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Anthony Matsena in Blaenau Ffestiniog. Photo by James O'Doherty.jpg


GALWAD has been inspired by research and ideas about the future – from climate science to social justice, technological innovation to sustainable fashion. Follow the links below to find out more.



The Wellbeing of Future Generations (Wales) Act was the inspiration for GALWAD. Sophie Howe, Future Generations Commissioner for Wales introduces the Act and what a radical future might look like. 


This inspirational toolkit was put together by US-based GOOD ENERGY to explore Climate Storytelling.

Link: Climate Storytelling Cheat Sheet




Our costume design has also been heavily influenced by our work with the people of Blaenau, Merthyr and Swansea. Combining industrial heritage with high fashion a large number of our costumes utilise hi-vis material.

These outfits also reflect the rogue, DIY nature of future fashion where people may need to create their own clothing from non-traditional materials.

Sustainability has been central to all design decisions and we have sourced second hand furniture and props from salvage yards, charity shops and even skips. Wherever possible we have tried to give existing material and objects a second life and we will be re-distributing items from GALWAD within local communities to ensure they have a continued life.

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SD infogr eng long_edited.jpg
SD infogr eng long_edited.jpg

GALWAD aims to be an exemplar of good practice relating to sustainable development in the creative arts. So in its making, we are espousing the principles outlined in the Wellbeing of Future Generations Act (WFG), a world-leading framework by Welsh Government that makes a commitment to safeguard the environment and communities in perpetuity. Inspired by this and the United Nations sustainable development goals, our working practices aim to safeguard the environment, nurture the economy and local communities, and demonstrate inclusion and engagement. We aim to tread lightly, and with kindness

In practical terms we are minimising car travel and other sources of carbon emissions, aiming for zero waste, promoting a circular economy by using re-purposed materials and costumes, being respectful to the environment, and practising sustainable catering. To mitigate unavoidable impacts such as energy use we are following the principle of 'insetting' rather than offsetting, working with the local community to create energy saving and environmental projects such as supporting a solar energy scheme and a nature garden at CellB, and supporting the employment of a climate education worker at DrefWerdd.

We want audiences, local communities and participants to feel empowered to make responsible choices now, that can positively impact the future of Wales. We hope to inspire everyone who experiences GALWAD to become more aware of sustainability issues and to feel optimistic about the future.

If you want to know more about sustainability in the arts and what you can do personally, please read our list of useful resources. 


Well-being of Future Generations (Wales) Act 2015 – The Future Generations Commissioner for Wales

Sustainable Development Goals | United Nations Development Programme (


Sustainability Resources (


Louise Stern

Associate Choreographer - LIVE 2022


Starting with landscape and emotion, brings out the timelessness in language - the stuff that we will always have, filtered through the realities of different moments in time. It has been a joy to find instances where BSL and the universal physical gestures that Deaf people use day to day can mix with and nourish Anthony's dance vocabulary. It’s a process, that is not going to end with GALWAD.



Anthony Matsena

Lead Choreographer - LIVE 2022


For me a lot of inspiration has come from reacting to the landscapes and environments we're performing in. From large endless mountains to tiny little Barns - it has all shaped the way we move and the movement we desired is right for camera. The process is then distilled to exactly what we want to say in those spaces - it’s fast and reactionary with a lot of improvisation coming from the cast shaping scenes. There’s then a special part of the process where we explore how raw choreographic language can collide beautifully with Louise’s experience of storytelling through BSL. Louise and I have discussed what BSL will look like in 30 years' time, she stated it would be interesting to look back at what BSL looked like 30 years ago and seeing what has remained, changed and disappeared in the language. What’s exciting is that we don’t have all the answers to these new ways of working and every day presents as a new challenge but the approach to problem solving this has been a joy and hopefully we achieve something new, fresh and authentic.

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