Cultural Resilience: Sustainable Models Through Participatory Technologies
Federal University of Rio Grande do Sul (UFRGS) + University of Glasgow – Centre for Cultural Policy Research
Biography
Thainan Rocha (he/they) is a Brazilian artist and double PhD candidate in Management and Performing Arts at the Federal University of Rio Grande do Sul (UFRGS). Passionate about sustainability and innovation, his work bridges culture and climate action, fostering resilience and transformative development within the creative industries
Introduction
Thainan’s home state of Rio Grande do Sul was devastated by severe floods in 2024. During the EARTH Scholarship exchange, Thainan was based at the University of Glasgow, supervised by Professor Mark Banks. The project focuses on how cultural organizations can take a leadership role in climate adaptation. Drawing insights from both Brazilian and Scottish experiences, they explore strategies for rebuilding cultural ecosystems and driving sustainable growth within the creative economy. Through stakeholder engagement and technological development, the project aims to foster resilience and position cultural organizations as key drivers of local sustainable development.
Research
Glasgow welcomed me with a very sunny month of May — it was the worst drought in 60 years for Scotland. Climate change was never a distant news story. It was the brutal reality. While I was here, my hometown suffered new massive floods — not as bad as the one in 2024, but still severe. My question was no longer just academic: How can our cultural ecosystems survive the climate crisis It became deeply personal: What can we learn and how can we build back better?
Glasgow, from the outset, felt like a living laboratory for this question. The Dear Green Place has embedded climate targets into its national identity, with a cultural sector actively grappling with its own environmental footprint. This rich, complex landscape provided the perfect ground to explore the architecture of a sustainable creative economy. Under the invaluable supervision of Professor Mark Banks, I was able to sharpen my critical lens, constantly reassessing my references and refining my own Global South approach. While UK scholars discuss degrowing its economy, in Brazil we have the singular opportunity to be green from the start — to build a sustainable creative economy without first having to build an unsustainable one.
My methodology was simple: listen. Over three months, I was privileged to be in dialogue with the very people who weave the fabric of Scotland’s cultural life. I conducted interviews with artists, producers and key representatives from pivotal organisations like Creative Scotland, Creative Glasgow, the Federation of Scottish Theatre, the pioneering ReSet Scenery and the hands behind the Theatre Green Book. Each conversation added a new thread, revealing a complex tapestry of ambition, innovation and practical challenges.
One of the first things that became clear was the critical role of policy in setting the stage for change. Scotland has bold ambitions, but how do these high-level goals translate into the day-to-day reality of a small theatre company or an independent artist? This question of translating intention into action became a central theme of analysis.
Beyond policy, I was fascinated by the practical, tangible pathways to sustainability. The concept that resonated most powerfully was circularity. Moving away from the traditional linear model of “take, make, waste” is not just an environmental imperative; it’s a creative one. It forces us to rethink our relationship with materials, with resources, and with value itself. Seeing organisations like ReSet Scenery and ARMS creating a circular economy for theatre sets was incredibly inspiring. It demonstrated a model where sustainability isn’t a limitation, but a catalyst for innovation and collaboration.
Viewing the Scottish model from my perspective has been a profound exercise in contrast and connection. The institutional support and established green networks here are something to aspire to. Yet, I was constantly reflecting on the resourcefulness I’ve witnessed back in Brazil, where communities often create sophisticated systems of mutual support with far fewer resources. The urgency of the climate crisis in the Global South reframes this conversation entirely. Sustainability is not a future goal; it is a present-tense survival strategy.
My time here has shown me that the most powerful solutions will come from bridging these worlds — combining the structural support and data-driven approaches of a place like Scotland with the agile, community-led resilience that is so vital in Brazil. Technology can be a key ally in this, helping us share knowledge, map resources and build collaborative networks that transcend borders.
As my three months on the EARTH Scholarship draw to a close, I find myself leaving not with firm conclusions, but with something far more valuable: a renewed sense of purpose, a notebook filled with challenging questions and a profound sense of inspiration. I was in the field until my very last day, and it still didn’t feel like enough time to absorb everything. Scotland has been an exceptionally fertile ground for this research. I leave with several invitations to foster new collaborations and exchanges between our creative communities, so we can learn from each other and together build a world where art and culture don’t just survive the challenges ahead, but actively lead the way in shaping a more sustainable and just future.
