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What do you get when you cross kids with paintbrushes and a passion for environmental change? You get ‘artivism’ – a powerful blend of art and activism that can transform hearts and minds.

At Greenpeace, we are always inspired by the power of art to drive change and make a difference. We are thrilled to showcase the incredible ‘artivism’ from the students of Living School Lismore. These young artists have not only embraced the challenge of advocating for nature but have done so with creativity and passion that truly embodies the spirit of environmental stewardship.

Living School strives to offer educational opportunities that fosters and nourishes responsible citizens who make positive contributions to our world. The Middle School students engaged in Project Based Learning Units, exploring Sustainable Development Goals, real world application and a focus on halving our impact across six terms. After the second term, where all students in the school have an in-depth focus on ‘Nature’, they hosed a Nature Symposium – this year marks the second year of Middle School and their second symposium.

Last year, students developed innovations to halve environmental crimes occurring in schools. This year, they worked through the Catalyst Design Thinking Framework to respond to the evocation, ‘How can we advocate for nature through art-ivism?’. These artworks and artist statements were created over just two days, in a hack-a-thon style event, supported by a local artist, staff and cross stage groupings.

Inspiring Artworks by Students from Living School Lismore

“The students’ energy throughout the event was palpable, they are so confident in their determination to call out unsustainable practices which translated powerfully to the variety of artworks created.”

Emma Wilson – Year 8 Guardian Teacher, Living School Lismore


Evermore - Indigo and Jordy © Living School Lismore
Evermore – Indigo and Jordy © Living School Lismore

Evermore

Indigo and Jordy

This art piece is about SDG14: Life Below Water. It is about the environment and the future that is deserved. Not for humans, but for the nature and animals surrounding us. In this painting, you will see the animals clawing at the globe of a future that they not only want, but deserve. The globe is cracking and breaking to show that it could be close. And that the animals really need this. We are hoping this sends a message to the viewers, that society’s consumption is a big role in the prevention of the future for nature that has been tainted to something humans want.


We Choose - Stella and Marli
We Choose – Stella and Marli © Living School Lismore

We Choose

Stella and Marli

Pollution is slowly consuming our oceans and after a while, we will have nothing left. When we disrespect, we get left with less than we had before. ‘We Choose’ is our art piece that represents pollution and beauty. We see the ocean and think of it as an amazing place. But will it be in the future? This is what is happening to our world. We used brown to represent dirty liquid in the water, we used green to represent toxic fluids and pink because it represents the blood that will be on our hands if this continues.

We also used dots to represent the lives that will be lost. If this continues, this will be the path to humanity’s extinction. But if this stops, we will see the true beauty of this world. For the beauty, we used the sea creatures to represent how much marine life will be saved. We used the seaweed to show how much the plants under water will thrive. Be caring, love the planet.


Oil Spill - Strummer © Living School Lismore
Oil Spill – Strummer © Living School Lismore

Oil Spill

Strummer

This artwork, titled ‘Oil Spill’, addresses Sustainable Development Goal 14 and 15 which focuses on land and water. The artists chose to advocate for halving our impact to stop pollution.

This artwork highlights the critical role of art in raising awareness about environmental decline, resulting in the loss of animal, earth and plant life.

Through the use of various elements of art, the artist conveys the message of environmental awareness and stewardship. Contrasting colours are used to highlight the beauty of nature and its rapid demise.


Plastic Ocean - Kai © Living School Lismore
Plastic Ocean – Kai © Living School Lismore

Plastic Ocean

Kai

This artwork, titled ‘Plastic Ocean’, addresses Sustainable Development Goal 15 which focuses on marine life. The artist chose to advocate for halving our impact on the pollution of the environment. This highlights the critical role of art in raising awareness about environmental decline resulting in the loss of animal homes and lives. Contrasting colours are used to highlight the beauty of nature and draw the audience’s eye.


Eye to Eye -Marlon
Eye to Eye – Marlon © Living School Lismore

Eye to Eye

Marlon

This artwork, titled ‘Eye to Eye’, addresses Sustainable Development Goal 14 which focuses on cleaning plastics from the ocean and making the coral not bleached anymore. The artist chose to advocate for halving pollution. ‘Eye to Eye’ highlights the critical role of art in showing people the effects of pollution on our ocean and what we can do about it. By drawing the audience’s eye to the fish, the artist invites them to consider the importance of marine life. By positioning the contrasting elements of life and death around the outside of the eye, the audience is invited to consider our impact.


Wild Sea Turtles Consuming Jellyfish
Koco
Wild Sea Turtles Consuming Jellyfish – Koco © Living School Lismore

Wild Sea Turtles Consuming Jellyfish

Koco

My artwork depicts wild sea turtles consuming jellyfish but sadly, due to human impact, they end up ingesting plastic bags. The scene serves as a powerful reminder of humanity’s effects of pollution on marine life. It highlights the urgent need for sustainable practices to protect our oceans and the creators that inhabit them. By raising awareness through art, we can inspire others to take action and make a positive impact on SDG 14.


I Want In My World - Destin © Living School Lismore
I Want In My World – Destin © Living School Lismore

I Want In My World

Destin

The painting, ‘I Want In My World’ was created by a Living School student in Year 7 named Destin Pacanowski. The artwork addresses Sustainable Development Goal 14, which focuses on healthy creeks, lakes, oceans and rivers. Not only focusing on them being healthy but being full of life as well. The artist identifies halving pollution as a crucial step to mitigating the impact on ocean pollution.

This artwork underscores the critical role of art and raising awareness about climate change. Art-ivism has a unique ability to evoke emotions and provoke through in ways that words alone cannot. By visually depicting the effects of pollution and the major importance of sustainable practices, artists can engage viewers on a much deeper level, fostering empathy and understanding.

Through the use of various elements of arts, the artist conveys a message of environmental stewardship. Light and dark colours are embraced to show both sides of the situation in this artwork. The depth is used to show a dark night sky.

By promoting the message of reducing pollution, the artwork strives to inspire viewers to take immediate actions towards sustainability. Overall, this artwork shows a visual call to action. Embracing individuals to make continuous choices that will positively impact the environment and support those most affected by pollution all around the world.


Evacuations - Annika © Living School Lismore
Evacuations – Annika © Living School Lismore

Evacuations

Annika

This piece of artwork is called, ‘Evacuation’. It is named after what is bound to happen if we don’t change our ways. ‘Evacuation’ was carefully crafted by a proud Year 8 student of Living School. It was painted to represent the pollution Halve It goal and to evoke the 13th SDG, Climate Action.

This piece shows what we will do to nature, our home planet, it we continue down this path. The earth cannot combat our advanced machinery and corrupt wats, Nature has no weapon to fight. We pillage and plunder the very thing that gives us life. This picture is showing our fate. There is NO Planet B!

Through this art, with all its many dark shades, I wish to evoke something within the viewer, whether it is anger, sadness, pain or power, something to push them. Push them to speak for the speechless, stand for the sat, empower the powerless, because now is when our earth needs us most. If we don’t answer her call, all our fates will be sealed.


Mining Monsters - (Year 5 Student), (Year 6 Student), Lucy © Living School Lismore
Mining Monsters – (Year 5 Student), (Year 6 Student), Lucy © Living School Lismore

Mining Monsters

(Year 5 Student), (Year 6 Student), Lucy

This wonderful painting was created by three of the Living School’s amazing artists, (Year 5 Student), (Year 6 Student) and Lucy. Our SDG goal is number 14 – Life Below Water. Out artwork was inspired by the wonderful work that Greenpeace has done in relation to preventing deep sea mining.

The artwork explores the problem of deep sea mining where humans are wanting to extract the valuable natural resources that are found on the deep sea floor, which would destroy ecosystems that we don’t know much about yet. We are unsure of the impact this will have but prediction from the past example would suggest that this would have a negative effect.

We have used the element of shape to show that the machine is a monster to be feared of destroying sealife’s home. The element of colour has been used to show the bright life of the deep sea, even though you imagine it to be dark and frightening.

We hope our art-ivism helps the ecosystem of the deep sea to continue to thrive.


Burning Sunset - Year 5 Students
Burning Sunset -Year 5 Students © Living School Lismore

Burning Sunset

Year 5 Students

SDG 13: Climate Change/Stop burning fossil fuels
Halve It: Environment

This artwork show trees being burnt down. It shows birds dying and falling from smoke. It shows the forest turning into a desert under the setting sun.

The artist used red, orange and pink to show dryness and heat. Purple and green to show life that cannot be replaced. Black to show sadness.

The message of the artists: ‘This life can’t be replaced.’


One Day - (Year 8 Student), Allie © Living School Lismore
One Day – (Year 8 Student), Allie © Living School Lismore

One Day

(Year 8 Student), Allie

This work of art is called, ‘One Day’. It was made by a group of talented Australian students who attend Living School in Lismore, NSW. This art is based on SDG 12, Responsible Consumption and Production.

This art piece is about the pollution that could happen in the future and global warming. The rough state of the paint encapsulates this art piece, this distinct style showing how this matter is real. Using palette knives and plastic with acrylic paint is a match that many ised ut it hard to get right.

The elements of this art is the hape language and the depth of the deep ocean and the ice using shapes and depth, this art piece truly comes to life.

This art piece was made in protest of pollution that happens in the arctic, with grand glaciers and icebergs alike starting to melt, many may write about the diverse wildlife or the arctic circles. We hope that people realise how greedy and horrible some companies are.


The Weeping Orca - Eve, Pearl, Ashley © Living School Lismore
The Weeping Orca – Eve, Pearl, Ashley © Living School Lismore

The Weeping Orca

Eve, Pearl, Ashley

Three intelligent students from Living School, Eve, Pearl and Ashley, currently in Year 5 and 6, are the creators of this awesome art work. We chose SDG 14, Life Below Water. Our artwork is inspired by the National Wildlife Federation. Our Halve It focus relates to the environment.

Our artwork is intended to help the healthy orcas in captivity. Orcas are being removed from the natural environments and placed in captivity for the purpose of human entertainment. This is extremely distressing for the animals and it also affects the vital food chain. Humans need to stop taking healthy orcas out of nature and into captive homes.

We have experienced with dark contrast colours, different strategy of shade, intense levels of depth, layering different types of textures and elements that draws in the viewer and uts the viewer in the experience of the orcas in need. This is intended to make them sad.

We hope our art-ivism will make people step into action and stop people from captivating safe and healthy orcas from their natural habitats.

If we help the orcas, we save the orcas. Start acting now.


Beauty and the Barrel - Ari and Theo © Living School Lismore
Beauty and the Barrel – Ari and Theo © Living School Lismore

Beauty and the Barrel

Ari and Theo

This artwork, ‘Beauty and the Barrel’, was created by Ari and Theo at Living School who are in Year 5 and 8. The artwork addresses Sustainable Development Goal 14, which focuses on Life Below Water. The artist chose to advocate for halving water, which is a critical step towards minimising human impacts on water ecosystems. Oil spills and dumping oil can kill beautiful creatures in our sea, We are trying to look after our environment. We have strong feelings and are passionate for the ocean’s future.

We like fishing and snorkelling and observe amazing sea creatures. Now we see less fish, we are disappointed. Through the use of various elements of art, the artists convey a message of environmental compassion. Ocean colours make us feel calm and emphasis the beauty of the sea, the need to look after sea creatures in our hearts. Textures and a variety of colours emphasise the complexity of the ocean and its ecosystem. We have promoted awareness of keeping the ocean clean and pristine. Overall, this artwork serves as a visual recall for the urgency of rewilding and cleaning up the oceans and our planet.


Choose Your Fate - Teo, Stella and Siân © Living School Lismore
Choose Your Fate – Teo, Stella and Siân © Living School Lismore

Choose Your Fate

Teo, Stella and Siân

This artwork, ‘Choose Your Fate’ is by Teo, Stella and Siân of Living School Year 8 and Year 7. The artwork addresses Sustainable Development Goal 15 which is about Life on Land and Halve It Goal of environment. The artists chose to bring attention to deforestation and protecting animals.

This artwork conveys the importance of raising awareness about climate change through art. Art has a way to provoke thoughts that words alone can not do. By depicting the effects of climate change visually, you can give viewers a deeper level of understanding and empathy.

The amazing artists used line, shape, colours, texture and space to bring their painting to life. The artists focus on animal protection is shown through two extremely contrasting perspectives of a positive and negative environment.

The artwork hopes to inspire viewers to take action and protect life on our planet and minimise climate change. Due to the extreme and confronting views of the environment, the artists believe that this artwork can make a change.

Overall, this artwork encourages individuals to take action and make a positive impact on the environment to help save our home.


Our Touch - Jali and (Year 5 Student) © Living School Lismore
Our Touch – Jali and (Year 5 Student) © Living School Lismore

Our Touch

Jali and (Year 5 Student)

Do we choose rising oceans or rising actions?

‘Our Touch’ was created by two students at the Living School in Year 5 and Year 8. With the challenges of climate change becoming more apparent and the number of climate refugees increasing, this artwork advocates for Sustainable Development Goal 13, Climate Action. This artwork highlights the effects of rising sea levels caused by pollution, halving pollution is a vital step towards minimising climate change impacts.

The most visible meaning in this artwork is to raise awareness around rising sea levels. However, the underlying goal is to show people that one person can make big differences, especially in a time of crisis. The artists hope that ‘Our Touch’ brings the viewers emotions of empowerment through the uniqueness of art.

Elements of art are regularly used in this artwork. The vivid colour of the nail art draws attention to the disaster depicted. The dark sharp lines of the skyline give perspective and contrast against the vibrant but fading sun.

Promoting the message of halving pollution to reduce global warming and rising sea levels, this artwork is a form of art-ivism. With the hand decorated as the earth, the artwork hopes to show that climate change doesn’t just hurt one person, it hurts the whole world, and inspires everyone to take action.

In all, ‘Our Touch’, provides a visual call to action and empowerment. As the world continues on this negative downward spiral, we must come together to create an impact.


Earth Away- (Year 5 Student) and Sage © Living School Lismore
Earth Away- (Year 5 Student) and Sage © Living School Lismore

Earth Away

(Year 5 Student) and Sage

This artwork, ‘Earth Away’, was created by two students at Living School in Year 5 and Year 8. They address Sustainable Development Goal 13 which focuses on Climate Action. The artist chose to advocate for halving pollution which is a crucial step towards sustainability and a healthy environment.

The artwork, ‘Earth Away’, aims to promote awareness around climate action. Art has the unique ability to evoke emotions and inspire other artists. Through the use of various elements of art, blending lines, colour and texture, we promote the message of climate action. We tried to use the same colours as how they look in real life. We feel passionate about the future of our earth.

Overall, this artwork serves as a visual call to action, urging individuals to make conscious choices that will eventually help the earth if we all start now. We want to have a positive impact on our future.


Not a Perfect World - Rose, Lui, Vaan, Scarlet, Banksia © Living School Lismore
Not a Perfect World – Rose, Lui, Vaan, Scarlet, Banksia © Living School Lismore

Not a Perfect World

Rose, Lui, Vaan, Scarlet, Banksia

This artwork, ‘Not a Perfect World’, was created by five students at Living School in Year 5, Year 6 and Year 7. The artwork addresses Sustainable Development Goal 14, which focuses on Life Below Water. The artists chose to advocate for halving pollution, which is a crucial step towards the earth.

This artwork underscores the critical role of art raising awareness about climate change. Art has a unique ability to evoke emotions and make viewers feel passion about the painting. Through the use of various elements of art, blending the paint together and adding texture to our painting.

By promoting the message of the knowledge that there is too much pollution in the water and turtles are dying. Overall, this artwork serves as a visual call to action, uring individuals to make conscious choices that will help the environment to build a sustainable life.


Don’t Blame, Make Change - Archie and Max © Living School Lismore
Don’t Blame, Make Change – Archie and Max © Living School Lismore

Don’t Blame, Make Change

Archie and Max

The artwork, ‘Don’t Blame, Make Change’, was created by two students at Living School in Year 6. The artwork addresses Sustainable Development Goal 13, which focuses on Climate Action. The artists chose to advocate for halving pollution and waste which is a crucial step towards a healthy and sustainable ecosystems here on earth.

This artwork aims to provide awareness around critical concepts surrounding climate change and the health of our environment. Evoking emotion can be a difficult take to achieve but art can empower emotions.

Through the use of various elements of art, such as line, colour, shape and collage, we promoted the message of climate action and to stop pollution which will lead to a healthy and sustainable earth.

Overall, this artwork serves as a visual call to action, urging individuals to make conscious choices that will save the world.


Stop Being A Tosser - Linny © Living School Lismore
Stop Being A Tosser – Linny © Living School Lismore

Stop Being A Tosser

Linny

I created ‘Stop Being A Tosser’ with my own hand power alone. The artwork addresses SDG 6 which focuses on Clean Water and SDG 14, Life Below Water.

I chose water as my Halve It focus because I love the ocean and fishing. We will destroy the environment if we do not care for our oceans.

I have used colour to show depth and to draw attention to the issue of water pollution.

I aim to inspire viewers to save the waterways and stop being a tosser.


Wasted - Floyd and Sally © Living School Lismore
Wasted – Floyd and Sally © Living School Lismore

Wasted

Floyd and Sally

This artwork, ‘Wasted’, was created by Floyd and Sally, Year 7 and Year 8 students from Living School. We chose the SDGs 11, 13, 14 and 15 – Sustainable Cities and Communities, Climate Action, Life Below Water and Life on land. We chose to focus on pollution and environment in regards to Halve It.

We tried to evoke emotion through overwhelming the viewer with as many climate problems as we could.

Our clouds, oil and leaves are full of texture and the strong lines of the boat and buildings were designed to stand out.

Our aim was to inspire viewers to start being aware of themselves and to stop polluting and destroying the planet.


Fish Plastic Cycle - Toto and Theo © Living School Lismore
Fish Plastic Cycle – Toto and Theo © Living School Lismore

Fish Plastic Cycle

Toto and Theo

This artwork, ‘Fish Plastic Cycle’, was created by Theo and Toto, two smart Year 5 students from Living School.

The artwork focuses on SDG 13 and 14, which are Climate Action and Life Below Water. The Halve It focus is pollution and water.

We painted the cycle of throwing plastic in the water, the fish eat it, then we eat the fish.

We used elements of art to make the viewers feel emotions. We used bright colours for the plastic so it stands out. We also used big, simple shapes to create attention.
Through our artwork, we hope to inspire people to buy reusable products and not throw rubbish in the ocean.

Overall, this artwork aims to bring awareness to plastic pollution and how our actions always impact us.


More Rubbish, Less Life - Alexa and Kotomi © Living School Lismore
More Rubbish, Less Life – Alexa and Kotomi © Living School Lismore

More Rubbish, Less Life

Alexa and Kotomi

This artwork, ‘More Rubbish, Less Life’, was created by Alexa and Kotomi, two Year 5 students from Living School. The work addresses SDG 14 – Life Below Water and we chose to focus on Halve It – Environment.

We chose to paint a turtle half happy, half sad and what the ocean could be and what it is now.

We used colour, shade and hue to show the bright side and the dark side of this story.

Through our artwork, we hope viewers will know what the world could be if we actually tried.


I Scream, You Scream, We All Scream For Action! - Minnie and (Year 6 Student) © Living School Lismore
I Scream, You Scream, We All Scream For Action! – Minnie and (Year 6 Student) © Living School Lismore

I Scream, You Scream, We All Scream For Action!

Minnie and (Year 6 Student)

This artwork was created by Minnie and (Year 6 Student), a Year 8 and Year 6 students. We chose two Sustainable Development Goals, 13 – Climate Action and 4 – Quality Education. 13 was chosen to represent the melting ice caps killing polar bears. This is why we added the melting ice-cream, making a reflection for the earth and polar bear. 4 was chosen because it is crucial to teach everyone, especially our future generations, what is really happening to the world so that we can SCREAM for action. For Halve It, we chose environment because of our heating planet and melting ice cape.

The elements of art that we used were texture for the polar bear’s fur and rippling water. Colour to show shade and hues. All of this makes you stop and stare, inspiring the viewers to try and do something. Overall, this artwork aims to make you feel wonder and urgency to do something about our melting planet.


The Last Penguins - Loretta, (Year 8 Student) and Indi © Living School Lismore
The Last Penguins – Loretta, (Year 8 Student) and Indi © Living School Lismore

The Last Penguins

Loretta, (Year 8 Student) and Indi

The people involved in this creation are, Loretta, Lorien and Indi. We are addressing SDG 14, Life Below Water in this painting. Our Halve It focus is a cross between pollution and environment.

We have tried to evoke emotions in this painting by showing that the ocean is getting filled with things like oil spills, which in turn, is killing the penguins and sea life.

In the sky and the top of the wave, we have used texture, tone and colour to blend it and make it seem more real. We used very well defined shapes for penguins.

We aim to inspire viewers to donate to foundations like Sea Shepherd and Greenpeace and also to reflect on their own impact on the ocean ecosystem, which they don’t usually see in everyday life.

All in all, we aim to raise awareness of the oceans fate with this painting.


Deadfish Dominoes - Piper, Miles, Kasper, Wolfie © Living School Lismore
Deadfish Dominoes – Piper, Miles, Kasper, Wolfie © Living School Lismore

Deadfish Dominoes

Piper, Miles, Kasper, Wolfie

This piece of art titled, ‘Deadfish Dominoes’, was created by four Year 7 students, Piper, Miles, Kasper and Wolfie. This artwork was created to highlight the importance of SDGs 6 and 14. These foals focus on the health of water. 6 being Clean Water and Sanitation and 14 being Life Below Water.

This artwork showcases the disaster that took place in the Murray-Darling river, where thousands of Murray Cod floated up to the surface, dead due to the lack of oxygen. This piece also shows the steps that have been taken to get to this point. And the steps that may well be taken if we don’t change our course. Black water events, such as these, cause detrimental effects to the river, causing many plant and animal life populations to rapidly deplete, causing negative effects to the environment and sanitation of the water system.


Unstable Reality - (Year 8 Student) © Living School Lismore
Unstable Reality – (Year 8 Student) © Living School Lismore

Unstable Reality

(Year 8 Student)

This piece, ‘Unstable Reality’, was designed by a Year 8 students of Gudji. It is focused on SDG 13 Climate Action.

It shows how the world is majority industries and factories, even though we are working towards sustainability and renewables, it shows how the industry need to set fire to fossil fuels and eliminate greenhouse gasses for a greener, better world.


The Plale - (Year 8 Student) © Living School Lismore
The Plale – (Year 8 Student) © Living School Lismore

The Plale

(Year 8 Student)

This wonder of art was designed by a Year 8 students of Gudji at Living School. This follows a work of art-ivism of Sustainable Development Goal 14. Goal 14 is a goal dedicated to protecting and conserving our wildlife in the ocean. Many companies dedicated to work and volunteer to help them.

This texture of this artwork features a bumpy, raised body, showing that the body of the whale is made out of plastic. The background shows the polluted water because of our litter and machines. Leaving rubbish on our floor drains into our oceans and hurts our wildlife underwater.

This artwork has been through decent layers to create a shaping effect of the crumbling plastics qualities.


Ocean In A Bottle - (Year 8 Student) © Living School Lismore
Ocean In A Bottle – (Year 8 Student) © Living School Lismore

Ocean In A Bottle

(Year 8 Student)

This design was created by a Year 8 member of Gidji from Living School. This work of art is a work of art-ivism of SDG 14. Sustainable Development Goal 14 focuses on Life Below Water. Helping save animals and protect them from rubbish and our pollution.

This design shows our animals being trapped within our bad creations and fast fashion. Plastics like the plastic bottle the whale and jellyfish are stuck in is rubbish that has blown into our drains and washed into our oceans.

This shows materials from on land and the sea. To design this masterpiece, there were uses of paint brush strokes intricately placed to change the colours and placement of shape.


Gudji Fruit Farms - Flo © Living School Lismore
Gudji Fruit Farms – Flo © Living School Lismore

Gudji Fruit Farms

Flo

This artworks focuses on bees being killed by pesticides which is a huge problem. Bees are a huge part of life. They pollinate flowers which can bloom into fruit and vegetables. 1 in every 3 bites we get from bees. When people use pesticides and a bee lands on the flower, the pesticide infects the bee.

When the bee goes back to the hive, the entire hive can become infected, causing the bee keeper to burn the hive and all the bees inside to stop infection from spreading to other hives. Every bee who lands on a flower infected with pesticide is another life lost. You may think, so what if bees are dying? Well, as hive after hive dies, we, along with bees, creep closer to extinction.


Koala - Willow, Marley, Ryder, Banjo © Living School Lismore
Koala – Willow, Marley, Ryder, Banjo © Living School Lismore

Koala

Willow, Marley, Ryder, Banjo

We have made this artwork to show the impacts of climate change on species like koalas, mainly in southern and eastern Australia. Global warming can make bushfires that burn down koala habitats and more.

We are chopping too many trees.

Feral cats and dogs can kill native wildlife. There are unsustainable practices of forestry all around Australia.

If koala’s homes are burned or chopped down, it will force it to move to another home but what if there isn’t another home to go to and trying to get to another home means crossing roads so it could get run over?

Forestry corp has a history of doing some illegal forestry. They used to cut down habitats and trees! Why do these companies do this? We can have a house but by giving us a house you give native animals from Australia no house.


Split Rivers - Javier, Araluen, (Year 6 Student), (Year 5 Student) © Living School Lismore
Split Rivers – Javier, Araluen, (Year 6 Student), (Year 5 Student) © Living School Lismore

Split Rivers

Javier, Araluen, (Year 6 Student), (Year 5 Student)

This diptych artwork was made by four students from Living School in Years 5 and 6. We had two students working on each painting. We decided to split the image across two canvases to show the polarity between how the earth could be, and the way we are currently going.

Our art addresses both sustainable development goal 14 and 15, Life Below Water and Life on Land. They are linked because the health of the land impacts the water and the health of the water impacts the land. We wanted our audience to realise that our beautiful country can become a wasteland if we don’t take charge.

Overproduction of oil, chemical and rubbish pollution, land clearing and other unsustainable practices are destroying the health of our rivers. We want our artwork to inspire people to consider the effect of their choices on the land. If we don’t, we will all face the consequences.


The Silver River - Cooper © Living School Lismore
The Silver River – Cooper © Living School Lismore

The Silver River

Cooper

‘The Silver River’, by Year 5 student Cooper, addresses issues around waterway protection.

This artwork highlights the importance of SDG 14, Life Below Water because there is pollution and goodness.

This artwork uses glitter to add texture but also represents the glittery nail polish that impacts our waterways. It shows the oil pollution that coats animals in toxic oil forever. It also bleaches things and kills trees.

It also places importance on the Halve It goal of water, which we need to protect.
The use of lines show the flow of water.

We MUST stop the use of oil and production of cars, unless they are hybrid.

STOP WATER POLLUTION NOW!!


Fish-dom - (Year 8 Student) and Zai © Living School Lismore
Fish-dom – (Year 8 Student) and Zai © Living School Lismore

Fish-dom

(Year 8 Student) and Zai

This artwork was illustrated by to young 13 and 12 year old boys at Living School. The painting named ‘Fish-dom’ outlines the tench Sustainable Development Goal which focuses on Life Below Water, as in fish, crustaceans and other species of water animals and plants.

(Year 8 Student) and Zai decided to end up on Life Below Water because of the overfishing problems in Australian rivers and oceans.

Through the various elements of art and details of the painting, the illustrators centered the focus on the differences of sides, which is sustainable and unsustainable.


You Are Here - Molly and Indie © Living School Lismore
You Are Here – Molly and Indie © Living School Lismore

You Are Here

Molly and Indie

This artwork was created by Molly M in Year 5 and Indie H in Year 6. We created this artwork of a statue in Lismore in the floods. We chose it because we are sick of our community going through the same terror every year and seeing people lose so much while the government does so little. The floods of 2022 left hundreds of people homeless and some people lost family members and pets.

We want our community to understand how much rubbish we are dumping in our river and how climate change will make natural disasters words. We are commenting on SDG 13, Climate Action. We want to Singapore our leaders to realise how important it is to make change and make sure we don’t leave anyone behind.


Enclosed - Mia, (Year 7 Student) and Eavie © Living School Lismore
Enclosed – Mia, (Year 7 Student) and Eavie © Living School Lismore

Enclosed

Mia, (Year 7 Student) and Eavie

This artwork was created by Mia in year 7, (Year 7 Student) and Eavie in Year 8 from Living School. We are addressing waterways health and Sustainable Development Goal 14: Life Below Water. We created this artwork to show that keeping animals captive is not ok.

Removing them from ecosystems has a real negative impact on the planet, The real question is, why DO we keep animals captive? The answer is simple, for our own entertainment and greed. How would you feel is someone took you from your home where you were free to roam and put you in a tiny little box?

You aren’t just stripping the animals of a good life, you are disrupting the environment they were in. This artwork was designed to spread awareness about how the animals must feel, and make a statement about the impact of humanity’s greed.

I Scream, You Scream, We All Scream For Action!

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Climate Change

Interview: Dr Sun Yixian on his new database tracking Chinese climate ‘leadership’

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The number of global climate initiatives launched or run by China has been growing since 2009, a new study shows.

But whether this will translate into China taking up the mantle of climate leadership remains an “open question”, says Dr Sun Yixian, study co-author and professor of sustainability governance at the University of Bath.

Sun’s team has compiled a database tracking all global environmental initiatives established from the 1980s onwards that were launched or run by China.

These initiatives are either created by China or co-created with other governments, or have operations that are mainly managed by Chinese institutions.

They range from research cooperation and south-south climate funding to high-level policy signalling, such as joint statements on climate change.

In an interview with Carbon Brief, Sun discusses the key findings of the new “China’s Global Environmental Leadership” (CGEL) database.

He adds that it is not yet clear if the US withdrawal from the UN climate regime will change China’s role in global climate governance.

The conversation covers how the number of China-led initiatives has changed over time, what these projects look like and how China’s approach to climate “leadership” is changing.

The interview has been edited for length and clarity.

  • Sun on the types of climate initiatives: “There are all different kinds of initiatives – we have these typologies of governance functions, including sharing information and building platforms, or developing capacity – capacity building activities, which can be training delivered by China to other countries. Or also by providing funding, for example.”
  • On the rise in new climate initiatives: “From after 2009 and 2010, we’ve seen many initiatives – of course, more and more over the last 10 years, and even the last five years, from 2021…have been created.”
  • On the impact of the Trump administration: “The shift of the US under the second Trump administration will probably help Chinese initiatives get more traction from their international partners…Whether or not this will translate into new initiatives or strengthen existing initiatives, I think that’s an open question.” 
  • On a growing focus on multilateral programmes: “What we have seen is a very clear upward trend of transnational initiatives with a global scope. That means they operate in more than two continents. So, in that sense, what we can see is, actually, China is moving from this bilateral engagement model to more kind of global engagement and trying to project its influence at the global scale.” 
  • On a climate leadership ‘mindset’: “[Leading Chinese experts] said the government, and also people in China, are not ready to become a global leader. But, at the same time…in climate governance, but also in clean-energy supply chains – China is playing a leading role. So, I think the question is whether this…will translate into the understanding, or mindsets, of people, including policymakers or decision-makers in the country.” 
  • On the future of China’s climate engagement: “My read is that China is willing to share more knowledge, and technology as well, through its international global engagements…But, at the same time, I think, it is not a given. It depends on how countries can make arrangements with China, how they can also propose viable solutions in terms of absorbing Chinese technologies.”
  • On the future of multilateral climate negotiations: Multilateralism is a very important principle, championed in almost all the initiatives. That means China is not going to abandon multilateral processes. Also, we have done some work looking at the alignment of Chinese climate initiatives with existing UN institutions and frameworks, and we also see very close alignment. 

Carbon Brief: Thank you for joining us, Yixian. Your team has compiled a database of China’s “environmental leadership”. What do you mean by leadership and what did you find in relation to climate change?

Sun Yixian: Thanks Anika, it’s great to speak to Carbon Brief. Leadership is a very contested concept in social science, or especially in international relations. This is why we were very cautious when we thought about the name of this dataset, but we thought it was a good way to capture what we’re trying to do.

In this project, what we are trying to look at is China’s role in global environmental governance – China’s shifting role, especially from a more passive participant in global governance processes to play a more proactive role in developing or managing its own initiatives on transnational or cross-border environmental governance.

So, [this includes] different environmental issues, but, of course, we found that climate change is a very important issue area. By leading, we are using the concept of governance – in a sense that we are looking at the initiatives where Chinese actors claim some authority over other audiences towards certain public goods. So, it’s trying to provide public goods, in different ways. We have come up with a typology of different governance functions, trying to look at what specific activities Chinese actors are doing, or what kind of public goods Chinese actors are delivering, to the audiences of different initiatives.

And by audience we mean…international actors. So, that means we are not interested in what China is doing domestically, but beyond its borders.

CB: Could you explain what some of these climate initiatives look like in practice?

SY: This is very important, because it sounds very abstract if we just talk about leadership. In practical terms, there are all different kinds of initiatives – we have these typologies of governance functions, including sharing information and building platforms, or developing capacity – capacity building activities, which can be training delivered by China to other countries.

Or also by providing funding, for example, China has created this south-south climate fund. It can also include research collaboration or producing knowledge – mainly between research institutes.

It can be traditional leadership activities, in the sense of developing certain international regulatory frameworks or rules or standards – we call this rulemaking and standard-setting. It can also be pilot projects. China sometimes can start to work directly with some international partners to trial new ideas and new practices – what we call direct actions.

These are the different types of leadership activities that we look at and we actually code each initiative that meets the criteria of our database according to this topology, to try to look at what [the Chinese government] are looking at.

Some initiatives can do multiple things at the same time…One example is the Global Energy Interconnection Development and Cooperation Organization [GEIDCO]. [This was] initially created by the State Grid of China to try to promote clean energy and energy interconnections.

This initiative will deliver different types of activities, including building the capacity of some developing countries on energy and electricity grids, and also, for example, developing an international platform – they have annual international meeting and a lot of information-sharing activities, and engagement at UN meetings, including at COP side-events, and also directly engaging with some international organisations.

So, this is an example of the type of leadership initiative that has been included in our database.

CB: And would you say that there’s one particular type of activity that dominates, in terms of China’s climate leadership? Or is it very evenly split against all of the different types?

SY: This is also one of the main findings in our work. In the first paper we published to highlight the key patterns from the dataset, we highlighted that there’s a very uneven distribution in terms of what China tries to deliver or to promote, itself, internationally on environmental governance.

There have been a lot of initiatives focusing on sharing information and building platforms and this is the most dominant category – across all environmental issues, but the same pattern applies to climate change.

In the first article we published in the Earth Systems Governance journal, we looked at the whole dataset, but we are also developing a few studies, currently under review. One paper particularly looks at climate initiatives and it’s the same pattern: information-sharing and networking.

At the same time, the least frequent or popular type is the provision of funding – creating some financing programmes to directly give funding to international partners. I think this reflects China’s position on environmental or climate finance, especially internationally.

Chart showing that the majority of China-led climate initiatives focus on information sharing and dialogue
The number of different types of China-led climate initiatives established from 1991-2004. Source: CGEL database.

[China’s] not trying just to provide money, but really think about how to support other countries on more practical, more pragmatic terms. This is why I think that after information-sharing, what we have seen is capacity-building activities, which have also been quite frequently used by Chinese initiatives when collaborating with their international partners. This also explains China’s logic to teach [others] how to develop things, but not just giving money.

The other important category is research collaboration and knowledge production. This has been mainly led by research institutes in China, such as the Chinese Academy of Sciences, especially with a strong focus on scientific co-production.

But, lately, we have also seen more and more initiatives focused on sharing knowledge not just about science itself, but sometimes also on the social sciences side – the experiences of China as a whole. China’s experiences can also be learned from by other countries, especially in the global south.

These are just some examples, but the overall pattern is [a focus on] information-sharing, capacity building and knowledge production and not too much on provision of funding.

CB: You mentioned the GEIDCO example earlier. How much of a tangible impact would you say a lot of these initiatives have? Are they very high-level, strategic and quite abstract? Or do they kind of result in programmes on the ground?

SY: That’s a very interesting question – the answer is that it really varies. GEIDCO, as you mentioned, is a very high-level initiative. I think, initially, the idea of energy interconnection was proposed by President Xi himself. Now, of course, GEIDCO, with the backing of the State Grid, does a lot of high-level [national planning] and trans-national [grid network] planning work with developing countries.

But, at the same time, there are also a lot of grounded, locally focused initiatives. A lot, for example, are co-developed between China – especially supported by the Ministry of Ecology and Environment [MEE] – and UNEP [United Nations Environment Programme] in, for example, Africa and Southeast Asia. [This includes] some projects looking at climate adaptation and resilience. But these are more small-scale projects. 

So, in our database – and I welcome your readers to explore the database itself that you can see – there are a big variety of initiatives and their scope, their mission and their intended outcomes or impacts vary significantly.

But we are just providing this public resource. Hopefully, people can use it to further explore, for example, the question of the impact or outcome. At this stage, we’re not going to assess what has been delivered, but I think if we can take, for example, a case-study approach – trying to trace what has been done, what has been delivered – this could also be a very interesting research agenda.

CB: Is there a particular time from when China’s interest in engaging on climate change started, or has this been a very long-term process?

SY: In our database, we really wanted to capture the historical trend. That’s why we looked back from early on – [we focused on] from the beginning of this century, but also traced initiatives that had been created even earlier but became active in the 21st century.

So we can [see that,] already in the late 1980s or 90s, there were some initiatives in the area of climate change. But, most importantly, the majority of the initiatives were started after 2008, mainly in the 2010s. We can see a very clear upward trend. It was not shown directly in our recently published article, but it’s in the database and we have looked at the data and produced a graph for other studies we are currently developing.

Really, from after 2009 and 2010, we’ve seen many initiatives – of course, more and more over the last 10 years, and, even the last five years, from 2021, we still see more and more initiatives have been created.

Chart showing that 88 Chinese-led climate change initiatives have been established since 1991
The number of new China-led international environmental initiatives focused on climate change established between 1991-2024. Source: CGEL database.

This timeframe corresponds to China’s shifting international role, to move from [being] a more regional power, a large developing country, to a global superpower, and trying to project its influence globally.

That also correlates with, for example, the belt and road initiative and lately the global development initiative – China is trying to also use climate change in this broader policy framework and trying to promote and support climate action in different parts of the world.

CB: The database stops at 2024 – just before the current administration withdrew the US from the Paris Agreement. Have you noticed any changes in China’s global climate engagements following this?

SY: I would say the trend is a continuous one, even with the withdrawal of the US from the Paris Agreement and lately from the UNFCCC. Because, as I mentioned earlier, over the past 10 years, we have seen this upward trend, with more and more new initiatives created by Chinese actors.

But I think the shift of the US under the second Trump administration will probably help Chinese initiatives get more traction from their international partners – or countries or actors that haven’t been engaged very closely with China – to work more closely with China.

Whether or not this will translate into new initiatives or strengthen existing initiatives, I think that’s an open question.

We really want to explore [this] further. Something I didn’t mention earlier is we are publishing this data set as version one, we want to keep updating on a regular basis. We hope we’ll have versions two or three out, maybe every two years. We’ll see how things go, but I think this is a very important question.

CB: Looking at how China is engaging with all of these different countries – as you mentioned, more and more potentially wanting to work with it following the US’s withdrawal – do you get the sense that the Chinese government prefers to engage with countries bilaterally, on a one-to-one basis, or are they also engaging at the regional and multilateral levels?

SY: This is a great question. This is also an important finding from our work, because the conventional understanding is that China prefers to engage with countries bilaterally.

But, if we look at our database, what we can see is that, actually, China has developed more and more transnational initiatives – meaning that it also involves non-state actors or [works] beyond the traditional multilateral processes and [develops initiatives] with a global scope.

If we look at the historical trends, initially – especially up to 2010 – there were a lot of bilateral initiatives. Most cases in our database are bilateral initiatives.

But, lately, I think this trend is shifting. Still, I think there are many more bilateral initiatives than multilateral and transnational initiatives.

How we differentiate leadership activities of Chinese [state] actors across different levels [affects the trend], but, lately, what we have seen is a very clear upward trend of transnational initiatives with a global scope. That means they operate in more than two continents.

So, in that sense, what we can see is, actually, China is moving from this bilateral engagement model to more kind of global engagement and trying to project its influence at the global scale.

I think this is also quite interesting, to understand how not only the government, but also lots of Chinese actors – including, for example, businesses and civil society actors – are trying to project and their footprint globally.

And also I think this reflects a shifting global role of China, in general. We can further explore what the implications of this phenomenon are. This is some ongoing research I’m doing – trying to understand how actors in different parts of the world react or perceive this changing rule of China and how such engagement between China and different countries shape, or reshape, the sustainability transition.

CB: You mentioned just then that there’s not just the Chinese government, but also civil society, businesses and other non-state actors. What role do you think these non-state organisations play in the country’s overall climate strategy and climate engagement?

SY: Let me start with the caveat that, first of all, as shown in our database, the government, or state actors, still play a very important role – especially central government agencies, for example, the MEE [Ministry of Ecology and Environment] or NDRC [National Development and Reform Commission].

But, at the same time, especially over the last 10 years, what we have seen is that non-state actors have become more active and engaged more, in various ways, in leading climate initiatives beyond China’s borders.

This means, sometimes, they collaborate with state actors to co-develop certain initiatives. Sometimes, they develop their own initiatives with, of course, some support from the state. One thing we need to bear in mind is, in China, it’s almost impossible to [avoid involving] the state. At least, you have to closely align with the strategy of the government.

But, at the same time, what we can see is the agency of these actors. They have developed or showed the ambition to develop certain initiatives, including, for example, standards in the critical mineral space, to provide guidelines to companies for their overseas activities.

Similarly, some civil society actors, [such as] research institutes, also want to claim their leadership in a global sphere, trying to showcase how they can lead certain activities and show how their expertise or their knowledge can support countries or actors in other parts of the world.

CB: On the standards-setting point, is that something where it might be led by one Chinese company with multiple partners – whether it be from one country or from various different countries in a region? Or is it a broad spectrum of Chinese companies coming together saying that we want to work with Chile, Zimbabwe etc, on mining standards? Is it very representative of the industry, or does it tend to be quite piecemeal?

SY: This is an inclusion criteria for the databases. We [only] look at the initiatives that are, to a large extent, institutionalised. It’s not that company’s claim that “we are doing this”. If we can’t track down any information or find any records then we cannot include things like that in our database.

That means we only tend to look at initiatives that are well-developed. These are often, for example, developed by national industry associations. They try to convene different companies together and try to collaborate with, or coordinate, different actors along supply chains and also across sectors or industries.

When they work with different international partners, this is also a question I think we need to further explore, using our data set to try to look at – sometimes I think it’s not easy for us to do everything! – but try to look at what kind of partners they select and how they get involved with partners in different countries or different regions.

But I think this probably requires some other methodologies to look at, or maybe zoom out to specific cases.

This is similar – I always want to use this as a comparison – when we started [seeing] this phenomenon in Europe or in North America, for example, where companies start to take climate actions, we didn’t really pay a lot of attention to how and who they work with, as long as they say: “We are trying to support global climate action.”

But, nowadays, when it comes to the question of China, people start to be interested in who they work with. But if we look at the narrative and discourse of these initiatives, they say as well: “We want to support actions around the world.”

They don’t always specify [the geographic scope of their standard-setting work], but if we further zoom into where they are working and why they work in specific areas or regions, this is also an interesting question – I think there is also a question of politics or political economy there. I would encourage researchers to use our dataset to further explore that kind of question.

CB: Zooming back out – the theme of the data set is environmental leadership, but – at least in global climate negotiations – Chinese officials have eschewed being called a climate leader. Your database seems to show an uptick in activity that could be defined as leadership. Would you say that China wants to be seen as a climate leader?

SY: This is a very strong claim, so I probably would not say [so] – also, it’s very subjective, depending on who you ask this question to and how people perceive it.

Let me frame me this way – let’s separate multilateral negotiation processes from what the country or different actors are doing. Of course, for leadership, another way to measure this is to see the performance itself.

But, in the end, I think we also tried to be very reflective when we developed this work to acknowledge the subjectivity of leadership and the relational nature of leadership. That means that, if you want to be a leader, others need to acknowledge your leadership or recognise this status.

But this is why I think it comes to an interesting question about what’s the role of China and how different actors perceive China’s role in today’s global climate governance.

In multilateral negotiation processes, we are entering into the implementation phase for the Paris Agreement. That means it is very difficult to create new agendas at this stage. [Instead the focus is] trying to see if countries can deliver what they have done.

Of course, I think there is a question of ambition in terms of updating your nationally determined contributions. So, there is an ambition question – there is a performance question.

If we want to see whether China is becoming a leader, we have to look at how fast, for example, China is accelerating its energy transition, trying to reduce – of course, some data shows China has already peaked its emissions – but maybe, how fast China can reduce its emissions.

Then, in terms of international engagement, what our data is trying to show is that China has become more proactive in that space. The question is also if this engagement translates into some progress in different parts of the world – if China is actually helping. We need more data to do this kind of impact assessment.

But, at the same time, I think the question of whether the Chinese government wants itself to be seen as a leader – this is also an interesting question. Depending on who they want to engage with, in different fora or on different platforms, the answer may be different.

I just want to quote, when I was in China a few months ago, we had some dialogues with leading Chinese experts. They said the government – and also people in China – are not ready to become a global leader. But, at the same time, I think, what China is doing or the role of the country – in climate governance, but also in clean-energy supply chains – China is playing a leading role.

So, I think the question is whether this physical change that has already happened will translate into the understanding, or mindsets, of people, including policymakers or decision-makers in the country.

I think this is a question that China needs to figure out, itself. Then, of course, there will be implications for China’s strategy for engaging with the rest of the world, especially on climate change.

CB: And what do you think China’s climate engagements will look like in 5-10 years from now?

SY: I think, from an energy-transition perspective – let me start from there – China is going to be, at the least, more proactive in promoting energy transition, because it aligns with China’s economic interests and, to a certain extent, its political interest as well, to support energy transitions around the world.

The key question is what role China can play in doing that. Of course, there is the question of trade, of tariffs. There is also the question of investment, intellectual property and technology transfer.

My read is that China is willing to share more knowledge, and technology as well, through its international global engagements, to support other countries. But, at the same time, I think, it is not a given. It depends on how countries can make arrangements with China, how they can also propose some viable solutions in terms of absorbing Chinese technologies.

What we have seen is a lot of countries, especially in the global south, have benefited already, or are in the process of benefiting from, affordable technologies produced by China.

But, at the same time, this is not sustainable – at least from an economic point of view – not a sustainable situation in the sense that these countries also need to find a way to move themselves upward in supply chains and try to absorb some technologies. How they can work with China [to achieve this] – that’s a very important question to me and also my team. We want to do more research in that area.

This is from the energy-transition perspective. But then, if we look at multilateral processes, I would say China is very committed to multilateralism. If we look at all the discourse, including the cases in our database – we have done some text analysis looking at the narrative discourse of the vision of these initiatives. Multilateralism is a very important principle, championed in almost all the initiatives. That means China is not going to abandon multilateral processes.

Also, we have done some work looking at the alignment of Chinese climate initiatives with existing UN institutions and frameworks, and we also see very close alignment.

So, I think this pattern will probably last. At the same time, because – depending on the other important countries’ climate policies, for example, the US – back to your question about the leadership in multilateral processes, how proactive and how ambitious China wants to be in taking on this leadership position in multilateral processes is still an open question.

This also depends on the concept of leadership in different cultures.

Whether China wants to take over the US to become the only superpower of a global system – I think this is probably very unlikely. China may want to figure out a slightly different model. Even if, physically, it’s one of the most, or the most, important or powerful countries in the world, how using how the country can use this position to support or guide the governance of global challenges, this is probably slightly different from the views or understanding of, for example, European and other global north countries.

The question is how China can propose a slightly different model – still in the current multilateral system – for governing global challenges, including climate change. This is really important. I don’t have an answer, so that’s why we will continue to look at this question and try to use our research to help people understand what role China can play in global climate governance.

CB: Thank you.

This interview was conducted by Anika Patel via Zoom on 1 July 2026.

The post Interview: Dr Sun Yixian on his new database tracking Chinese climate ‘leadership’ appeared first on Carbon Brief.

Interview: Dr Sun Yixian on his new database tracking Chinese climate ‘leadership’

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India looks to untapped graphite riches for slice of critical minerals boom

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Tucked among forested slopes and pristine valleys in a corner of northeastern India, young villagers have been busy knocking on doors – hoping to convince sceptical elders that graphite mining would bring much-needed jobs to their distant region.

“The youth in our village migrate to cities for work. What’s better than to have jobs near home?” Gollo Doni, a farmer and secretary of the local youth association, told Climate Home News as he and other members in their 20s discussed the latest meetings between locals and representatives of Oil India Limited (OIL), a state company exploring graphite and vanadium reserves in Arunachal Pradesh.

The mining plans in the state, which is home to more than one-third of India’s graphite reserves and the subject of a sovereignty dispute with China, reflect a push by the Indian government to position itself as a leading producer of battery-grade graphite as the mass rollout of batteries for electric vehicles (EVs) and power storage drives demand for the mineral.

    An average electric car contains about 60 kg of graphite anode materials, according to the International Energy Agency, and the graphite supply chain is heavily dominated by China, which produces about 80% of the world’s natural graphite and controls more than 90% of global refining.

    As Western countries seek to reduce their dependency on China, India’s reserves of graphite and other minerals vital for the switch to clean energy have caught governments’ attention, with Germany signing a critical minerals partnership agreement in January.

    Ambitious plans

    But hurdles remain to India’s ambitious plans to ramp up critical minerals output, both to position itself as an alternative to China and to meet its own fast-growing needs.

    India has a target for 30% of new vehicle sales to be electric by 2030, and demand for EV lithium batteries looks set to surge close to 35-fold between 2023 and 2035, according to S&P Global Mobility, driven by growth in two- and three-wheelers in the country of 1.4 billion people.

    Although domestic manufacturing of EV batteries is expanding, the sector remains at an early stage and India depends heavily on imports from China, South Korea and Japan.

    Three young men stand in front of a building in Phop village, Arunachal Pradesh, India
    Gollo Doni (left) and other members of the All Pith-Seer Youth Welfare Association meet to discuss graphite exploration around Phop village in Arunachal Pradesh, India (Photo: Cheena Kapoor)

    At the same time, it wants to get graphite processing off the ground, aiming to turn its reserves of the mineral – which rank among the world’s 10 biggest – into higher value battery-grade supplies.

    The energy transition has a rare earth problem: These startups are solving it

    With exploration already underway, the next step should be starting discussions about developing processing facilities – including support from foreign partners, said Kaira Rakheja, South Asia energy analyst at the Institute for Energy Economics and Financial Analysis (IEEFA).

    “These exploration and extraction projects have a long gestation period. So even if discussions on processing start now, it will still take a while,” she said, noting India’s simultaneous push to create “rare earth corridors” encompassing every step of production.

    Hurdles ahead

    India’s graphite reserves are mainly of a lower grade, however, making processing for use in battery anodes more complex, while the country is a late entrant.

    “We are not a big player in the market and have missed the bus,” said Aditya Ramji, director of the Global South Clean Transportation Centre at the University of California, Davis.

    While exploration work is already underway at several sites in Arunachal Pradesh, and at some places in eastern and southern India, production will take at least two years to start, said Tana Tage, director at the Centre for the Earth Sciences and Himalayan Studies, OIL’s local partner and holder of a 10% stake in the Phop project.

    Graphite powder, used for battery paste, is pictured in a Volkswagen pilot line for battery cell production in Salzgitter, Germany, May 18, 2022. German carmaker will launch its so called “Mission SalzGiga”, a plant for battery cell production, including battery recycling, on July 7, 2022. REUTERS/Fabian Bimmer

    Graphite powder, used for battery paste, is pictured in a Volkswagen pilot line for battery cell production in Salzgitter, Germany, May 18, 2022. German carmaker will launch its so called “Mission SalzGiga”, a plant for battery cell production, including battery recycling, on July 7, 2022. REUTERS/Fabian Bimmer

    A mine would create about 300 jobs and the project’s partners are discussing options for processing the site’s medium- to high-grade graphite locally, Tage added, despite voicing concern about a lack of technological know-how.

    “India does not have the large-scale, advanced processing capabilities to achieve the ultra-high purity levels required for EV batteries and clean technologies,” he told Climate Home News.

    Diversification drive

    Despite such challenges, industry experts say India could benefit from the push to find sources of battery graphite other than China.

    “We can’t beat China in this space, but we can still create a space for ourselves in buying and selling, as everyone is looking for a space to diversify,” said Rishabh Jain, fellow at the Council on Energy, Environment and Water, a New Delhi-based think-tank.

    India’s government hopes the bilateral memorandum of understanding (MoU) signed with Germany could help.

    A graphite deposits visible on a hillside near the village of Phop, Arunachal Pradesh, India
    A graphite deposits visible on a hillside near the village of Phop, Arunachal Pradesh, India (Photo: Cheena Kapoor)

    As well as pledging cooperation on critical minerals exploration, the declaration envisions the exchange of know-how to add value through processing and recycling, facilitating investment and building the supply chain resilience of both countries. That could include identifying joint research projects and facilitating cooperation between industry players.

      India and Germany will work together to mutually strengthen supply chains in the field of critical minerals,” a spokesperson for the German government’s energy strategy said. “We will encourage companies to build strong ties in terms of knowledge sharing, offtake agreements and investments.”

      Germany is already supporting several domestic projects focused on converting graphite into battery anode material – valuable experience that could potentially be shared with India, said Rakheja. In return for shared technical expertise, India offers a strong pool of workforce talent and a big market.

      “This way, both partners can look beyond China,” she said.

      India sets achievable green electricity and emissions intensity targets

      The MoU, which is non-binding, is “a good start”, said Svenja Schöneich, a senior advisor at the NGO Germanwatch, adding that it was thin on details, including on how to add value to India’s critical mineral resources.

      “The partnership document should figure out the problem of local value creation. It should also consider that it can’t really skip processing through China,” Schöneich said.

      An official at India’s Mining Ministry did not respond to requests for comment.

      Trade deals and tax breaks

      Beyond the five-year German accord, India has implemented numerous policy measures aimed at securing its own supplies of critical minerals and adding value to its mineral exports, for example by signing favourable trade deals. Last year, India’s graphite was granted zero-duty access to the US, just as the tariffs on Chinese graphite imports climbed to a high 160%.

      When the government announced the national budget in February, it included a raft of financial measures aimed at kickstarting a plan to process minerals domestically – the details of which are expected to be announced in the coming months.

      They included zero customs duty on critical mineral inputs and enhanced tax deductions for exploration, while the government’s production-linked incentive (PLI) scheme allocated the equivalent of $1.87 billion to build domestic battery cell manufacturing.

      Before that can happen, progress on new mining – such as the Arunachal Pradesh graphite projects – is vital, Jain said.

      “We are in 2026, and looking to move towards a cleaner world. This is the future,” he said.

      The state government in Arunachal Pradesh agrees. It called last year for fast-tracked environmental permitting for graphite projects, new infrastructure around mine sites and reforms to avoid legal disputes that could hold the sector back.

      An elderly man sits on a wooden deck in the village of Phop,in Arunachal Pradesh, India
      Gollo Kami, 60, a cardamom farmer and a traditional hunter has lived all his life in Phop village. He worries about the impact of mining on the local environment (Photo: Cheena Kapoor)

      Back in the village of Phop, youth association secretary Doni said that while reluctant residents did not raise an objection to OIL’s preliminary exploration licence, he fears a bigger fight ahead.

      Tage said up to 3,000 people could ultimately be displaced if the project proceeds, raising questions about whether economic benefits would outweigh the social and environmental costs.

      “It has been difficult to make the elders agree to actual mining,” Doni said, as he and other young villagers sipped on sweet tea in a thatched mountain house. “We are trying to convince our elders that mining will not only bring resources for the nation, but bring us jobs here.”

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      The loss and damage fund needs far more finance to deliver climate justice

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      Wamuyu Manyara is country director for Trócaire Malawi and Tarcizio Kalaundi is its climate resilience officer.

      This week, the Fund for responding to Loss and Damage (FRLD) faces a significant decision that will determine its ability to address the harms being done by climate change.

      Discussions on the Fund’s Resource Mobilisation Strategy must get the scale and accessibility of the Fund right. Failure to do so would risk undermining its role to channel finance to countries ex­periencing loss and damage, and undermine obligations to climate justice and human rights.

      This discussion could not come at a more pressing time. As loss and damage (L&D) continues to escalate globally, and as the world teeters perilously close to the Paris Agreement’s critical 1.5C warming limit, the FRLD also faces the very real danger of running out of funding in 2027.

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      Experts calculate that in 2025, L&D finance needs for climate-vulnerable countries may have reached USD$937 billion. Last year’s major impacts included a series of extremely destructive cyclones that hit the Philippines, estimated to have caused over $5 billion in losses, while in Jamaica, the losses and damage caused by Hurricane Melissa were estimated at $12.2 billion.

      The bill for just one of these disasters would exhaust the Fund’s existing resources many times over. While the costs and human rights violations rack up, almost four years after being agreed at COP27, the FRLD remains critically underfunded.

      Pledges to the Fund ($822 million) are just a fraction of 1% of annual loss and damage needs, and only around half of those pledges ($448 million) have been paid into the Fund so far.

      Meanwhile, those who have done nothing to cause the climate crisis are facing its worst – and intensifying – impacts and are being left to foot the bill for the damages already incurred, not to mention the severe non-economic costs to communities. It is therefore crucial that the FRLD’s Resource Mobilisation Strategy urgently brings in far more L&D finance.

      Contributor conundrum

      Many developed states will claim that additional countries should provide L&D finance. This, however, is a distraction – particularly considering the deep abyss between the contributions of developed states that are obligated to pay and their fair share as calculated according to their wealth and historical emissions. Furthermore, some states and regions that are currently not obligated to contribute are already doing so.

      Analysis reveals that, even in the highly inequitable scenario where all states including those who have contributed nothing to causing the climate crisis were to pay towards L&D finance, wealthy countries would still be responsible for the vast majority of L&D finance.

      New loss and damage fund could run out of money next year

      The Fund’s Resource Mobilisation Strategy must focus political discussions on the ability of rich and highly polluting states to raise public, grant-based L&D finance that is new and additional to existing climate finance obligations and overseas development assistance.

      Developed states have the means to pay and the FRLD should introduce mandatory and progressive mechanisms to make the biggest polluters, including the ultra-rich and fossil fuel corporations, pay for their climate harms.

      African impacts

      Increasingly unpredictable seasons and more frequent and extreme events are driving food insecurity, malnutrition, displacement and other human rights risks in climate-vulnerable countries, and communities facing these escalating and compounding impacts must be centred in FRLD policies.

      In Ethiopia, 2023 saw 24 million people affected by five back-to-back failed rains leading to severe food and water shortages, including a 90% crop loss in drought-affected areas. Eleven million people required food assistance, and over 500,000 people were displaced. Meanwhile, the 2023–24 floods and the 2024 Gofa landslide disrupted or destroyed health facilities, displaced thousands, and led to outbreaks of cholera, malaria, and measles.

      Comment: Let’s tax luxury air travel to fund climate adaptation and loss and damage

      Today, Somalia is facing one of its most severe drought emergencies in recent history driven by climate extremes. Malnutrition rates continue to exceed projections and previous devastating records, with 1.9 million children in Somalia acutely malnourished.

      In Malawi, child stunting had significantly reduced, but climate impacts are now affecting children’s growth and development. Tropical Cyclone Freddy in 2023 was one of the worst on record, causing over 1,200 deaths, displacing half a million people, and causing damages exceeding $500 million. Recovery needs for four major disasters between 2015 and 2023 are estimated at $1.7 billion, equivalent to more than a quarter of Malawi’s 2026-2027 budget.

      Funding for communities

      Access to community grants in the southern African country, however, has catalysed local responses to L&D that coordinate around immediate and long-term needs and restoring livelihoods.

      Direct access to the FRLD for climate-vulnerable countries and communities, with community-centric planning, is essential to ensure that the Fund can respond to the needs of people experiencing the worst impacts of climate change, through prompt and flexible mechanisms that do not hinder recovery options.

      Stepping up to fill the FRLD through an ambitious and needs-based Resource Mobilisation Strategy is the bare minimum that wealthy states can and must do. It is, after all, an obligation that flows from the international duties of cooperation and prevention of harm, and from the obligation to provide reparation when harm occurs. Failure to do so would further erode climate justice and human rights for communities on the frontline of loss and damage.

      The post The loss and damage fund needs far more finance to deliver climate justice appeared first on Climate Home News.

      The loss and damage fund needs far more finance to deliver climate justice

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