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Mission2062 event report Mission2062 event report Presentation Transcript

  • EVENTREPORT v1
  • THISDOCUMENTMission2062 was a playful three day workshop which took place March 22-24 2012 inParis. Convened by the British Council and held at La Gaîté Lyrique, it saw thirty fivecreative professionals from North America, the Middle East and Europe take part in aprogressive conversation about the role of culture in a vibrant future.is report provides a summary of the origin of the workshop, the design decisionsthat led to its innovative structure, the process of the event itself and the learningthat it provided. It is the intention of this document and the wider materials atwww.mission2062.com to share as much of the process and thinking as possible sincegiven the challenges we face, we require new creative productive ways of movingforward and Mission2062 provided many new insights about what works.DOCUMENTCONTENTS1. Key Personnel 10. Outputs & Outcomes 11. ree Highlights2. Event Commissioning 12. Participant Feedback3. Research Phase 13. Success Factors4. e Story 14. Areas for Development5. Story Design 15. Replicating the Model6. Facilitation Style 16. Lessons For Policy7. Missions & Strands 17. Recommendations8. Event Format 18. Document Illustrations9. Event Participants 19. Contact Detailsis document is written by Mission2062‘s lead producer Rohan Gunatillake with inputfrom Shelagh Wright and Suzy Glass. He would like to thank them and above all LaëtitiaManach and her colleagues at British Council Paris without whose contribution thisinnovative event would not have been possible. 2
  • 1. KEYPERSONNELName Organisation Primary RoleLaëtitia Manach British Council (Paris) Convenor & CommissionerRohan Gunatillake Innovation producer Lead designer, producer & facilitatorShelagh Wright Mission Models Money Co-producerSuzy Glass Producer FacilitatorParticipants Various ParticipantsSandrine Mahieu British Council (Paris) Production & AdministrationSarah Bagshaw British Council (Paris) Production & AdministrationBeatrice Pembroke British Council (UK) CommissioningJérôme Delormas Le Gaite Lyrique Venue hostClemence Saurat Le Gaite Lyrique Venue liaison 3
  • 2. EVENTCOMMISSIONINGLa Gaîté Lyrique (GL) is multi-purpose venue in the 3rd Arrondissement in Pariswhich opened in Spring 2011. Having already supported a small number ofexhibitions featuring British Artists, British Council France enjoyed a goodrelationship with GL and its director Jérôme Delormas and both parties wereinterested in future collaboration opportunities. erefore when GL announcedthat their Spring 2012 programme was to be themed around the year 2062,British Council France recognised it as the ideal opportunity – with the initialconcept was that the British Council convene an event inspired by and occurringalongside the 2062 exhibition and programme. A central walkway at the Gaite LyriqueRecognising that the innovative and progressive nature of La Gaîté Lyrique and its2062 season enabled the British Council event to be innovative and future-focussed, BC France invited Rohan Gunatillake and Shelagh Wright to Paris tovisit the GL and explore the opportunity. Rohan Gunatillake was invited for hisbackground in producing progressive events and programmes related to digitalinnovation in the cultural sector as well as being a participant on the currentCultural Leadership International programme. Shelagh Wright was alreadycollaborating with the British Council on the Innovator’s Studio programme ofevents and has significant cultural policy expertise. A United Visual Artists installation at the venue launchFollowing that meeting, Rohan and Shelagh were commissioned to design and runan event called Mission2062 which had the following elements:• play and narrative used to engage participants• inspired by La Gaîté Lyrique’s articulation of digital culture• emphasis on self-organisation, collaboration and making• used the device of the future to help develop strategies for the present• licence to be different and experimental 4 e main image of the 2062 exhibition at LGL
  • 3. RESEARCHPHASEere are four common problems with traditional futures work:1. Projection. We take what is happening right now in our experience and simplyextrapolate and project it forward rather than think differently2. Abstraction. We frame the future as a high-level idea and thus are unable todirectly connect to it as a human experience3. Monolithification. We think of the future as just one thing rather than adiversity of experiences4. Extremification. We make the future polar, either all about doom and gloomor conversely as an over idealised paradise Superstruct by Jane McGonigal/IFTFWith these risks in mind, four central design principles were identified:1. Play. Using game mechanics to increase engagement in the process andcreativity of the outputs2. Story. Placing the event within a very specific story which framed all theworkshop activities, further increasing engagement and creative thinking3. Making. Ensuring all workshop elements resulted in an output whichencouraged collaboration and resulted in tangibility of all effort4. Self-organisation: A format which allowed participants to direct the depth oftheir experience A Small Town Anywhere by ConeyAnd three different projects directly inspired and influenced the event design:1. Superstruct. 2008 forecasting game from Institute for the Future & JaneMcGonigal which used story to explore creative solutions to major social issues.2. A Small Town Anywhere. A play produced by Coney where the audiencemembers perform all the roles by self-organising within a narrative structure3. Culture Hack Scotland. An intense event where digital talent works withcultural professional to create new projects in just 24 hours 5 Culture Hack Scotland
  • 4. THESTORYe central story used for Mission2062 was as follows:e SetupParis, March 22nd 2062. e Simorg has been stolen from La Gaîté Lyrique and itcould mean the end of the world as we know it. Unless this prized object isrecovered in the next fifty hours all the amazing work which took place from 2012to 2062 which has led to a world where culture and creativity has never been morevibrant, prized and celebrated, will be lost. With the clock ticking down, the GaîtéLyrique director Germaine Roger has called back in time to 2012, inviting a globalgroup of forward looking creative practitioners and cultural leaders to helpretrieve it. Why the Simorg taken and where it is hidden? What on earth is itanyway? And why does 2062 need help from 2012 to get it back? Working An illustrated version of e Conference Of e Birdstogether the participants have to find out the answers to these questions andmore much more. At least let’s hope so because if not, a vibrant and creativefuture for the entire world is at risk of being lost forever.During e Workshop Mission2062’s story of saving the world was not dis-similarWorking under the instruction of Germaine Roger and the Gaîté Lyrique Archivist to the classic time-travelling sci-fi plots used in Doctor WhoHenri Montjoye, the participants carry out activities where they remember anddocument events which happened during 2012-2062. Doing so replaces lostinformation from the venue’s archive and reveals more clues about the location ofthe Simorg. e participants eventually recover the Simorg which is foundactually to be themselves and their collective knowledge and wisdom - thereforeframing them as catalysts in ensuring a vibrant future. e person who stole theSimorg in the first place is a shadowy character called Le Corbeau who is alsorevealed in the end as the workshop convenor Laëtitia Manach. e final twist isthat since the time travel machine has lost power, only 10 participants can returnback home so the group have to convey to those 10 the key lessons to take back to2012. 6
  • 5. STORYDESIGNWith play and story central to the workshop design, it was important to create anarrative within which the participants’ activities would be held. is narrativewas designed through a five-step process.1. e workshop is set in the future. With La Gaîté Lyrique’s 2062 theme, it wasapparent that it would be useful to use the conceit that the workshop takes placein the year 2062 itself. is device of time travel would allow participants to lookat the years from 2012-2062 as a factual remembered history rather than as anethereal projection.2. e participants have been brought to 2062 to solve a mystery. If 35 peoplefrom all round the world are to be brought through time to a specific place then An illustrated version of e Conference Of e Birdsthere has to be a good reason! e second piece of the story is therefore theclassic narrative device that the group have to solve a mystery together.3. An inspirational central mystery. e central mystery of Mission2062 wasthat an object called the Simorg had been stolen. is device is borrowed from aclassic Sufi poem called the Conference of the Birds by Attar - in which thirty verydifferent birds join together to search for the Simorg. e Simorg is a metaphorfor Sufi enlightenment and the use of it in Mission2062 is itself a metaphor forthe way the workshop participants have come together to explore the future.4. e need for jeopardy. Without jeopardy, the story would lack urgency and soit was added by the idea that the loss of the Simorg had made the vibrancy of thethe future at risk and so it had to be recovered so as to save the future.5. Anchoring the story in the place where it is heldWith the centrality of the La Gaîté Lyrique in the workshop, the facilitators actedas the story’s central two characters called Henri Montjoye and Germaine Roger - 7the names of two key figures in the history of the venue in the 1950s. Actress Germaine Roger was LGL director after WW2
  • 6. FACILITATIONSTYLECentral to the workshop were the particular ways in which the event wasfacilitated:1. Lead facilitators playing characters in the story. ere are three fictionalcharacters in the story, La Gaîté Lyrique Director Germaine Roger, its archivistHenri Montjoye and the stealer of the Simorg, Le Corbeau. Given that Le Corbeauwas not revealed until the very end, the primary characters were Henri andGermaine who were played by lead facilitators Rohan Gunatillake and Suzy Glass.ey signified that they were in character by wearing hats so that when their hatswere not on, they were themselves and would switch between the two depending Rohan Gunatillake doubles as Henri Montjoyeon what information was being given. is proved to be a very effective deviceand required the facilitators to be able to improvise. And recognised that there Caption 1 blah blah lorem ipsum blah to the endisnt always a scripted solution and that improvisation is critical due to theunravelling, unpredictable nature of group story-telling.2. Designing the detail of activities in response to the group. While the highlevel structure of each of the workshop elements were known, the details wereonly finalised shortly before they were to begin. is was to allow the mostnatural progression of the story as well as being as responsive as possible to themodes of activity that participants were finding most fruitful. is too requiredconsiderable agility and flexibility on behalf of the facilitators.3. Self-organisation of participants. Inspired by open facilitation techniquessuch as open space, all of the activities had a level of autonomy where participantscould choose which topics they explored according to their interest. 8 Suzy Glass doubles as Germaine Roger
  • 7. MISSIONS&STRANDSAlongside the overall story, these two elements formed the architecture of theworkshop.Missions. While the overall mission was to recover the Simorg, every activity thatcomprised the workshop was called a Mission. Each mission had a description anda suggested output - be that written, drawn or photographed.Strands. ese were the themes for the workshop. Since Gaîté Lyrique is a venue Superstruct by Jane McGonigal/IFTFdedicated to exploring the impact on society and culture by digital technology andso inspired by this, the Mission 2062 strands, while related to wider society ingeneral, are especially related to and amplified by digital culture. At the end of each mission, participants would attach a physicaley were: output to the timeline and relevant strand of wool• making | low barriers to entry for everyone to make creative outputs• identity | different forms of presenting self for different contexts• open | transparent and widespread access to information• networks | the social and creative power of communities of all types• activism | individuals and groups empowered in human-scale politics• acceleration | rate of change often outpacing our ability to make sense of it• generosity | economies based on sharing and free or low-costese strands were made physical by having seven woollen strands across theworkshop space in a timeline symbolising 2012-2062. ereby when participantsattached mission outputs to the timeline, they would also choose the strand forwhich it was most relevant. With a group involving creative people, it was decidedto use creativity as key elements of methodologies, borrowing tactics & techniquesfrom our own worlds of art & culture rather than elsewhere. A significant and visually striking collection of outputs 9 was made over the course of the workshop
  • POST-EVENT • Sharing of contacts • Putting all workshop materials and outputs online • Discussion of best ways forward • Feedback session on event format and process • Closing session with Jérôme Delormas 10am-3pm DAY 3 • First key story resolution • Groups to discuss individual & organisational capacities required to thrive • Second key story resolution and formal close of event narrative 10 • Re-orientation to format • 10am-5pm Mission RemembereFarFuture - discussing future scenarios DAY 2 • Mission ParisCollection - (see later description) • Mission RemembereNearFuture - open sessions on topics of their choice OVERALL NARRATIVE • Clues related to the resolution of the narrative given throughout day • Free evening with optional concert tickets8. EVENTFORMAT • Welcome • Introduction to event format, narrative and design 3-7pm • DAY 1 Exploration of 1962 to help understand challenges of 50 year time horizon • Mission BringMeaning (see later description) • Mission Explore2062 where participants visited the 2062 exhibition at LGL • Drinks reception with Jérôme Delormas and head of BC France • PRE-EVENT Logistical arrangements through British Council office • Contact with participants in character of Henri to introduce narrative • Introduction of four initial missions to capture useful information • Resulted in pre-event engagement and anticipation
  • 9. EVENTPARTICIPANTSere were 30 invited participants who were all part of existing British Council programmes including the TN2020network, the Innovator’s Studio and alumni from the Young Creative Entrepreneur and Cultural LeadershipInternational programmes as well as some BC staff members. Most were 30-40 years old with the nations representedincluding Syria, Lebanon, UK, France, Denmark, US, Canada, Italy, UAE, Turkey, Georgia and Poland. In theirdifferent ways, they shared an interest in change and new ways of thinking and doing. 11
  • 10. OUTPUTS&OUTCOMESOutputs Outcomes- Participant-created future scenarios - Set up a network of creative leaders who- Curated realtime report via Storify have shared values for the future- Visual record by Ella Britton (participant) - Provided an enormous information bank/- Large photo archive of event resource of projects,  ideas, cultural players- Event review for Guardian website written and networksby Canan Marsigilia (participant) - Inspired creative thinking and proposed- Collection of references and resources action plans for cultural leaders about whatsourced from participants needs to be done for the different future- Feedback responses scenarios - Provided space for discussion and learningese materials will be available on about different cultural perspectiveswww.mission2062.com in due course - Demonstrated new innovative techniques for hosting group events 12
  • 11. HIGHLIGHTBRINGMEANINGFull Mission2062 materials and mission descriptions are available in the appendices.Here is this first of three detailed descriptions of key Mission2062 activities which wereparticularly productive.Mission BringMeaning was the fourth of four pre-event missions that theparticipants were invited to complete. e simple instruction was for everyone to e table where items were leftbring an object to the workshop that somehow symbolised their personal hopesfor what the future might be like. e only conditions were that the object bephysical and that it also be something that they would be happy to leave behind.At the opening session, these objects were used as the primary device to getpeople talking through offering insights into beliefs and tastes. Having asked forthem all to be placed on a special platform, the mechanic was that one object waschosen at random and the bringer of that object was asked to describe what it wasand why it was meaningful. is person then chose another object that interestedthem and the cycle continued until all objects were described. e objects werethen kept in the room for the duration of the event and at the close, participants Caption 1 blah blah lorem ipsum blah to the endwere able to take home another’s hope-imbued object that had most meaning withthem as a souvenir and inspiration. People started tagging their stories to the objectsis exercise was incredibly effective since it allowed everyone to learn about eachother’s personal hopes for the future - quite an intimate piece of information - in away that was tangible, expressive and safe. As it was done very early on in the THREE TAKEAWAYSworkshop, it allowed the group to meet each other in a much more personal and Make activities physical, tangibleevocative way and therefore very quickly formed connections between strangers. Allow for deeply personal stories Design activities that open doorsHaving the objects on the pseudo-altar during the whole event also meant thatthese personal objects were always in view and many people continued to explorethem as the main activities took place. 13
  • HIGHLIGHTPARISCOLLECTIONFull Mission2062 materials and mission descriptions are available in the appendices.Here is this second of three detailed descriptions of key Mission2062 activities whichwere particularly productive.Mission ParisCollection took place in the mid-morning and lunchtime of theFriday session. e instruction was that participants were to explore Paris insmall groups on the premise that La Gaîté Lyrique in 2062 had a collection ofobjects from 2022-2062 on the streets but could not remember what they were -this was of course a playful device since no actual objects had been left...peoplejust had to look at the city as if they were there. Participants therefore had to take Caption 1 blah blah lorem ipsum blah to the endphotos of objects and tell the story of what the objects were and why they were A while-you-wait plastic-surgery booth from 2030important. In other words the task was to walk the streets of today’s Paris butwear the imaginary lenses of someone from the far future.Groups then had to send in photos of up to five objects with a description of whatthey meant and the group that sent the best items would receive additional cluesas to the conclusion of the overall event story. e groups were given 2.5 hourswhich included their lunchtime and were allowed to complete the task in whateverway they wished.e creative response to this Mission exceeded expectations. Empowered by theability to be out in the city and inspired by their instruction to look at Paris as if it e last security camera from 2052contained objects from the future that they had to discover, the groups returneddozens of objects and stories which were immediately shown back to them on thevenue screens and were a source of great pride, amusement and insight. THREE TAKEAWAYS Include the city streets as a venue Create competition between groups Showcase outputs as soon as you can 14
  • HIGHLIGHTCLOSINGDISCUSSIONFull Mission2062 materials and mission descriptions are available in the appendices.Here is this third of three detailed descriptions of key Mission2062 activities which wereparticularly productive.e very final activity was a discussion held in the beautiful Gaite Lyrique barwhere the participants were joined by the GL Director Jerôme Delormas and somemembers of the public.Continuing to use the device of the story, it was held as a conversation betweenGermaine Roger the director of the venue in 2062 and the current director. After Daniel Latorre talking openly at the closing discussionGermaine shared details of the series of actions and events that the group feltneed to take place in the next fifty years, such as strategies for avoidinghomogenisation of cultural references and the need to embed cultural activityacross society and not ghettoised in a demarcated sector. is was followed by aresponse by Jerome who then also spoke about his plans and activities which hefelt were aligned with the future that Germaine had described. e group werethen invited to share more reflections on the future that they had seen and alsoask specific questions to Jerome about the Gaite Lyrique and its operations andambitions.is was an excellent finale to the workshop and allowed a direct way for theparticipants to connect the work they had done in the previous three days with Germaine getting ready to talk to her 2012 counterpartthe activities and vision of the host venue. e session hinted at a model where ateam of global talent as was assembled by Mission2062 could usefully providepowerful and new insights to a forward-looking and open-minded culturalorganisation. THREE TAKEAWAYS Create a public showcase moment Share learnings with local leaderse engagement of Jerome Delormas in the process was highly appreciated by the Engage deeply with at least oneparticipants and made the holding of the workshop at the Gaite Lyriquemeaningful. Holding it as a public session also gave it additional import.
  • 12. PARTICIPANTFEEDBACKere were two ways in which feedback was sought. Firstly participants were invited to fill out blank feedback cards four ofwhich are are displayed here with a full set available as an appendix. 16
  • PARTICIPANTFEEDBACK (2) 17
  • PARTICIPANTFEEDBACK (3) 18
  • PARTICIPANTFEEDBACK (4) 19
  • PARTICIPANTFEEDBACK (5)e second mechanism was a conventional paper feedback form which returned the following feedback and the full dataavailable as an appendix: 100% Other comments of participants agreed that Mission2062 was a high quality - Very professional leading team, challenging ideas and workshop ways of thinking, high level of conversation with peers - Well organised; and freedom was respected 96% - Everything was so well organised - Amazing experience! It was a lab, a successful lab of participants agreed that British Council was a leading - I was not sure what to expect or to gain but am very organisation in its field happy - It was what I hoped for, and more 84% felt that their understanding of the future role of culture had increased a great deal 20
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  • 13. SUCCESSFACTORSMission2062 was considered a success by all stakeholders. To help understandthe elements which contributed towards this event, we have classified severalsuccess factors in six areas. ese six areas are:1. Workshop design2. Content3. Look & feel4. Facilitation5. Hosting6. PeopleWhile the documentation of these success factors can be used as principles for thedesign and production of future workshops, replicability will be explicitlydiscussed in a later section of this document 22
  • SUCCESSFACTORS // WORKSHOP DESIGNUse of narrativeHaving a story within which the workshop was structured resulted in high levels ofengagement and created a space for participants to think genuinely creatively.Use of game mechanicsGame mechanics such as creating competitive elements where successful teams gainedmore information towards resolution of the narrative further increased engagement andteam-bondingEmergent narrative within known story arce narrative was such that the overall story was known but the episodic details wereadapted according to how participants responded, this allowed the pace of the narrativeto be at just the right pace for the levels of engagement.Participant as a creative forcee participants were recognised as the creative professionals that they are with theworkshop containing elements such as uncertainty, risk, storytelling and making whichthey would be familiar with in their conventional work.Allowing for choice and optionsMany workshops are very highly structured and do not allow for emergent behaviour anddiversity of activities. is event was designed to support participants to make choicesas to what activities they did and how they did them - again increasing engagementLots of free timeRecognising the risks of over-scheduling and burn-out, workshop times were keptrelatively short 10-4:30 to allow participants to balance the intensity of activities withtime to themselves. 23
  • SUCCESSFACTORS // WORKSHOP DESIGN (2)Avoiding conference clichesBy not using tables or flip-charts or limiting the activities to one space, Mission2062avoided the worst elements of conventional workshops events to support inspiration andnew thinkingUsing outside space as core spaceMany traditional workshops limit themselves to one closed venue with the onlyengagement with the location coming out of hours. By making participants engage withthe city as part of its core activity, La Gaîté Lyrique and its relationship to Paris becamecentral to the narrative and experience of the workshop.Limited use of social mediaSince social media does not always support presence nor bonding to a group in the samephysical location, despite it being a current trend to ensure people captured as muchcontent through digital devices as possible, Mission2062 did not emphasise this so as toensure that face to face connections were primary.Immediate showcasing of outputsBy showing the outputs of participant activity as soon as possible on the venue screens,there was a growth in the sense of pride in their thinking and creativity.Pre-event actionsEngaging participants before the event via preliminary missions were very effective inintroducing the event themes. Only 2 of the 35 participants did not complete the fourpreliminary missions indicating very high engagement despite them all being busy peopleMeeting through objects and personal stories and not just biosWhile participants biographies were available before the event, the primary device used tosocialise the group was the mission called BringMeaning described above. is techniqueallowed the group to form very quickly. 24
  • SUCCESSFACTORS // WORKSHOP DESIGN (3)Genuinely no agenda around community post evente event was designed for its own sake with no stipulation on what the participantcommunity might do next. is allowed space for the participants to explore futureactions openly and assess which follow-on activities are more appropriate.Space for reflections and debriefAfter the close of the main activities, a session was included to allow participants toreflect upon and discuss their experience as well as share feedback on the process.Trusted by the commissionersMission2062 was an experimental event whose creative design process involved relativelyhigh levels of emergence, risk. By trusting the lead producer to deliver a high qualityevent even though some detailed elements were designed to be responsive in real-time tothe participant’s engagement levels, the British Council demonstrated a progressive levelof willingness to work in new ways. 25
  • SUCCESSFACTORS // CONTENTNot utopian or dystopianWhen exploring the future, there is a risk that the future is framed exclusively as aparadise or as a hell. Participants were warned as to this risk and it allowed them toexplore diverse scenarios without falling into either of these two traps.Allowing for dissent and differenceAnother risk for a workshop of this type is that there is an explicit or implicitrequirement for everyone to agree. Mission2062 allowed participants to hold differentviews - often radically so - and for that to be a necessary creative force of the event.Not about culture or digital but all about itMission2062 was commissioned as an event which had the future roles of digitaltechnology and the cultural sector at its heart. It quickly became evident that theparticipants felt that in the future there was no need to label anything as digital or tosegregate the cultural sector since both these would be immersed in wider society.Out of the immediacy of current contexte skilful use of play and the future as a theme allowed participants to step outside oftheir daily issues and contexts to engage in wider thinking that was not clouded withshort-term issues.Website legacyUsing the Mission2062 website both before and after the event as a repository forcontent encouraged the participants that their experience would also have a public-facing legacy 26
  • SUCCESSFACTORS // LOOK & FEELCrafted aestheticFrom the website design to the use of woollen and paper structures during theevent, Mission2062 had a very stylised and beautiful aesthetic. is is very rare inequivalent workshops and the unusually high production quality most probablyresulted in participants engaging with the overall process in a deeper way than if ithad not been employed.Tangible and personalDespite involving much intellectual effort, Mission2062 was designed to ensurethat participants used their hands and engaged with physical objects as much aspossible to allow the event to be as embodied as possible. Since it involved thetactile sense so strongly, it also resulted in participants engaging with the processin a personal sense. 27
  • SUCCESSFACTORS // FACILITATIONTeam facilitationHaving three facilitators who worked in partnership allowed responsibilities to beshared,energy levels to be maintained and all activities to enjoy a high level ofvisibilityPeer status of facilitatorsWith Rohan and Suzy as primary facilitators and being the same age and careerlevel of the participants, there was a strong peer dynamic which minimised anyintergenerational or authoritarian issues.Design decisions explainedBy Rohan explaining why key design and narrative decisions were made to thegroup as they were introduced, this helped participants understand the designfrom a practical perspective as well as a learning one.Trusting the group to get to know each othere participants were treated very much as adults and the facilitators did not feelit necessary to do any “hand-holding” which can create a distant dynamic betweenparticipant and facilitatorHonesty and integrityanks to the facilitators always looking to use open-ended questions and notpretending to know all the answers, the participants felt empowered and incontrol 28
  • SUCCESSFACTORS // FACILITATIONSkill of the facilitator teame facilitator team was highly skilled and able to react responsively to theworkshop as it developed.Keep it riskyBy allowing for parts of the process to be emergent, it ensured the facilitatorswere vigilant and working hard to maximise the potential of the eventReal time check-insis emergent approach was enabled by regular check-in meetings between thefacilitator team to review and plan in real-timeStrong local BC teamHaving such a strong British Council team as there is in Paris allowed thefacilitators to focus on their role since many of the core production activities wereso well executed 29
  • SUCCESSFACTORS // HOSTINGLa Gaîté Lyrique as venueHaving such an exciting new space as the workshop venue was inspiring andattractive to the participantsJerome’s involvementWith the GL’s Director actively involved at the beginning and end of theworkshop, it meant that all activities were firmly connected to the venue andallowed a direct and meaningful route for sharing the learnings2062 exhibitione 2062 exhibition and programme was central to the theming of the workshopand provided a different but related curated space for the participants to engagewith the topicsWalkable cityWith Paris being such a walkable city it allowed the outside space to be directlyused for workshop activities 30
  • SUCCESSFACTORS // PEOPLEParticipant typeHaving all the participants engaged in the agendas of change and innovation ledto the group being biased towards engaging with the theme of the future. iswould be more difficult if the participants had been more traditional.BC staff as normal participantsHaving the British Council staff considered just as the other participants wereallowed them to enjoy that role and engage in the full participant experiencewithout feeling they had to be one step removed.Global group brought to a new placeHaving participants from several and often distant parts of the world gave a senseof a group coming together to do something special in a different city to the onethey know the best and use the relatively unknown city as a way to allow new waysof seeing and thinking. 31
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  • 14. AREASFORDEVELOPMENTere were two main areas in which the Mission2062 production team felt theprocess can be improved:Creating an output for a wider public audienceWhile the closing session of the workshop in Paris was a public event and allworksop materials will be openly available online, there is potential in futuresimilar events to create a more direct tangible output for a general audience. Aninspiration for this is boat magazine (pictured right) where an editorial team isbased in one location and creates a specific issue based on stories and issue fromthat location.Creating a practical solution to a shared problemDespite the strong emphasis on making and tangible outputs, the workshop was e Detroit issue of Boat Magazinenot designed to explicitly result in practical solutions. ere is however thepotential for future events to use the conversations as inputs for the practicaldevelopment of relevant projects.Both of these development areas are similar in that they are both tangible outputsfor key audiences. Incorporating these into a Mission2062 type event would bepossible with sufficient resources. is would best be done as a second follow-upevent rather than including it all in one single event so that there is time toprepare and bring in more skills. 33 A planning session from Culture Shift Nairobi
  • 15. REPLICATINGTHEMODELMission2062 was designed as a site-specific workshop. erefore while exactlike-for-like replication may not work in a different context and location, there aresome key principles which would result in effective replication elsewhere. Local Story. Local Host. Walkable City. Diverse Group. Inspiring Space Create a narrative that is Connect the activities to the Expand the boundaries of the Invite enough non-local Create a workshop space thatmeaningful to context of the host venue’s agenda and workshop and use the city participants so location can will inspire the level of event location involve the local leadership for inspiration & content be seen with fresh eyes thinking that you want Research Phase. Strong Facilitators. Local Knowledge. Commissioning. Realistic Budget. Having a clear objective for Give sufficient time for the Employ facilitators who are Allow the local British Allocate a budget to allow for the event, knowing what adesigner to research the best skilled in processes which are Council team to be actively a high production quality and learning opportunity in the solution for the context open, dynamic and uncertain involved in the process. detailed design process process which involves 34
  • 16. LESSONSFORPOLICYe design of the event itself provides some learning that is of value in policydevelopment.Moving from ‘policy discussions’ to developing narrativePolicy roundtables are often sterile and repetitive of the same issues. Creating astory within which policy can be imaginatively constructed through engagementand genuinely creativity could be a more valuable way to approach engagement.People as a creative force rather than as ‘recipients’ of policyPolicy is often constructed in isolation by policy makers. Involving creativeprofessionals with elements such as uncertainty, risk, storytelling and makingwhich they would be familiar with in their conventional work could forge moreengagement.Allowing for creative solutions, choice and optionsPolicy is currently often stuck in old paradigms and does not allow for emergentbehaviour and diversity of activities. Designing processes to support choice-making and emergence would support more innovative policy-making. 35
  • 17. SOMERECOMMENDATIONSMission2062 and the recent Culture Shift series of events reflect the BritishCouncil’s ambition of convening and curating innovative events which create newconversations, new collaborations and new projects. Based on the experience ofMission2062, the design team have five recommendations to the British Councilfor future work:1. Include the core design principles of play, narrative, making and place infuture events, especially those which include a global group (e.g. CLI)2. Frame events with big, inspirational questions or calls-to-action3. When participants come from creative backgrounds, use techniques fromart & culture to design the events and draw on the creative skills of theparticipants4. Design events specific to and inspired by location they are hosted in5. Convene further Mission2062-type events and ensure they are beingcontinually refreshed and improved 36
  • 18. DOCUMENTILLUSTRATIONS e illustrations in this document were done by Ella Britton, a UK participant. A full set of her visual record will be available on the Mission2062 website. 37
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  • 19. CONTACTDETAILSFor more information about Mission2062 please contacteither Laëtitia Manach (convenor and commissioner, BritishCouncil) or Rohan Gunatillake (independent designer,producer & facilitator)laëtitia.manach@britishcouncil.frrohan.gunatillake@gmail.com 39
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