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This paper aims to investigate how different forms of collective storytelling can contribute to citizen creativity for the imagination and discussion on possible climate futures, as well the potential of narrative-driven practices for climate communication and action. With this purpose we have undertaken an integrative literature review, which allows us to critically engage with existing theory on the topic, comparing and synthesizing key ideas and arriving at specific insights to advance in the research (Torraco, 2005 [Writing integrative literature reviews: Guidelines and examples. Human Resource Development Review, 4(3), 356–367]; Snyder, 2019 [Literature review as a research methodology: An overview and guidelines. Journal of business research, 104, 333–339]). Our conclusions point to: (a) collective creativity as a catalyst to elicit narratives and imaginaries; (b) the need for spaces for discussion about possible and desirable futures through narrative and creativity, involving experts and non-experts; (c) the tensions between present imaginaries or concerns and what is considered "proper" imagination about the future; (d) the need to enhance the narrative dimension of formal climate narratives through storyworlds, improvisation and iterative storytelling. [ABSTRACT FROM AUTHOR]

In his work Now It’s Come to Distances: Notes on Shaheen Bagh, Coronavirus, Association and Isolation (2020), Soumyabrata Choudhury argues that the historical sit-in protest of Shaheen Bagh 2019 was a project of ‘collective creation’ that went beyond the interests of one section of society and made something universally imaginable to anyone. In its ability to form associations across the lines of religion, sex, age, caste, economic activities, and language, Shaheen Bagh inaugurated a project of new avenues of solidarity, especially through the overwhelming participation of women. ‘New’ in Choudhary’s formulation is a threshold that transforms the possibilities of our living histories. ‘New’, then, is historically contextual in the passage of time as all historical situations are. By building on Choudhury’s thesis on the same, this viewpoint article advocates reimagining this solidarity built across disparate lines as something temporal. This is in opposition to governmental practices of containing popular protests into spatial grids. A reimagined solidarity would ensure that Shaheen Bagh’s newness continues to live by channeling itself into new issues. People’s movements in India must be an ongoing Shaheen Bagh. [ABSTRACT FROM AUTHOR]