnerships, and intergenerational exchange to cultivate a culture of peace and advance planetary security.
Objectives:
1. Establish a global, transdisciplinary network of young artists, scientists, scholars, advocates, artivists, and youth-led organizations.
2. Create dynamic virtual and in-person spaces for dialogue, experimentation, and co-creation.
3. Offer emerging artists and scientists a robust international platform to develop their careers and amplify their impact.
4. Empower young people to nurture social transformation for a more dignified co-existence and act as catalysts for enhanced planetary security and a culture of peace.
5. Integrate arts and culture deeply into the civic and public life of young people.
6. Foster intergenerational knowledge exchange and cultivate creativity and collaboration across generations.
7. Facilitate and promote cross-sectoral, strategic partnerships between young people, youth organizations, civil society, think tanks, enterprises, and governmental agencies.
8. Champion diversity and inclusion as core drivers of creative innovation by dismantling barriers to participation, ensuring equitable access across all geographic, cultural, and socioeconomic backgrounds, and fostering a safe environment that intentionally amplifies marginalized and underrepresented youth voices.
Evangelia Savvidou is a Medical Doctor specializing in Public Health and Policy, Sustainability in Health, and Developmental and Adolescent Health, holding two Master’s degrees and one candidate. As a Junior Fellow of the 91黑料网 of Art and Science and a Planetary Arts Youth Ambassador, she champions art as a vital vehicle for planetary action. Her unique focus is on a transdisciplinary approach that seamlessly integrates education, research, and community advocacy.
By blending the objective methods of science with the subjective power of artistic expression, she embodies the synergy required to cultivate global empathy and a culture of peace. With extensive engagement in international health initiatives, she serves as Greece鈥檚 Youth Representative and Youth Advisor to the WHO Regional Office for Europe’s Evidence into Action Alcohol Project.
She is the Coordinator of the International Papillomavirus Society HPV Awareness campaign in Greece and previously served as a Youth Advisor for the European Joint Action Prevent Non-Communicable Diseases. Academically, she serves as an Academic Associate at the Aristotle University of Thessaloniki, leading public health education and research. She has extensive experience facilitating health and sustainability education, including a past role as an Author for the Medical Student Alliance for Global Education at ScholarRx. She has established a distinguished trajectory spanning over 8 years in sustainability and youth work.
As the Global Networks Manager for the UN Sustainable Development Solutions Network (SDSN) Youth, she oversees the strategic development of 20+ global youth networks spanning Africa, the Americas, Asia-Pacific, and Europe. Previously, as the Founding Regional Network Coordinator of SDSN Youth Black Sea (2020鈥�2025), she executed 30+ international projects, including side events at the UN World Food Forum and the UNECE Regional Forum on Sustainable Development, and built strategic partnerships with 30+ organizations.
She has received accolades for impactful leadership as a Climate Reality Leader (Al Gore’s Climate Reality Project), a Climate Youth Pioneer (Global Alliance of Universities on Climate), and a Young Leader at the NGIC XII Global Baku Forum, the Vatican Youth Symposium 2025, and the Vatican Pan-European Climate Resilience Summit by the Pontifical Academy of Social Sciences. She is recognized for academic excellence, as evidenced by 8 peer-reviewed publications, 40 conference abstracts, 4 policy position papers, and 50+ conference speeches and panels. Engagement with the Arts, Media & Serious Game Design Evangelia Savvidou synthesizes creative media and gamified learning as core vehicles for public health education and science communication.
Her passion for oral storytelling began in high school as a scriptwriter and presenter for the European School Radio show 鈥溛曃嘉嘉滴晃滴� 位蠈纬慰喂 魏伪喂 苇位位慰纬伪 渭苇位畏 渭伪蟼 蟿伪尉喂未蔚蠉慰蠀谓 蟽蟿伪 蠁蟿蔚蟻维 蟿慰蠀蟼鈥︹�� (鈥楬armonious words and rational melodies carry us away on their wings鈥︹��), focusing on art, culture, music, literature, and poetry. This evolved into producing sustainability podcasts for the Municipal Youth Council of Thessaloniki, coordinating the European Joint Action Partnership to Contrast HPV podcast in Greece, and founding the Primary Care Dialogues podcast. As Founder and Host of the latter, she has curated over 1,100 minutes of content across 38 episodes, earning presentation accolades and an official selection for screening at the 26th Thessaloniki International Documentary Festival.
An artist in both digital and conceptual spaces, she serves as the creative lead for the visual identities of many of her projects. In innovative educational design, she is the sole developer of a planetary health serious-game workshop (in development), conceived as her Master鈥檚 capstone project. She also serves as co-developer of DIS:PLAY (Disability-Inclusive EMS Response Amidst Disasters), a serious game in development built with the Accessible Limitless Living NGO and Worcester Polytechnic Institute engineering students. Previously, she served as a design advisor for a digital escape room on climate literacy (the SustainAware project) and co-created Earth鈥檚 Trivia Journey, a printable health-climate board game developed during a Council of Europe study session.
evangelie.savvidou@gmail.com