This blog is about the relationship between organizations and the people who work for them. And, it’s dedicated to the millions of people around the world who go to work every day wanting to do a great job.
The opening ceremony at the London Olympics cost an estimated $42M [US]. ¬†The production took years of planning, 1000s of professionals and 10,000 volunteers and livestock, involved artists of all kinds, designers, managers and trades to install 1000 of tons of equipment and materials and animate the whole thing. ¬†Just thinking about the logistics of such an undertaking is breathtaking.
At Simply Communicate, they recently reflected on “What the Olympic Opening Ceremony can teach corporate comms” in an interview with¬†Adrian Smith. ¬†The full article is definitely worth a look, but there are three main¬†lessons and a central idea that Adrien drew from the Olympics 2012 opening ceremony that I want to share [my words]:
- Have one vision for the creation
- Recruit and engage a range of experts and create an environment where people from a wide range of specialist disciplines [verticals] are able to bring their expertise and ideas to bear on the creation of the whole
- The “best” idea “wins” no matter where it comes from.
Adrian then goes on to his central idea. He argues for the fundamental role of design in corporate storytelling:¬†”There is a whole new generation of corporate communicators who do not know what a live event can do. And production companies are losing out because there is a generation that don‚Äôt know what design can deliver in terms of story and theatre. As time goes on there is a danger that this lack of theatre in corporate events will become the norm.¬†I hope that the success of the Opening Ceremony may be a catalyst for people thinking about taking emotion and engagement from a live performance as opposed to a video on a website.”
What do you think? ¬†Are we as leaders and communications professionals too focused on the facts? Is it time to bring back the ‘emotion‘ and ‘engagement’ of live performance? ¬†Does design [and design thinking] have a place in corporate storytelling? ¬†Is it time for us to expand our storytelling palette? ¬†