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Are you concerned that Hull City of Culture is being sponsored by one of the world’s most notorious and unethical companies, BP? Just as major arts organisations like Tate and the Edinburgh International Festival are severing their links with Big Oil, we are about to see BP’s logo plastered all over our city’s incredible arts and culture scene – for a whole year.
Actor Simon McBurney spoke out against BP’s sponsorship of Edinburgh International Festival. Soon afterwards, the sponsorship ended.
The movement to end oil sponsorship of the arts has snowballed in recent months, with major names in the worlds of arts, science and politics adding their voices. An explosion of creatively disobedient performances have turned famous oil-sponsored spaces such as the British Museum’s Great Court, Tate Britain and the Scottish National Portrait Gallery into sites of radical storytelling, guerrilla education and colourful resistance.
Now it’s Hull’s turn!
This meeting is organised by a group of Hull-based artists and activists who want to develop creative ways to raise concerns about BP’s sponsorship next year. We will be joined by two ‘actorvists’ from theatrical protest group ‘BP or not BP?’ who will contribute ideas, information and inspiration to a discussion about how artists, culture sector workers, activists and culture-lovers in and around Hull can take fun and creative action to counter BP’s ‘artwashing’ campaign in our city.
About BP or not BP?:
Performers recreate and mourn the Deepwater Horizon spill, in the British Museum.
BP or not BP? emerged in 2012 with a series of Shakespearean stage invasions before BP-sponsored plays at the Royal Shakespeare Company, gaining support from members of the cast and company. This growing troupe of ‘actorvists’ now perform regularly in museums, galleries and other oil-sponsored spaces in London and Edinburgh. Their performances have ranged from rampaging BP vikings to powerful performance art, via pop-up exhibitions by rebel curators and, most recently, a bevvy of BP-loving merfolk taking over the British Museum with their siren songs…
Today, BP announced that it has signed a new £7.5 million 5-year sponsorship deal with the British Museum, National Portrait Gallery, Royal Opera House and Royal Shakespeare Company. We intend to challenge and overturn this terrible decision.
This will be a hugely unpopular move and wildly out of touch with the mood across the cultural sector. Just weeks ago, BP’s corrupting influence over these cultural institutions was exposed in a damning report, uncovering the way the company uses sponsorship to keep drilling, spilling and cosying up to corrupt regimes.
To make this decision at a time when the Museums Association is considering whether its Code of Ethics has been breached shows that the commitment of these institutions to ethics and sustainability is not worth the paper it’s written on.
Our performance action at the British Museum’s BP-sponsored Viking exhibition. Photo by Hugh Warwick
At a time when the world needs to urgently shift away from fossil fuels, the idea that these institutions will still be promoting an oil company into the 2020s is deeply irresponsible. As the devastating effects of climate change become ever more apparent, this decision will look more shortsighted with every passing day. It is also a kick in the teeth to everyone dealing with the negative consequences of BP’s operations around the world.
‘The news that a number of cultural institutions have decided to renew sponsorship with BP comes after 14 consecutive months of record global temperatures. While it’s widely acknowledged that we can only consume a fraction of known fossil fuel reserves if we are to avoid the worst impacts of climate change, BP’s business model depends on finding and burning more.
‘By providing BP with a veneer of cultural respectability, institutions like the British Museum and the Royal Opera House are actively aligning themselves with those who seek to trash the climate. They can expect a renewed wave of creative intervention from the many groups who are pushing back against the destructive power and influence that oil companies are exerting in our society.’
‘BP is ripping off our cultural institutions – the sponsorship provides less than 0.5% of the British Museum’s budget. With this pocket change, BP buys legitimacy, access to invaluable advertising space, and masks its role in destroying indigenous lands, arming dictatorships, and wrecking our climate. The museums help BP do that. That’s why art interventions and protests against BP will go on. The new deals will not last five years.’
We invite you all to our next rebellious performance in the British Museum – the Sunken Cities Splashmob on 25th September. Let’s show the British Museum, and all the other institutions taking BP’s money, that this decision will not stand.
We bring a ‘splashmob’ of singing merfolk and an interactive map into the British Museum in protest at BP sponsorship
At the same time, the London Transport Museum is targeted by London Campaign Against Arms Trade (London CAAT) in protest at arms company funding
Our two groups join forces for the first time to challenge unethical museum sponsorship deals
The splashmob in full flow. Photo by Kristian Buus.
Today at 2pm, two simultaneous protests began at two different London museums, calling on the institutions to end their controversial sponsorship deals with oil and arms companies.
In the British Museum, a troupe of ten merfolk – from theatrical protest group ‘BP or not BP?’ – launched into a BP-themed version of ‘Under the Sea’ from the Little Mermaid, near the BP-sponsored ‘Sunken Cities’ exhibition (lyrics below). They briefly blocked the entrance to the exhibition and then roamed the museum for three hours, singing songs and holding signs to thank BP for all the cities that will sink in the near future, thanks to the climate change caused by the oil company’s products and political lobbying.
‘Cities are better when they are wetter, mermaids agree!’ Photo by Kristian Buus
Meanwhile, other members of the group set up a giant map of the world, showing cities at risk from rising sea levels, directly outside the Sunken Cities exhibition. They spent the afternoon gathering stories and personal memories of those cities from museum visitors, including people from New Orleans, Mumbai, Shenzhen, Buenos Aires, Dubai and Manila.
Museum-goers examine the map of cities at risk from rising seas, and add their own personal messages and memories. Photo by Kristian Buus.
At the same time, members of London Campaign Against Arms Trade (London CAAT) organised a demonstration outside the London Transport Museum in Covent Garden. They were protesting against the sponsorship of the museum by Thales, one of the world’s biggest arms companies. Thales’ products include missiles, drones and aircraft carriers. Its customers include some of the world’s most repressive regimes such as Russia and Saudi Arabia. London CAAT distributed postcards, displayed banners reading “Disarm the museum”, and encouraged the public to contact the museum to voice their concerns.
Merfolk introduce the map to museum-goers. Photo by Kristian Buus.
Meanwhile, the arms company Thales – sponsor of the London Transport Museum – has been the target of multiple corruption allegations, and in 2011 was fined 170 million Euros for bribery. The company is listed as a leading member on the transport museum’s website, and has used the museum’s rooms to meet with UKTI DSO, the government body responsible for promoting arms exports.
London CAAT member Wendy Horler said: ‘Museums are places to learn and discover while arms companies’ business destroys and devastates. The London Transport Museum should end its sponsorship with Thales immediately. With oil sponsorship of museums being challenged and some museums cancelling these deals, we hope arms companies will also be seen as anathema to museums.’
Danny Chivers from BP or not BP? said: ‘BP is actively blocking clean energy laws, and pushing to extract more and more oil and gas. Its business plan relies upon a level of climate change that will cause enormous damage to dozens of major cities from rising sea levels. We still can’t quite believe that the British Museum has chosen this company to sponsor an exhibition called ‘Sunken Cities’. We want to see museums adopting genuine ethical sponsorship guidelines that would prevent them from giving false legitimacy to destructive companies like BP and Thales.’
Visitors got into the anti-BP spirit and enjoyed using our signs. Photo by Kristian Buus.
Lyrics to ‘Under The Sea’
It’s time that we start to plan for
When cities become lakes
Because when the ocean rises
Mermaids get the real-estate!
Just look at the world around you:
this will be the ocean floor
Apartments with seaweed gardens
Submerged museums galore!
Under the sea, under the sea
Cities are better when they are wetter
What do BP give? a bit of cash!
Sunken cities? oh what a splash!
Cities are sinking to champagne clinking
Thank you BP!
Just keep the fossils burning
So sea levels rise with haste
Our fishy hearts are yearning
To fill up your human space
Just look at the world around you:
This will be the ocean floor
Apartments with seaweed gardens
Submerged museums galore!
Under the sea, under the sea
Cities are better when they are wetter
What do BP give? a bit of cash!
Sunken cities? oh what a splash!
Cities are sinking to champagne clinking
Thank you BP!
This parliamentary motion lodged by the Scottish Greens is calling for the Scottish National Portrait Gallery (SNPG) to “cut ties” with BP.
The full text of the Scottish Parliament motion lodged by Ross Greer:
That the Parliament notes its disappointment at the sponsorship by the fossil fuel company BP of the ‘BP Portrait Award’ exhibition hosted by the Scottish National Portrait Gallery (SNPG); supports the activism of ‘BP or not BP? Scotland’; acknowledges that public and cultural institutions have a duty to demonstrate leadership in the fight against climate change and human rights abuse; supports the global movement to divest public and private funds, including sponsorships, from fossil fuels; acknowledges that approximately £2.3 trillion has been divested from the fossil fuel industry globally; and calls on the SNPG and the National Portrait Gallery in London to cut ties with BP.
Greer, the country’s youngest MSP ever elected, said:
“Arts and cultural institutions have an important role to play in protecting our shared environment and the most obvious way for the Scottish National Portrait Gallery to do that is to set an example and break free from exhibitions sponsored by fossil fuel companies.
“The logo used by BP might be green in colour, but they are about as far as you can get from a shining example of the green credentials a company should have. People aren’t daft, they know that the sponsoring of arts, cultural and sporting events by oil and gas companies is a cynical attempt to divert attention away from the numerous environmental disasters the industry has been associated with.”
“Scottish Greens are part of the campaign for an end to oil industry sponsorship of the arts in Scotland. We hope that SNPG and others will decide to join us.”
Inspired by ‘BP or not BP?’ and our theatrical protests, student Matthew Walpole headed to Stratford-Upon-Avon last week to protest BP’s sponsorship of the Royal Shakespeare Company’s (RSC) discount scheme for 16-25 year olds – “The RSC Key“. Here’s a guest blog from Matthew about his theatrical intervention and why he did it…
“Last Saturday, I marched to the RSC Theatre in Stratford-Upon-Avon and sat outside the entrance for several hours with a protest sign, handing out information, and talking to theatregoers. My purpose? To raise awareness about BP’s sponsorship of the RSC, and how it works to cleanse BP’s tarnished image, making them seem like a responsible and ‘culturally-friendly’ corporation – when, of course, nothing could be further from the truth!
During the interval of that day’s performance, a production of Hamlet, I entered the foyer and performed my own take on the play’s famous speech – in this case, ‘BP or not BP? That is the question!’ (Full text below.) It highlighted BP’s contribution to catastrophic climate change and urged audience members to let the RSC know how they feel about this oily partnership.
I believe it is of URGENT IMPORTANCE that we work to get BP out of big cultural institutions like the RSC. It is important that our great arts institutions are well funded but the trickle of money they receive from BP is not the crucial funding the oil company makes it out to be. It is crucial that we, as a global public, start coming to terms with the extent of both the short and the long-term violence that the big oil companies have been knowingly practicing for so many years – if we are to curb runaway climate change, we have to take on the fossil fuel companies as a unified people.
I find the BP’s current sponsorship of the RSC particularly unpleasant as it targets young people, giving 16-25 year olds money off tickets. The deal promotes the oil giant to the emerging generation, the ones who will be most impacted by the effects of climate change in the future.
I found my experience outside the RSC encouraging: I was generally well-received (including by some members of RSC staff), and my performance sparked some good conversations.
While protests like mine may appear small, it was the accumulated performance protests of groups such as the ‘BP or not BP?’ theatre company, the Liberate Tate artist collective and the Art Not Oil coalition that finally got the Tate and then Edinburgh International Festival to cut ties with BP. This is a great start, but there is still more work to be done – and fast – if we’re to shift to a fossil free culture!
PLEASE join the campaign against oil sponsorship of the arts by writing to the RSC (or by protesting in whatever way you prefer!) to let them know that we, its audiences, are disgusted by their partnership with BP, and to demand that they immediately cut off all ties with this most dangerous and irresponsible of companies…
BP or not BP, that is the question –
Whether ‘tis nobler in the mind to suffer
The filthy money of an outrageous sponsor
Or to take up arms against this badge of troubles
And by opposing, end them.
To die[vest], to [sweep clean]
No more! And by sweep clean we say to end
This shameful partnership — investing in the arts
To rinse their name – ‘tis a consummation
Devoutly to be wish’d: to divest, to sweep clean.
For in ridding Shakespeare of this stain what clean culture may come:
When we’ve shuffled off this mortal oil
Must give us cause: there’s the respect
that makes calamity of such a sponsor;
For who would bear for the oil spills, the mass floods,
The impending global food deficit and mass starvation,
The rising sea levels, widespread disease, acidifying oceans
Manslaughter, and, in short, for the continued destruction
Of our planet, and of decent and habitable living conditions for our children,
To be knowingly hid behind our poets’ face
When we ourselves might his quietus make
with a bare protest?
Our climate-wrecking, sea-level-raising nemeses at BP have decided, in their wisdom, to sponsor the “Sunken Cities” exhibition at the British Museum. The British Museum, in a similar moment of clever, irony-free thinking, have agreed to let them do it.
As part of the exhibition, they’ve set up one of those comedy face-hole board thingies like you see at the beach (or to give it the correct title – as we’re sure you know – a cut-out photo-board with comic foreground):
This got us thinking. We’ve already gone along to the museum to have a word about the horrible inappropriateness of the exhibition sponsor, and some other people have too. But this latest family-fun-themed addition to the exhibition might just be the perfect opportunity for everyone else to have a say as well. Including you.
Yesterday, we visited the museum to make this simple photo guide:
How to stop BP from sponsoring the British Museum, using a cut-out photo-board with comic foreground. And your face.
1) Go to the British Museum. It’s the big building on Great Russell Street in London with all the old stuff in it. Map here.
2) Bring some eyeliner pencils (available at any ethical non-animal-tested make-up shop).
3) Find somewhere to hang out in the museum (there are various cafes and things). 4) Draw some appropriate messages on your face (it may be easier to ask a friend to do this)
5) Some kids will probably already have their faces in the face-hole board thingy outside the Sunken Cities exhibition. Wait for them to finish, then seize your moment:
6) Take a picture to reflect your feelings about the fact that an oil company responsible for billions of tonnes of greenhouse gas emissions and that actively lobbies against clean energy is sponsoring an exhibition about cities sinking into the sea:
7) Don’t want to try this alone? Why not bring that special someone:
8) A bit too easy? Want to progress to the next level? Time to bring out the face paints (available at any good party shop):
9) Be careful, you don’t want anyone to see you doing it…oh wait, hang on, no-one’s bothered:
10) Wait, how do you draw a BP logo?
11) Ah, close enough…
12) Sometimes the simplest messages are the most effective.
13) Get some good photos, and don’t forget to tweet them with the hashtag like the board says:
14) Once you’re done, a bit of make-up remover can take away all traces in a flash:
15) Or you might just want to leave it on and have a stroll round the museum…
Performance fills museum with sounds of dissent against BP sponsorship and disrupts speeches at VIP exhibition launch
Campaigners highlight irony of a fossil fuel company sponsoring a ‘Sunken Cities’ exhibition
Second creative protest of the day, after a disobedient artwork obstructed the morning press launch
Journalist at VIP launch reports guests ‘cringing’ during BP speech and ‘discussing protest with a lot of sympathy’
A group of ten performers occupied the Great Court of the British Museum yesterday, from just before closing time at 5.30pm until after guests arrived for the VIP launch of a new BP-sponsored exhibition, ‘Sunken Cities – Egypt’s Lost Worlds’. The performers remained in the space until after 7pm, despite the museum being officially closed.
The performance involved reading out a list of cities likely to be lost to the ocean if oil companies like BP continue to extract fossil fuels in line with their current business plans. The chronological list included Alexandria, New Orleans, Mumbai and Lagos. As each city was named, the performers – from theatrical action group ‘BP or not BP?’ – were drenched in water by a ‘BP’ character, and chanted: ‘We do not accept BP’s vision of the future.’
Performers in the museum spent two hours being repeatedly drenched with water. Photo by LXPX.
The reception guests – which included representatives from BP and the Egyptian government as well as ambassadors from Greece and Italy – were diverted away from the protest by British Museum staff. To counter this, the campaigners moved their performance to a room close to the reception, and increased the volume with singing, chanting and drumming a beat on wooden doors. According to the Evening Standard, the sound disrupted the speeches.
The performance got started just as the musem was starting to close for the day.
The performance concluded at 7.10pm with the ‘BP’ character pouring water over his own head to represent the projected climate-change-driven flooding of London in 2060.
Meanwhile, guests inside the reception were apparently ‘cringing’ at a BP executive’s ‘nauseating speech’ claiming ‘We both share an interest in sunken treasures’, according to journalist Jack Shenker, who was there. He shared a photo of a panel about BP in the ‘fascinating and beautiful’ exhibition, railing against the fact that ‘BP can hijack & commodify that work & adorn it with crap like this.’ He later told us ‘plenty of the guests were discussing protest (& with a lot of sympathy)’.
Controversy around BP’s arts sponsorship has been escalating after Art Not Oil published a damning report earlier this month, exposing BP’s ‘corrupting influence’ over the museums it sponsors. The evening’s action followed a creative protest at the exhibition’s press launch that morning, when the same group created a large-scale art work at the exhibition’s entrance. Formed of crude oil from the Gulf Coast, a teargas cartridge from Cairo’s Tahrir Square and 340 black stones, the art piece symbolised how BP’s operations in Egypt are ‘surrounded’ by human rights violations.
A performer creates the artwork made from hundreds of black stones outside the Sunken Cities press launch. Photo Kristian Buus
Jess Worth, a member of ‘BP or not BP?’ said:
‘For BP the mega-polluter to sponsor an exhibition called ‘Sunken Cities’ is beyond parody. But there’s an even more sinister partnership underpinning today’s launch. BP has done deals with the last three repressive Egyptian governments to get access to massive oil and gas resources, crushing local opposition. For BP and Egypt, “Sunken Cities” is an extension of this brutal business relationship, facilitated by the British Museum. The museum will continue to be complicit in BP’s carbon-intensive, rights-abusing business activities until it ends its sponsorship deal with the oil giant.’
Today’s double intervention is part of an escalation in protest around BP’s sponsorship of the British Museum just as it is deciding whether to renew its 5-year deal with the oil giant. It was announced in March that after 26-years BP’s sponsorship of Tate would come to an end. It was followed by the news just weeks later that after 34 years, BP would no longer be a sponsor of Edinburgh International Festival.
The British Museum’s new director, Hartwig Fischer, was welcomed on his first day with a letter from almost 100 cultural and political figures calling on him to drop BP sponsorship.
The ‘BP’ character waits until he can announce another sunken city.
Year of loss City
2016 Nuatambu Island, Solomon Islands
2020 Male, Maldives
2025 Amsterdam, Netherlands
2035 New Orleans, USA
2040 Alexandria, Egypt
2045 Mumbai, India
2050 Ho Chi Minh City, Vietnam
2055 Lagos, Nigeria
2056 Cairns, Australia
2057 Shenzen, China
2058 Buenos Aires, Argentina
2059 Dubai, United Arab Emirates.
2060 London, United Kingdom
‘The British Museum says this new exhibition will “tell stories of political power and popular belief, myth and migration” – and it does. BP’s sponsorship is a story of gaining favour with repressive regimes, extracting fossil fuels and driving the rising sea levels that will cause people to flee sinking cities in the future. That story is already unfolding in Egypt. Meanwhile, the British Museum peddles the myth that BP is generous and ethical when it displays the company’s logos.’
‘BP or not BP?’ is an activist theatre group that has organised theatrical protests and creative interventions at a range of oil-sponsored institutions. It successfully campaigned for the end of BP’s sponsorship of plays at the Royal Shakespeare Company in 2012 and, alongside others, the end of BP’s sponsorship of the Edinburgh International Festival. It is part of the Art Not Oil coalition alongside groups such as Platform, Liberate Tate and Rising Tide UK.
As BP sponsors Sunken Cities at the British Museum, its links with Egypt come into the spotlight
BP has huge investments in Egypt and is partnering with the repressive Sisi regime
The current military government put down local opposition to a BP project, which is now going ahead
Egypt’s own cities are sinking: Egypt is one of the world’s five most vulnerable countries to climate change, but BP continues to pump out greenhouse gas emissions
Residents of Idku march in opposition to the expansion of BP’s operations. Photo: Mika Minio-Paluello
Egypt’s cities are sinking but BP and the Egyptian government keep making deals
Egypt is one of the five most vulnerable countries in the world to climate change, with two of its four most populated cities – Alexandria and Port Said – in danger of sinking due to sea-level rise in the near future. Yet the Egyptian government and BP keep doing deals that will increase greenhouse gas emissions. Egypt could see 30 percent of the Nile Delta – home to half its citizens – become submerged in just the next 15 years. The Nile Delta is also where BP’s operations are focused.
Egypt and BP clearly both see the Sunken Cities exhibition as an extension of their long-standing business partnership, and a way of improving both of their less-than-gleaming reputations internationally. BP’s press release for Sunken Cities includes this quote, from Nasser Kamel, Egyptian Ambassador to the UK:
As well as looking for partners to invest in the Egyptian economy, Egypt is always searching for partners to help in exploring its heritage and treasures which are still hidden under its lands, and waters. This exhibition shows that despite what we know of its tremendous history and culture, Egypt still has a lot more to offer tothe world and we thank our partners in the UK, such as BP, for working with us in utilizing our resources to develop our economy and through such an exhibition unraveling our history as well. I invite the people of Britain to visit this exhibition to get a glimpse of what Egypt has to offer, and come to Egypt to live that experience.
BP’s business operations in Egypt
BP is the largest foreign investor in Egypt, where it has operated for 50 years. The company currently produces almost 15% of Egypt’s oil and close to 30% of its gas, and is in the process of dramatically expanding its fossil fuel exploration and production. Egypt was one of only four countries highlighted in BP’s most recent annual report as the location of ‘new potential resources‘ the oil giant gained access to in 2015. BP is enthusiastically taking advantage of what it calls ‘the new phase of Egypt’s hydrocarbon industry and the development of a world-scale gas business in the offshore Nile Delta’. This began in 2008 when it went into business with the Egyptian government through a partnership called the Pharaonic Petroleum Company. On its website, BP claims that this joint venture ‘is designed to be an efficient and effective vehicle for our gas production growth plans in this area.’
BP’s complicity in repression in Egypt
BP’s long involvement in Egypt has included political manipulation and support for the repression of dissent. The company was a staunch supporter of the brutal Mubarak regime before the revolution. In 2012, BP was sponsoring a business lobby organisation that enthusiastically welcomed the use of executions and force to crack down on protest.
BP has spent much of the last five years trying to seal a major deal to extract gas offshore of North Alexandria. The deal was first announced under Mubarak in July 2010, for $9 billion. Following the revolution, new President Morsi met BP CEO Bob Dudley in September 2012 and announced the same project, then inflated to $11 billion.
However, BP was soon forced to put the flagship project on hold after residents in Idku mobilised against the plan to build a mega-gas plant next to their homes including sub-sea pipelines, offshore platforms and a new gas plant on the beach of this primarily fishing community.
They blocked roads, held popular street assemblies and occupied the building site. After long delays, the local resistance forced BP to concede. The company instead relocated to Burg Mighazil, a village in the neighbouring governate, where BP made an alliance with the Muslim Brotherhood – then running Egypt’s government. But once again, popular opposition put BP on the back foot and stopped construction.
In 2014, former military leader Abdel Fattah El-Sisi became President and BP seized the opportunity to restart drilling and construction – this time cutting a deal worth $12 billion – the largest foreign direct investment Egypt has ever seen. CEO Bob Dudley again went to Cairo to meet with new PM Ibrahim Mahlab, and celebrate renewed co-operation.
Abdel Fattah El-Sisi. Photo: Wikimedia
As part of the clampdown on public criticism under President Sisi, Egypt’s strict anti-protest law threatens multi-year prison terms for street protests, with leftists, liberals and Islamists all receiving long jail sentences. With opposition silenced, BP’s way was cleared, and the company signed the final agreement for the project to go ahead in 2015.
Each time the North Alexandria deal was renegotiated, BP managed to squeeze better terms out of the Egyptian government – meaning fewer benefits for the economy and the general population. It also benefitted greatly from Sisi’s new Investment Law, which removed legal oversight over corrupt deals.
The deal is being financed by a partnership between BP and Russian oligarch Mikhail Fridman, and means the company is once again working with Lord Brown, its former BP CEO, who is executive chairman of L1 energy, Fridman’s oil and gas company.
Most recently, BP signed a brand new deal with Egypt in early November 2015. Bob Dudley and dictator Sisi met in London during Sisi’s recent visit to seal the deal on the Atoll discovery, a large deepwater field 6400m beneath the surface of the East Mediterranean Sea, estimated to hold 1.5 trillion cubic feet of gas, announced in March 2015.
One of BP’s directors is Sir John Sawers, former British Ambassador to Egypt and chief of MI6 from 2009 to 2014.
Resident march against expansion of BP’s operations in Idku. Photo: Mika Minio Paluello
Egypt’s vulnerability to climate change:
Egypt is one of the five most vulnerable countries in the world to rising water levels. Its shores are at risk of sinking, while its water security and food security are under threat.
By 2020, Egypt could lose more than 15% of its most fertile agricultural land in the Delta region, due to sea level rise and land salinisation.
The Nile Delta is home to half of Egypt’s 80-million-plus population, including two of its four most populated cities, Alexandria and Port Said.
Climate change is causing sea-level rises and a severe loss of sediment in the Nile Delta. Combined, this could see 30 percentof the Delta submerged in the next 15 years.
A one-half meter rise in sea level would force 1.5 million people to evacuate from Alexandria, Egypt’s second largest city. Almost 200,000 jobs would be lost
The salinity of coastal water is rising dangerously, posing a threat to Egypt’s agricultural sector, which makes up 29 percent of jobs and nearly 15 percent of national gross domestic product
We were present for the first part of the meeting, which brought together
academics and legal experts in order to discuss West Papua’s right to self-
determination, the ongoing genocide against the Indigenous population and the
logistics of an internationally supervised vote for the people of West Papua to
determine their own political future. Meanwhile, #letwestpapuavote was trending on twitter.
At the meeting there were also key players in the movement such as Chief Benny Wenda, international spokesperson of the United Liberation Movement for West Papua, and several government representatives from other South Pacific nations, who were part of the historic international declaration for West Papuans to finally be given the right to vote for independence.
Professor Keith Hyams from University of Warwick presented findings from the University’s Assesment Report on West Papua. The report covers issues such as human rights violations, cases of torture by the Indonesian military and an assessment of future scenarios towards West Papua’s independence. Other speakers provided testimonies, and talked of the legal basis for West Papua’s right to self-determination, and the path towards a referendum.
A key aspect of the discussion was the economic element of Indonesia’s
resistance to a referendum. Speakers agreed that economic interests and
Indonesia’s stake in West Papua’s natural resources were at the heart of the
issue, and that the campaign needs to move forward in the economic area as well as the legal one.
The role of BP came up repeatedly, alongside other corporations with economic interests in the region. Lord Harries, former Bishop of Oxford and Chair of the International Parlamentarians for West Papua, drew parallels with the fight for independence in South Africa, and said that targeting corporations with economic interests in the area (for instance by brining up issues of ethics and corporate responsibility at shareholders meetings) would be an important step forward in the fight for West Papua’s freedom.
The Morning Star West Papuan flag is exhibited as part of the “A history of BP in 10 objects” exhibition in the British Museum by activists from ‘BP or not BP’
The role of corporations in supporting Indonesia’s occupation and oppression ofWest Papua has been denounced by leading campaigners for years. Last month, Chief Benny Wenda gifted a Morning Star flag representing the fight for freedom of the peoples of West Papua to our exhibition ‘A History of BP in 10 Objects’, in order to highlight BP’s connection to the Indonesian government.
He also recorded a video in which he describes how BP’s operations and its financial contribution to the Indonesian government help fuel the purchase of weapons, and as a result, the repression of people in West Papua fighting for their right to self-determination. He added: “I give this flag on behalf of my people of West Papua who continue to suffer and die under illegal occupation and genocide fuelled by BP.”
At the meeting a new declaration was made calling for an internationally supervised vote on the independence of West Papua. Statements of support were made by government officials and politicians from various countries, including Labour leader Jeremy Corbyn. You can learn more about their campaign and how to support them here.
Cadogan Hall concert targeted due to oil sponsor and conductor’s Putin links Unsanctioned ‘balcony scene’ evades security and entertains audience Concert-goers include senior officials from BP, and UK and Russian governments
Three performers from theatrical campaign group BP or not BP? took to the stage – and a balcony – at Cadogan Hall this evening to challenge BP’s sponsorship, just before Russia’s Mariinsky Orchestra was due to begin a performance of Prokofiev’s Romeo and Juliet. Invitees included VIPs from BP, the Department for Culture, Media and Sport, and the Russian Embassy, who gathered for a BP-hosted reception beforehand.
Three performers invade the stage and the balcony; the Prologue addresses the crowd. Photo by Hugh Warwick.
The actorvists, all of whom are LGBT, performed their own four-minute version of the Shakespeare play, titled ‘Ramira and Juliet’, in which the lovers are gay musicians who fall out over Ramira accepting sponsorship from BP. Adapting many famous passages from the play, they ultimately sort out their differences, drop the oily sponsor, and marry – which would be illegal in Russia under its draconian anti-gay laws. The full script can be found below.
Concert-goers laughed and applauded as the performers recreated the famous balcony scene with an anti-BP, pro-LGBT rights twist, culminating in the actorvists ripping the BP logo from their programmes. A lone heckler was shushed by the audience, and boos could be heard whenever BP’s name was mentioned. Security allowed the performance to conclude and the disobedient thespians left the building of their own accord.
Juliet pleads with Ramira to break up with BP. Photo by Hugh Warwick.
‘LGBT activists have a rich history of creative protest around civil rights, labour rights and climate change. We took to the stage tonight to confront BP staff and the British and Russian governments with urgent questions about the ethics of continued fossil fuel extraction, the need to end oil sponsorship and the ongoing struggle for LGBT rights.’
Dudley Cooper, who delivered the performance’s prologue and epilogue, said:
‘In just the last few weeks we’ve seen both the Tate and Edinburgh International Festival split with BP. The applause we got tonight suggests that the final curtain is near for BP, and it’s high time they left the stage.’
THE SCRIPT: Ramira and Juliet
[Ramira and Juliet are two musicians, hoping to marry now that Ramira has escaped the homophobic laws in her native Russia. However, Ramira is sponsored by BP and Juliet isn’t happy about it]
Britain and Russia!:
Two nations, both alike in oily amoury,
In fair London where we lay our scene,
Through ancient fossil fuels they form close bonds,
While the Earth’s black blood makes their hands unclean.
From forth the fatal loins of these two states,
Two lovers and musicians step, Ramira and Juliet.
One sponsored by oil, the other clean,
This pair of tar-cross’d lovers join the scene…
O Ramira, Ramira! Wherefore art thou Ramira?
Deny thy sponsor and refuse thy shame.
How can I be so bound in love to she
Who’s tied to BP, a rogue by any other name?
My love, Juliet, she speaks!
O, speak again, bright angel! Yet…
What storm is this that blows so contrary?
[To Juliet, trying to woo her] Fair Juliet, when we are wed —
Juliet:[Not having any of it]
I have no joy in your contract with BP:
It is too rash, too unadvised, too sudden.
These dark riches make us hunger more,
And our countries forge most unjust wars
Against our planet, sick and pale with grief
Destroying it for wealth that lies beneath
O, but wilt thou leave me so un-funded?
Parting with oil money is such sour sorrow.
O, that complicity should dwell in such
a gorgeous palace! Blister’d be thy greed.
There’s no trust, no faith, no honesty in oil.
A logo by (almost) any other name would smell more sweet.
If we’re to wed, you must deny BP and refuse its spoils.
O Juliet, at last ‘tis clear to me,
Oil’s violent delights have violent ends
You hate BP like climate change’s blight
I never saw true duty til this night
To preserve our love, I’ll do what’s right
I bite my thumb at you, BP!
Fair Juliet, I take thee at thy word:
Call me but wife, and I’ll be new baptised;
Out, out, now damnèd logo so despised!
Juliet:[Delighted and relieved]
Ay me, a maiden blush bepaint my breast!
My love for thee is grown to such excess
So now that we are safe from Putin’s wrath
On more tolerant ground, let us marry forthwith!
A looming peace this evening with it brings,
As BP’s greed is banished by true love.
And so I say to Rosneft and BP:
A plague on both your houses!
For never was a story of morality clearer,
Than this of Juliet and her Ramira.
At yesterday’s BP AGM in London, almost 60% of shareholders voted against the company’s pay package for Chief Executive, Bob Dudley. For a company making cutbacks and losses, a 20% pay increase was always going to be hard to justify. But I very nearly missed the big announcement.
Opposition to BP’s plans to drill in the Great Australian Bight was hard to ignore.
After being politely searched and handing over my AGM registration card on the way in, a member of security approached…
“You’re being ejected from today’s meeting as you’ve protested at other events.”
I was taken aback – I had never protested at a BP AGM. (Today, I was even wearing a suit and had just had a haircut!) I explained that I had come to ask a question, not to cause disruption and that I should be allowed to put it to the board. I made clear that I wanted to ask about the consultation of Indigenous peoples. What followed was an awkward three minutes while the other security staff decided my fate.
“We’ve decided to allow you into today’s meeting.”
Someone, somewhere, had recognised that allowing legitimate questions to be put to the board was something that needs to be respected. In previous years, campaigners had been refused entry to the AGM with little justification. This shift, that they will accommodate those with legitimate questions, was important and needs to be upheld next year too.
Sea Shepherd brought a full-size inflatable sperm whale to the BP AGM. It didn’t get in…
Once inside, I was watched throughout. Another member of security sternly told me to turn my phone off and put it away – electronic devices were banned. I was sat next to a member of BP staff who had also been using her phone. Like a disgruntled teacher, the member of security turned to her: “I know you work for them, but you should be setting an example!”
After she had left, my new friend and “mischief-maker” from BP looked at me and said: “It is very annoying – and I work for them!”
A company so much in the public eye (and currently making headlines) should be seen to be transparent and accountable. Shareholders and journalists – and your own staff – should be allowed to tweet and text. What do they have to hide?
When the time came, I stood at the podium beneath the BP logo and addressed the stage with the board lined up behind BP-branded desks:
Given that Traditional Owners have voiced their opposition to these plans, was this sponsorship actually a strategic move to gain social legitimacy rather than fully address the concerns that have been raised?
Bob Dudley, in his introduction, had said that BP “supports the best of British arts and culture with no strings attached” and here the Chairman, Carl-Henric Svanberg, kept to the same line – “we’re proud of the way we pay back to UK society”. They claimed that they have “no plans to do anything differently” when it comes to the other sponsorship deals – an inconsistent position if pulling out of Tate and EIF were genuinely cost-cutting measures. In a change from previous years, when they had talked about sponsorship as a commercial decision like any other, the CEO made clear that “we do not sponsor exhibitions in order to curry favour”.
I pointed out that they had failed to address the first part of my question, that if they were willing to sponsor an exhibition of Indigenous peoples’ objects, surely they would also respect their objections and seek “free prior and informed consent” in other areas? (This is the language of the UN Declaration on the Rights of Indigenous Peoples).
There was an awkward silence. What followed was Bob Dudley asserting, again, “we would never seek the influence the content of exhibitions”. I made it clear that, those “other areas” were extractive projects like in the Great Australian Bight. Svanberg responded, saying that, “Our procedure is to talk and consult with Indigenous peoples” and ensure that we are “in alignment”.
Our recent ‘unofficial exhibition’ at the British Museum – A History of BP in 10 Objects – highlighted the situation in the Great Australian Bight alongside many other regions and communities impacted by BP. It included a photo of the Mirning Traditional Owner, Bunna Lawrie, alongside the terms of reference for the recent Australian Senate Inquiry into BP’s drilling plans where Bunna had recently spoken.
In a film about the Great Australian Bight Alliance, he has said, “We don’t want no oil to come and interfere, to come and destroy the place, to mess it up. We need to keep [the Bight] intact, to keep it as beautiful as it has been, so that whales and marine life continue to – like us humans – birth their young, breed their young, rear them, teach them, grow them up.”
Lyndon Schneiders from the Wilderness Society being interviewed outside the AGM
Later in the AGM, a flurry of questions about the Great Australian Bight came from shareholders, including members of Share Action and the Wilderness Society Australia’s National Director of Campaigns, Lyndon Schneiders.
Earlier in the week, Lyndon had joined members of BP or not BP? and the activist projectionist, Feral X, for a creative intervention at the BP-sponsored British Museum. While the museum was hosting a lecture on its next BP-sponsored exhibition – the aptly named “Sunken Cities” – we projected images of the Bight onto the building’s iconic facade, along with the message “BP Oil Drilling = Sunken Cities”. The questions in the AGM about the proposed Bight project covered many angles: ethical, financial and political. In his response, Bob Dudley observed:
“This investment in Australia’s not popular today…”
They were starting to get the message. After the announcement of the shareholder rebellion over Dudley’s pay package, I headed out of the vast ExCel conference centre. Outside, members of Sea Shepherd had been chanting throughout the meeting: “Shame, shame, shame on BP!” At one end, among the banners about the Bight, was an Aboriginal flag.
On Monday night, campaigners from BP or not BP?, Feral X and the Wilderness Society mounted a creative protest at the BP-sponsored British Museum. The group projected the words “Drop BP” alongside images of the BP rig preparing to drill in the Great Australian Bight onto the museum’s iconic building. It took place as the museum hosted a sold-out lecture on its next BP-sponsored exhibition, the aptly titled, “Sunken Cities” and follows a letter published in the Guardian last week from almost 100 respected figures urging the British Museum’s new director to drop BP as a sponsor. Later this week at BP’s AGM, shareholders will challenge BP’s plans to drill four ultra deep-water wells in the Great Australian Bight, off the south coast of Australia.
Photo by Diana More.
Lyndon Schneiders, National Campaign Director of the Wilderness Society in Australia, said:
The Great Australian Bight is too wild and too precious to be drilled for oil. It is a renowned whale sanctuary and BP should not be offshore drilling for oil there. We do not want a Deepwater Horizon disaster in Australia and the British Museum should not be associating itself with a company that wants to threaten this special place.
Ahead of BP AGM, campaigners project BP’s rig earmarked for the Great Australian Bight onto the British Museum’s iconic building. Photo by Diana More.
Chris Garrard, a member of BP or not BP? who helped organise the protest, said:
Last year, just as BP was pushing to drill in the Great Australian Bight, the British Museum gave the company valuable legitimacy by allowing it to sponsor an exhibition on Indigenous Australia. And this year, BP will sponsor the museum’s ‘Sunken Cities’ exhibition. But the bitter irony is that if BP drills four new wells in the Great Australian Bight, ‘Sunken Cities’ won’t just be a record of the past – it will be a vision of the kind of future we will face with dangerous climate change.
BP sponsorship of arts and culture has been in the spotlight after the end of its 26-year partnership with Tate was announced a few weeks ago and the confirmation last week that BP’s 34-year partnership with the Edinburgh International Festival has also come to an end. BP claimed the end of both deals was down to a “challenging business environment” but campaigners have disputed this, pointing out that BP’s CEO Bob Dudley is poised to gain a 20% pay rise at Thursday’s AGM.
Campaigners projected onto British Museum’s iconic building as members attended a lecture on new BP-sponsored exhibition, aptly title “Sunken Cities”. Photo by Diana More.
Campaigners are now targeting the British Museum’s sponsorship deal, which is up for renewal this year. Last Sunday, a group of twenty activists set up a ‘disobedient exhibition’ – A History of BP in 10 Objects – inside the museum, displaying items sent by communities from around the world directly impacted by BP’s operations. They criticised BP’s “meagre” payment to the museum, which represents around 0.8% of the British Museum’s budget.
The projection protest was organised by BP or not BP?, activist projectionist Feral X and supported by the Wilderness Society. A film of the action will be made available on social media on Wednesday 13th April at 9am.
Ahead of BP AGM, campaigners project “Drop BP” onto the British Museum’s iconic facade. Photo by Diana More.
Today it was revealed that, after 34 years, BP will no longer sponsor the Edinburgh International Festival (EIF). The move follows intense pressure on the EIF last August, including one of its major stars, Simon McBurney, speaking out publicly in criticism of the sponsor, and two protest performances from theatrical campaign group BP or not BP?.
The EIF 2016 programme was announced today and BP was absent from the sponsors list. The end of the relationship was confirmed by the EIF via twitter.
@MichaelMacLeod1 They have not renewed this sponsorship this yr. They’ve been great supporters but all sponsorships come to an end @FoEScot
Daniel Bye, whose show won a Fringe First award last year and who joined the creative protest against BP outside Usher Hall, said:
Whether or not it’s down to the vociferous campaigns, I’m delighted that EIF have ended their association with massive corporate criminal BP. I look forward to the day when arts organisations gladhanding big oil looks as freakishly untenable as tobacco or arms sponsorship. This takes us one step closer.
Last year saw two creative protests against BP during the festival, once outside Usher Hall and one in the Hub, the EIF’s headquarters. Following the festival, a group led by EIF staff, called BP Out of the Arts – Edinburgh, formed. They sent a letter to Fergus Linehan, EIF Director, and launched a public petition, resulting in a meeting with the director last autumn.
Jess Worth from BP or not BP?, who co-ordinated the protests at least year’s festival, said:
‘It’s less than a month since Tate parted company with BP and the dominoes are clearly starting to fall. The EIF has walked away from a 34-year partnership because being associated with BP was doing too much damage to its reputation. Big oil has been embedded in our museums and festivals for too long but now the shift to a fossil free culture is taking off. However, there is more to be done in Edinburgh. Now the Science Festival must clear out its fossil fuel funders and the Portrait Gallery should close its doors to BP.”
The announcement comes as pressure is growing on all arts organisations to sever their ties with oil companies. An opinion poll by Morar Consulting, commissioned by arts group Platform last week, shows that one in two Londoners (49.6%) want the British Museum to drop BP sponsorship. (27.8% said the museum should make another deal with BP, and 22.5% responded “I don’t know”.) Another survey of British Museum staff showed that 62% think BP sponsorship is ‘unethical’. This is survey was conducted by the Public and Commercial Services Union, which represents workers in major museums including the British Museum and Tate.
Amanda Grimm from BP or not BP? Scotland, which formed after the EIF protest last year and in February highlighted the ethical problems with BP’s sponsorship of the Portrait Award by staging a pop-up performance inside the Scottish National Portrait Gallery, said:
‘We are delighted that the sponsorship deal between BP and the Edinburgh International Festival (EIF) has not been renewed. We congratulate the EIF staff who kept the pressure on the Festival’s director after the performance protest at the Festival last August. The world is shifting away from fossil fuels, and we believe that arts and cultural institutions, as trend-setters and forward-thinkers, should be at the forefront of this vital shift.
“Edinburgh International Festival should be congratulated on freeing itself from fossil fuel sponsorship. We know that most fossil fuels reserves must be kept in the ground if we want to avoid the worst impacts of climate change. We need to urgently move away from extracting and burning fossil fuels and companies like BP who continue to profit from the destruction of our environment have no place in our treasured cultural events or institutions.”
Today is the first day at work for the British Museum’s new director, Hartwig Fischer. One of his first big challenges will be to decide whether to drop BP as a sponsor. We decided to give him a proper welcome…
Firstly, we took over the Great Court of the British Museum with a ‘disobedient exhibition’ about the Museum’s notorious sponsor, BP. Twenty of us arrived at 11am yesterday and set up the exhibition – called ‘A History of BP in 10 Objects’ – without permission, inside the iconic space.
Our rebel exhibition sets up in the Great Court of the British Museum. All photos on this page by Amy Scaife
The exhibition featured objects sent from all over the world by communities impacted by BP’s environmental destruction and human rights abuses, including crude oil from the Gulf Coast spill, an empty tear gas cartridge from Tahrir Square and a shamanic healing tool from Colombia. You can see all the objects – including images, films and explanations – at our dedicated website www.historyofbp.org.
Our crew of ‘rebel curators’ gave tours and talks about the objects to hundreds of Museum visitors and staff, and used tablet devices to show films from the people who donated the objects, explaining their significance. We held the space – and our exhibition – until the Museum closed at 5.30pm. While we were in there, the second part of Hartwig’s welcome appeared in the Guardian: a letter, coordinated by the Art Not Oil coalition, from 91 famous and well-respected figures from across society. The signatories – including Mark Ruffalo, Margaret Atwood and Emma Thompson – are calling on Dr Fischer to end the Museum’s relationship with BP.
Today, we need your help with part three of Hartwig’s welcome: a petition asking him to drop BP, launched today with 38 Degrees. Please sign and share!
Fourthly, we will soon be presenting the objects from our guerrilla exhibition to the Museum as a gift to the nation. Museum trustees will then be required to consider whether to accept the objects into the collection.
Cherri Foytlin, a Gulf Coast resident who submitted this powerful film for the exhibition, said: “Since 2010, there are a lot more graves in the Gulf of Mexico than there were before, and that’s just the truth. So anytime we see arts organisations take on BP as a sponsor, we want to make sure those institutions understand that they are sponsoring death. They are sponsoring death in our communities.”
Benny Wenda, West Papuan Independence Leader, who submitted a Morning Star flag to the exhibition, said: “I give this flag on behalf of my people of West Papua who continue to suffer and die under illegal occupation and genocide fuelled by BP. We West Papuans have witnessed our sacred lands destroyed by multinational corporations just to make more profit for the Indonesian government. While we West Papuans are imprisoned for 15 years just for raising our national flag, you have the freedom to speak out.”
Jess Worth from BP or not BP? said: “The objects in this exhibition show that BP is a menace to local people and ecosystems all over the world. The British Museum is supposed to help us understand and learn from history. Instead it continues to promote one of history’s most notorious corporate villains. Hartwig Fischer’s first big challenge will be to end the museum’s controversial contract with BP.”
For the last twenty years, BP has sponsored the British Museum. Over the same period, it’s been linked to countless human rights and environmental abuses, while pursuing a business plan which makes climate breakdown inevitable.
This exhibition brings together objects sent from communities around the world and asks: why does the British Museum continue to work with this corporate criminal?
List of Objects:
Crude oil from the Louisiana coastline following the BP Deepwater Horizon spill
Lamassu charm from Iraq, where BP encouraged the Western invasion and is now operating
Photo of Colombian trade unionist Gilberto Torres, who is currently suing BP for its role in his kidnap and torture
Flag of independence from West Papua, where BP is supporting Indonesia’s repression of the West Papuan people
Tear gas cartridge from Tahrir Square, Egypt, where BP is the biggest foreign investor
Arpillera embroidery from Mexican and Latin American solidarity groups in London
Hard hat from blacklisted construction workers – the museum also works with blacklisting firm Carillion
Black confetti from Liberate Tate, used to celebrate Tate and BP parting company this March
Oil lamp rescued from Calder Valley floods on Boxing Day 2015
Waira Indigenous shamanic healing tool from Colombia
Photo album of images from communities living next to BP’s Whiting refinery in Indiana
Terms of Reference of Australian Senate inquiry over BP’s controversial plans to drill in the Great Australian Bight, sent by Bunna Lawrie, Indigenous Mirning Traditional Owner.
Painted sunflower from No Privatisation at the National Gallery campaign by PCS Union members – the union, which also represents British Museum workers, is committed to ending oil sponsorship of culture