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Notes de l'éditeur
- #2 Introduction UK’s arts programme for the FWWC. I’m going to tell you about how the arts programme came about, what’s different about it and then talk about 4 key projects
- #3 UK Government in 2013. FWW centenary on the horizon A war with 40 million casualties 1914-1918 – 32 countries Affecting war in UK – relatives How would you engage millions of people with a historical event in an interesting and compelling way?
- #4 Marked every year on Remembrance day on 11 November, Plans moving forward for formal commemoration Government seed funded cultural programme Relatively traditional audience, what could be on offer to engage new audiences
- #5 14-18 NOW set up to offer something different Original new artworks by contemporary artists from all artforms - We invited artists to explore what the conflict means to us now Set out to change how we mark national moments With a clear remit - appeal to people who don’t engage with formal commemorations
- #20 Initial challenge of engaging artists with a topic that wasn’t inherent to their work Government backed programme Could artists speak their mind? Good staff, strong contacts, board, artistic advisors How can 14-18 NOW add value and help artists produce work that they couldn’t otherwise produce Confronting legacy of FWW – conscientious objection, cowardice, sexual discrimination, colonization and the spoils of war Encouraging digital innovation. Clear themes emerge – moving away from old models of lionizing leaders in statues to new models investigating the lives of ordinary people who served.
- #21 Good example of risk and trust is this, highly risky, project. On 1 July 2016, thousands of men dressed in FWW uniform starting to emerge across the UK….
- #22 Did not speak, but handed a card
- #23 Risks being pairing a conceptual visual artist with theatres. Forming a group of 27 theatres to deliver it. Organising it in complete secrecy. Not telling funders and participants what it was. Risks of organising live theatre on the streets, men in uniform. How it touched people. The project went to them. Not prepared for outpouring of emotion.
- #24 Comms plan. Reportage strategy – Arab spring. Hashtag on cards to create central space for conversation. Supported by 50 influencers and secret media partnerships with BBC. All partners primed to release their own information at 6pm – could not tweet during the day.
- #25 360m reach on social media. Global news coverage. Chris Skitch facebook post
- #26 14-18 NOW always thinks big and is ambitious, even on smaller projects. What can we add. Focused comms on key projects to maximise effectiveness
- #27 Why not ask Peter Jackson. Di Lees. FWW nut Asked to make 30 minute film for schoolchildren from IWM and BBC archive footage
- #28 Result was TSNGO – latest digital technology from commercial films, cleaned up, slowed down, colourised, audio soundtrack.
- #29 Relatively traditional cinema comms campaign – because we had Peter Jackson and 5 star reviews
- #30 So many projects incorporating people as active participants - Lights Out – 16 million people turned out their lights to mark the start of the FWW, plus multiple Linking projects across the country to take part in what become nationwide events Opportunities to take part Physically or digitally
- #31 Representation of the people act Closed off the streets in London, Edinburgh, Belfast and Cardiff 100k women dressed in Suffragette colours
- #32 Multiple influencers and media partnerships. Secured BBC One live broadcast
- #33 Workshops Easy to get women involved in workshops Real challenge to get wider momentum until last minute. Maxed out the campaign in the final week
- #34 Reach across UK. So many cultural events in major cities. Part of our strategy is taking great projects out to audiences. Outside the museum walls. Working with cultural partners at all size and scale
- #35 Think big – Danny Boyle Slumdog Millionaire director, Trainspotting. Also Powered by the People Armistice project. Household name helped us to get partners on board and people go the extra mile Sand paintings in the sand on 32 beaches at low tide. As the tide comes in the images are washed away. 19 arts and heritage organisations from Cornwall to the Orkneys Thousands of volunteers and participants. Community events – personalising events
- #36 Social media and broadcast strategy – awesome content plan. 100k experienced the event live. Couldn’t see portraits Aerial shots. 2 helicopters, 19 drone teams, 32 photographers, 8 filming teams Media partnership with BBC Live editing team Social media team scanning social live for comments and help Influencers and ambassadors Make it ‘television shaped’ – footage used in broadcasters roundups of the day ahead of footage of formal commemorations and the royals
- #37 48% of the UK population was aware Media value of £10m 249m twitter reach
- #38 ‘It's so apt and poetic.. this way of remembering them and saying goodbye to thank them for their sacrifice was perfect. Almost like we were sending our thoughts towards their resting places on the other side of the sea.’
- #39 Thank you