According to the World Economic Forum, critical thinking and problem-solving skills are at the top of the skills list that employers believe will grow in prominence over the next five years. Yet we continue to passively meander through our working week; going to meetings where there’s no one leading and there are too many invitees, observing team members who are distracted or doing something else. We leave the room feeling frustrated at the time wasted, and none the wiser on how we’re going to solve the problem we came together to discuss.
A few stats I found on time wasted in meetings (US research):
· 71% of senior managers believe meetings are unproductive and inefficient
· Only 50% of employees feel their ideas are heard during meetings
· An estimated 50% of meeting time is spent on irrelevant topics
· Companies with fewer than 50 employees waste an average of $18k per year on unproductive meetings, whilst for companies with over 100 employees it’s an average of $420,000
What if we turned these lazy, lacklustre meetings into something positive? What if we started running bite-sized workshops instead, putting our energy into creating experiences for participants to problem-solve together?
Do workshops take more time and effort to plan?
Initially, yes. But … the more you do, the more confident you’ll become, and the quicker you’ll be at designing activities that actually help solve problems, where everyone leaves the room with an agreed plan of action that’s been created by you all.
What’s the difference between a meeting and a workshop?
I use the following distinction to guide me. If your goal is simply to share or exchange information then a meeting will suffice. If your goal is to solve a problem where you need input from people with different skills and experience (those skills and experience will be based on the topic and outcome you’re after), and that will result in actionable options, then try running a workshop.
5 tips to get you started
1. Only invite participants who will contribute, and have a diverse set of skills and experience
2. Share the workshop purpose and goals with participants beforehand, so they know what to expect. And don’t be afraid to give them pre-work to help get them into the zone beforehand
3. Design activities that will play to the strengths of the participants and different learning styles – consider a mix of discussion, individual reflection and group work
4. Don’t be afraid to flex the agenda if you feel like another way might be more effective in achieving your goal
5. Always capture actions with owners at the end, to ensure you keep up momentum after the workshop
New year challenge – facilitating positive change
Give it a go in January, and let me know how you get on … Tell your team and clients that you’re trying something different, and encourage them to do the same.
If you need help, get in touch. I’m running a Workshop Wizardry ‘workshop’ on 31st January, which will be packed with handy tools and techniques to build your workshop confidence. I also offer tailored in-house sessions with your team with 20% off for BCI members.
As filmmakers, we must adapt and evolve with the times to capture and maintain our audience’s attention while keeping purpose and authenticity at the core of our storytelling.
Many purists would consider the idea of ‘versioning a story’, that is adapting it for different ‘channels’, to conflict with the very soul of the storyteller. A story should simply have the time it needs to be well told.
But what works ‘best’ depends on the context of the telling. We no longer communicate sat face-to-face around an open fire but through multiple and proliferating digital media. We have been suddenly removed from millions of years of storytelling evolution.
However, the need to communicate across multiple media can be an invaluable opportunity for stories to reach and connect with wider audiences. Film narratives need to be crafted into multiple variants to engage, not as auteur works of art, but as purposeful tools with a central unifying message.
But how fast can you tell a story with a sense of context, character, place and emotion, whilst also letting it breathe, before the story falls apart and the essence is lost?
Of course, our attention span depends on viewing context and on how invested the audience is in your subject before they take their seat.
So, you need different versions to engage different audiences watching with different levels of pre-existing attenuation to your message, from the active listener to the casually curious.
Well yes, but not in one step. Editing, unlike say sculpting, is a non-destructive process of refinement. So by a careful process of distillation, each step yields a shorter yet distinct form that can be used to connect with audiences in different ways, each time stripping away more of the context and complexity whilst bringing the essence more sharply into focus.
Here’s a recent example of this creative versioning process in action.
The brief from our colleagues ImpactEd Group was to reveal the transformation of a child enabled by the concentrated attention of an adult, herself guided by the skilful evaluation of data.
Each version of the film had to convey more and more succinctly both the context and emotion of a transformative experience.
‘How can data help transform the life of a child?‘
Edit phase 1 (8 days)
5’00″ version for a Campaign Launch for a pre-invited captive audience
Edit phase 2 (2 days)
2’30” version for Branded Channels for a partially engaged remote audience that has navigated to your domain
Edit phase 3 (1 day)
1’00″ version for Social Media for an audience with passing curiosity surfing your content via media feeds guided by hashtags and leading text.
What remains is the transformative essence of a relationship. An adult really listening to a child.
“I didn’t have that one person I could talk to. And now I have.”
So attention is in short supply.
As the attention economy pulls us into a vortex of distraction, we need to fall in love again with being.
And films, as channels of emotion, can remind us of the very essence of who we are.
All we need is someone to listen, and someone to listen to.
How do stories work? A newsletter for storytellers, changemakers and dreamers:
Got a story to tell? Or purpose to communicate? Need some friendly advice?
#AttentionEconomy #CreativeProcess #FilmmakingProcess #SparkFilms #FilmsToBelieveIn #TurningChanceIntoDestiny #Purpose #Authenticity #Filmmaking #Storytelling #HowStoriesWork #DocumentaryFilmmaking #WhatMakesAGoodStory #FilmProductionBristol #VideoProductionBristol #BristolFilmmakers #BristolStoryTellers #DocumentaryFilmmakerBristol
Projects – of all sizes, in all sectors and with various budget constraints can put the most cool headed staff member under pressure. With various stakeholders involved, tight deadlines, organisation management and staff availability alongside budget and time constraints; the presence of a skilled project manager to guide the effort and ensure alignment among all participants is crucial for project success. Organisations employing various project management methodologies excel in sticking to budgets, adhering to schedules, meeting scope requirements, upholding quality standards, and realising the benefit of how a successful outcome can make to a business.
Develop your staff in project management, and drive your business forward through a part funded Project Management Skills Bootcamp.
Delivered in Bristol over 10 weeks, this part funded course will equip your staff with the skills needed to support and ultimately lead projects.
Suitable for people looking to upskill their staff and is under pinned by the Association for Project Management (APM), Project Management Qualification (PMQ) and will reference the APM Book of Knowledge (BoK) 7th Edition. For employers wishing to upskill their employees, this course will be discounted by 70% as part of the Government’s Lifetime Skills Guarantee and Plan for Jobs. The course will be spread over 10 weeks, comprising a mixture of face-to-face/remote participation, requiring day-release one day each week. This is an ideal opportunity to upskill individuals in your team to drive your business forward.
When is the course?
Start Date: Wednesday 10th January 2024 (10 consecutive Wednesdays)
Benefits of the course:
The aim of the course is to provide learners a core understanding and appreciation of project management. Together with some practical applications of learning and how current practices impact project management; it will develop learners understanding of core project management principles and emerging practices.
By completing this Project Management Bootcamp, your employees will get a greater understanding of key elements of project management, such as:
On completion of the course learners may wish to formally pursue the PMQ and information will be available to support this.
Those looking to explore project management with data will have access to Microsoft supported courses in Azure Fundamentals, Azure AI Fundamentals, Azure Data Fundamentals.
What’s changing in Project Management?
Project management principles and practices are heavily influenced by data. The use of data analysis, statistical interpretation and artificial intelligence (AI) is an emerging aspect of project management. The impact of AI in Project Management has been globally recognised. Over 80% of respondents to the Project Management Institute (PMI) “Pulse of the Profession”, 2019 survey report stated that organisations are seeing an impact from AI. With project professionals expecting the proportion of projects they manage using AI to jump from 37%.
At the end of the course there will be a series of guest speakers from industry who will discuss the future of project management. Participants attending the course may wish to explore data in projects in future courses at the West of England IoT, details will be available at the end of the programme.
Cost
Large Employers (With 250 Staff or More) 30% contribution £675 per person.
SME Employers (With 249 Staff or Less) 10% contribution of £225 per person.
Employer Commitment
Employer commitment for learner to complete all training elements.
Evidence from employer to confirm that the training provided via the Skills Bootcamp has resulted in either a new job role or an enhanced role for the employee that now utilises their new skills gained via this Skills Bootcamp.
Contact us today on [email protected] or visit https://www.weston.ac.uk/ProjectManagementEmployers
In the men’s mental health space, Talk Club stands out as a beacon of hope, fostering conversations, connections and support that save lives. With their distinctive “How are you? Out of 10?” mantra, Talk Club has been making waves in the male mental fitness movement for quite a while. As the brand has flourished, Talk Club recognised the need for strategic and digital expertise to propel it to new heights.
In early 2023, Talk Club partnered with Halo, a brand led creative agency based in Bristol, UK, for a transformative collaboration that aimed to address the gaps in their strategy and digital experience.
Revolutionising the Digital Landscape & Opening Doors
Alongside a strategic review of the brand, the project involved a comprehensive website UX audit and subsequent redesign. Drawing inspiration from Talk Club’s traditional folded paper zines; the new look and feel incorporates a back-to-basics approach that celebrates their ‘make do and mend’ approach.
The new design is founded on the bespoke ‘Bloke’ font created by Fiasco Design, a distinctive and truly ownable asset that informs every aspect of the brand. Halo also worked closely with the Talk Club team to craft a compelling B2B strategy. Understanding that workplace discussions might require a different approach, the strategy for corporate engagement helps Talk Club communicate their diverse offer for mental health fitness in workforces of all sizes.
Results That Speak Volumes
“How were we? Out of 10?” With the website and B2B approach delivering exceptional results, both Talk Club and Halo are delighted with the impact of their collaboration. The website now seamlessly guides visitors from the homepage to actively engaging with the charity, while the B2B outreach communicates the importance of supporting men’s mental fitness in the workplace.
Halo is proud to have contributed its expertise to a cause often overlooked—the mental fitness of men. As Talk Club looks toward the future, both organizations are hopeful that this partnership will leave a lasting imprint on the journey to prevent poor mental health and eliminate suicide among men.
“We are extremely grateful to Halo for creating one of the most incredible mental health websites. Their vision and understanding of Talk Club will help us empower and support many men for years.” Gavin Thorpe – Co-Founder + Co-CEO
Halo is continuing its pro-bono partnership with Talk Club in 2024, driven by a shared commitment to mental health advocacy.
Read our case study here.
–––––––––––––––––––––––––––––
About Talk Club
Talk Club is a male mental fitness movement dedicated to preventing poor mental health and eradicating suicide in men. By fostering safe spaces for open conversations, Talk Club creates a supportive community that emphasises the importance of mental well-being.
For media inquiries, please contact: [email protected]
Moonraker VFX, a Bristol-based Visual Effects Studio, took part in the RTS Futures Festival yesterday, offering valuable insights, advice and information to aspiring individuals seeking a career in the television industry.
The free event took place at M Shed on Bristol’s Harbourside and drew over 400 young attendees, where a range of the city’s media organisations were on hand to give careers advice.
Hosted by the Royal Television Society, the RTS Futures Festival provided a platform for industry professionals to connect with graduates and students, guiding them through the complexities of the modern broadcasting landscape.
Moonraker—known for its groundbreaking work in Natural History programming including the BBC’s recent Earth series—engaged with attendees, sharing knowledge and experiences to inspire the next generation of talent.
Simon Clarke, Creative Director at Moonraker, commented, “Participating in the RTS Futures Festival was a fantastic opportunity for us to connect with the bright minds set to become future leaders of the television industry in the decades to come. Moonraker’s presence at the event underscores the studio’s commitment to fostering talent and contributing to the growth of the sector.”
RTS Futures aims to help graduates and those in the early stages of their career to progress and learn about different areas of television. It has an ongoing calendar of events, learn more: https://rts.org.uk/rts-futures
Join Weston College in the heart of Bristol to learn more about supporting the next generation of creatives! Are you looking at offering work placements? Internships?
Looking to grow your team?
Give back to a new generation through guest lecture and project work?
Want to find out more about Weston College? We may surprise you….
The Faculty of Creative Arts Employer Forum is designed to work alongside industry to deliver industry aligned curriculum, work experiences, progression and employment routes and pipeline talent. Courses covered at Weston College and University Centre Weston include:
Game & Animation
Creative and Digital Media
Broadcast, Journalism and Podcasts
Performing Arts and Theatre
Art and Design – including fashion, textiles and business
Photography
https://www.weston.ac.uk/what-can-i-study/creative-arts-and-design-courses-16-18-year-olds
Tuesday 7th November
6-8pm
Bristol Training Institute, 12 Colston Avenue, BS1 4ST
RSVP [email protected]
Throughout November, North Somerset Council will host a series of in-person and online business & support workshops for organisations within the region’s creative industry.
The workshops are free to attend and will run in partnership with WofE CA Create Growth, Super Culture, and the hive and will offer attendees early stage and developing business support, advice on grant and funding applications, as well as an in-depth overview of the Create Growth Programme.
Dates and Booking
In-Person Workshops:
Online Workshops (via Teams):
The workshops have been specifically designed for the creative sector and are open to any North Somerset organisation within the following or related categories: Advertising & Marketing, Architecture, Arts & Culture, Craft, Createch, Design, Fashion, Gaming, Music, Publishing, TV and film.
While the workshops are free to attend, places will be limited so please book early to avoid disappointment.
If you have any questions, please contact [email protected]
“I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.”
Grant Hadwin
Domicide is the act of destroying one’s own home. It can also be a tendency, carried out through the repetition of thousands of hidden actions, mostly out of sight and out of mind.
I’ve been wanting to write a post on this subject for a while, but have been holding back, waiting for a triggering moment. And last Wednesday that moment arrived when the Sycamore Gap came crashing into the cosy living room of our collective imagination.
The loss of a beautiful lone tree fuelled a predictable outcry. The media fuelled the outrage, baying for the punishment of some ‘degenerate youth’, before pivoting to turn with less outrage on a ‘crazy old man’, perhaps a ‘former lumberjack’.
What is it about one tree that causes us such outspoken agonies while the destruction of the wider world continues unabated with passive acceptance? Could this have something to do with the power of the totem, working as symbolic pressure valve to channel and dissipate our collective sense of grief and loss at the destruction of our home, releasing our outrage so we can return to business as usual?
When I heard the news, my first thought was not for the tree but for the person who had chopped it down. What could have been their motivation? For this must have been a carefully planned act, and so can’t be easily dismissed as some moment of ‘madness’. No, to me, this felt like a howl of pain, a wake-up call that I recognised immediately.
In 2007 I started a 7-year filmed investigation into the motivations of another ‘environmental terrorist’, who orchestrated another attack on an ancient tree in an apparently mindless ‘crime against nature’. But it was not that simple.
On the islands of Haida Gwaii, a remote archipelago off Canada’s Pacific coast, stood a giant and genetically unique Sitka Spruce, known to the indigenous Haida people as ‘K’iid K’iyass’. Owing to the unusual yellow pigmentation of its needles, outsiders called it ‘The Golden Spruce’.
There it stood on the banks of the Yakoun River for 250 years, protected from the enveloping tide of industrial logging in its own protected reserve, complete with tourist trail and signage. Until one night in January 1997, when a lone former logger and timber engineer called Grant Hadwin arrived under the cover of darkness to cut it down.
For the Haida, ‘The Golden Spruce’ was much more than an object of scientific curiosity, a beautiful ‘freak’ of nature. For them this was a mythical being, a boy transformed into a tree, a sacred elder that stood as a wonderous manifestation of the connectedness of all things- a kin-centric belief system.
And Grant Hadwin, himself an instrument of the system of industrial extraction, had come to destroy it in a self-proclaimed act of protest. What kind of madness was this?
This is an extract from the letter that Grant wrote to the authorities justifying his actions:
“Dear Sir or Madam,
I don’t care much for ‘freaks’ whether they teach in University classrooms, sit in corporate board rooms, perform in the circus or are put on display as examples of old growth forest.
I mean this action to be an expression of my rage and hatred towards university trained professionals and their supporters whose ideas, ethics, denials, part truths and attitudes appear to be responsible for most of the abominations done towards life on this planet made in the name of ‘progress’.
I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.
It was challenging to leave this majestic plant in a temporary vertical position.
The next storm will cause this one thousand year old plant to fall into or near The Yakoun River. Please find enclosed some of the last known photographs of ‘The Golden Spruce’.
Yours truly,
Grant Hadwin.”
And this was my film interpretation of the aftermath of what had happened.
What insight might this story give us into the mind of the individual who took down our cherished Sycamore?
And what does this particular choice of totem, the lone tree left standing in a sea of devastation, tell us about the timeless forces of corruption at work on humanity, and about our separation from the land, our natural home?
The Golden Spruce came with its own ancient mythology, with a story that began with the murderous arrival of the Europeans in 1774. The British came bearing ‘gifts’ of blankets laced with smallpox, hoping to wipe the indigenous people from the face of their land. 70% of the Haida population died in the enveloping plague, with lone survivors retreating into the sanctuary of the forest. Among them were a village elder and his grandson. As they fled the village, the boy ignored his grandfather’s advice not to look back, and found himself rooted to the ground, a boy transforming into a tree.
And there K’iid K’iyass stood for 250 years, one tree preserved by the logging company as a living cultural artefact, while the rest of the ancient forest was cut down and hauled to the mill, first as masts for ships of war, and then to build the frames of aircraft that brought death from the skies.
And the Sycamore Gap bears the same legacy. A lone tree, left in a sea of devastation, the land wiped clean by the civilising forces of Rome as far as the wall of Hadrian, built to keep out the savages who still lived from the land and who resisted agriculture, taxation and wage slavery. The wall was there to keep the money economy of Rome safe and sound until the empire burned under Nero, incinerated by the flames of its own self-serving corruption and arrogance.
#Storytelling #Filmmaking #Authenticity #Purpose #Meaning #FilmsToBelieveIn #DocumentaryFilmmaking #FilmProductionBristol #BristolFilmmakers #DocumentaryFilmmakerBristol
Savvy art buyers get the chance to snap up bargain artworks and join in the fun as the RWA’s Secret Postcard Auction returns.
Following the huge success of the 2022 Secret Postcard Auction, the event will run online from 28 October to 9 November, with a physical display of the artworks on show at the RWA from 4-9 November.
An unmissable event in the RWA annual calendar, and a major fundraiser for us as an independent charity, the Secret Postcard Auction offers you the opportunity to make the winning bid on original artworks by famous, or soon-to-be-famous, artists!
As the name suggests, all the artworks are postcard size – albeit a large postcard, at approximately 14 x 19cm cm (5½” x 7½”). The postcards can be viewed, and bids can be placed on our 32 Auction site. It’s great fun and bidding can get fierce but there’s plenty of opportunity to grab a wonderful original work of art for as little as £40!
This year, as well as being online, you’ll have the opportunity to get a closer look at the postcards while they’re on display in the Youngwood Room at the RWA from 4 – 9 November.
Last year’s postcards included works by Sir Frank Bowling RA, Eileen Cooper RA, Maggie Hambling, David Remfry RA to name just a few. This year’s entries have started to roll in and we can already confirm contributions from Jeremy Deller, Anne Desmet RA, Simon Drew, Gilbert and George RA, Kurt Jackson RWA, Andrew Lanyon, Sir Richard Long RA RWA, Mali Morris RA, Cathie Pilkington RA and Bob & Roberta Smith RA, with many more to be revealed.
All of the contributing artists are named, but the identity of who did which artwork is anonymous until the auction has closed.
Bidding opens for the public on 28 October and will close at 10pm on 9 November 2023.
Since its re-opening last year, the RWA has welcomed more visitors to its building than at any time in its history and brought life-enhancing creativity to people who’ve never had that opportunity before, but we can only continue to do this with your help.
As an independent charity with less than 1% of costs covered from the public purse each year, we rely on our fundraising efforts to keep the doors open and run our outreach programme, engaging people in some of Bristol’s most under-represented communities. The money raised by the Secret Postcard Auction is a vital contributor to our finances. Last year we were blown away by the support, as donations reached over £70,000, while bidders still walked away with incredible bargains.
Keep an eye on the RWA website for details, and GOOD LUCK with your bidding!
secretpostcard.org.uk
The Southwest’s biggest Annual Open Exhibition returns for 170th year
The RWA (Royal West of England Academy) is delighted to announce the return of its renowned Annual Open Exhibition for the 170th year, running for an extended period, from 9 September 2023 to 14 January 2024.
This dynamic and varied exhibition features painting, drawing, printmaking, photography, sculpture, and mixed media submissions and is a showcase of some of the most exciting artists from across the country and beyond.
Amongst this year’s selection panel were invited artist Charmaine Watkins; President of the RWA Fiona Robinson; artist and Rabley Gallery director Meryl Ainslie, and Academicians Dallas Collins VPRWA, Lucy Austin RWA, Angel Lizon RWA and Karl Singporewala RWA. They assessed every artwork on its own merits, anonymously, before being able to bring down the 4000+ entries to just over 400. No mean task when the standard of work submitted was so high!
Alison Bevan, RWA Director, says: “This year above all others, we have been quite overwhelmed by the variety and standard of artworks submitted by every kind of artist, from long-established veterans to fresh new talent just finding its artistic voice. No matter what kind of art you enjoy, we can promise every visitor will find lots to love!”
The Annual Open reflects the RWA’s ongoing commitment to championing world-class art in the region and creating opportunities for new and emerging talent. It includes in excess of £10,000 in prize money, including the £5000 Academy Prize and a £4000 Other Art Prize.
All the original artwork on display is for sale not only in the galleries, but also online, with prices starting at less than you’d pay for a furniture-shop print. Buying art helps support both the artists and the RWA, which is a completely independent charity (1070163) delivering life-enhancing creative opportunities for young people and adults across Bristol.
Tickets to the Annual Open Exhibtion are £8.90 (concessions available), or for just £15 you can buy an RWA Art Pass, which allows unlimited access to all our ticketed exhibitions as many times as you like for a whole year. https://www.rwa.org.uk
You need to load content from reCAPTCHA to submit the form. Please note that doing so will share data with third-party providers.
More Information