the image shows a group marching in protest. they are holding a banner that reads "stop the destruction, start the healing"
Image credit: Suzanne Dhaliwal

What if the future is already in motion?

On movements, memory and the futures we begin before we can name them.

The movements we see today come from a lineage. A lineage of actions taken to create ancestral futures.

Lately I’ve been thinking about the futures in draft. The ones we begin without knowing what they’ll become. The last few weeks Mercury was in retrograde. It got me poring over old photographs. And thinking about the advice I would send myself then, knowing what I know now.

The image shows Suzanne laying in a tree in a forest
Image credit: Suzanne Dhaliwal

It’s 2008. You’ve left your job with Médecins Sans Frontières, sold all of your belongings, your records and your prized books and followed a dream and premonition you had about peak oil. You’ve decided, in the face of peak oil and the looming climate crisis, that the best thing to do is move back to England from Canada and live at Tinkers Bubble, a small off-grid woodland community in Somerset.

At the time, Canada feels deeply in denial about the connections between extractivism, Indigenous rights and the climate crisis (to some point it still is). You don’t have all the language for what you can see yet. But the Indigenous organising communities you encounter will start to change how you understand these intuitive connections: that climate justice cannot be separated from land, sovereignty, colonialism and the people defending their territories. This is something your art has been showing you too.

It’s a bit scary now, living in the forest. It’s hard work. One bath a week. Chopping wood to heat the water. Living alongside people under surveillance, people on the run, people who don’t quite fit anywhere else.

But don’t worry. This will serve you well.

This is where you’ll learn how to organise. How to sit around a campfire for hours listening, arguing, plotting. How to build trust. How to find common ground between people who don’t always seem to have much in common. Years later, the people you meet here will magically show up again in front of extraction sites and government buildings you are shutting down. They’ll feel like kin.

You’ll learn how to bring people together to stand against human rights and land violations, in creative and emotive ways inspired by the days spent here that will create an entire movement, even if right now you feel like you have lost the plot and don’t have thousands of followers online or a book deal.

Looking at these photographs now, I realise they are less about the past than the futures hidden inside them. Futures that none of us could quite see yet. You will pull off impossible feats with little means, and the structures of the environmental sector itself set against you. But you will be a seed for people learning how to organise. Movements that hadn’t found their shape yet, that will ripple across the cultural space for years to come, they won’t even ask what they are built on.

Some of those futures arrived. Some changed shape. Some are still unfolding.

And maybe that’s what movements do. They begin before we have the language for what they might become.

When we are at our bravest, we make a leap into futures we might never see.

I need to remember that when things feel so insurmountable and I feel over the hill in the current social media landscape. When the scale of the climate crisis, extraction and the violence we’re trying to resist can make any individual action feel almost absurdly small.

Maybe that’s the point.

We inherit ancestral futures, and leave a few behind for someone else. We can’t always work for accolades, likes and results in our lifetimes. When we are at our bravest, we make a leap into futures we might never see.

The version of myself in those photographs didn’t know what they were setting in motion, but continued with faith anyway, sometimes without resources and at the risk of losing my health, my own future. 

Maybe we never do see the futures we are making, and no one prepares you for that. It might serve us if we find out more about our movements’ elders. I can see all the learnings I am holding and I am not even that old and all the things I learnt from those who came before me. 

Build the relationships outside of your social media goals, make space for quieter, deeper voices, hear the stories of the movements whose shoulders you stand on, there are blueprints waiting to be learnt from.

What else is there to do when we are facing so much uncertainty but to connect, listen, learn and love the life we are trying to protect?

The ideas that shape us

  • What is an idea from someone else that has shaped and inspired your worldview/practice?

    Working with frontline communities, in collaboration with the Indigenous Communities resisting extraction I learnt how critical my own spirituality, being open to more than human collaboration and our dreams are in developing our strategies and visions for climate justice. This isn’t just something we add on but core to sustaining a lifelong practice of action and creative resistance.

  • What is a piece of culture that inspired a shift or idea for you?

    Lately I have been watching a lot of BBC Alba. There is great content on nature and community storytelling and it illustrates how deeply colonialism has impacted communities in Scotland. I think it has helped deepen ways of talking about decolonisation and offered new understandings relating to the landscape that aren’t often represented in mainstream environmentalism or even our own conversations around climate in the media.

  • What is a project that you are most excited about that’s enacting change now?

    I have been running Climate Reframe for the last five years to centre BIPOC voices in the climate movement. We have gone through a lot of change and loss but I am proud that we continue to work and are trying to find creative strategies and new ways of working despite the massive challenges to being a WOC CEO in the space. 

    It’s important to support people who might be behind the scenes supporting others because doing invisible work is exhausting. It is often not as glamorous as being in the spotlight but is critical to the movements we see today and the opportunities we have. It’s great that we have such a youth-focused movement now – but I do wonder where the elders are and often I can feel like I am over the hill myself in this work. Unless you have an agent or lots of followers, we have been told our expertise is no longer valid. I think a lot about how we change that because our knowledge is vanishing overnight and I wonder about my own role in this work. 

  • What has been an unexpected source of inspiration for you or your work?

    I love the sea, obsessively… I don’t think I would have lasted 20 years in this space without my time on an island in the Adriatic archipelago, which for many years was home. It’s not just the swimming; it’s being with people who love the sea, know the names of the winds, have lived for generations fishing and building boats on the same docks. Being in love with something with other people is such a source of strength and joy when it can feel insurmountable.

Further resources

  • There is a chapter on the history of the UK Tar Sands Network that is critical to knowing what happened in the 2010’s climate movement. I was too busy organising at the time to write in it, but it’s a great account. 

  • Museums and Chill

    Podcast episode

    I got to talk about decolonising the museum here, and it was great to expand the conversation with ICOM who work globally with museums.

  • I am someone who thinks as I speak so here is another podcast, the inaugural episode of the Back to Earth podcast for the Serpentine. In the episode I talk about decolonising activism and how cultural practice is integral to this.

  • Written by Suzanne Dhaliwal

    Suzanne Dhaliwal

    Suzanne Dhaliwal is an artist, writer, and cultural strategist whose work bridges art, ecology, and climate justice discourse. With a background in climate justice and philosophy, Dhaliwal brings a critical, reflective lens to environmental narratives, using art to challenge dominant paradigms and inspire new cultural responses to ecological crises. Through exhibitions, publications, and public engagement, exploring climate justice through themes such as biophilia, Dhaliwal is shaping contemporary discourse on art, environment, and cultural transformation.

Read More