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Management Plan Jag Garcia COFA0930 – Managing Creativity Master of Cross-Disciplinary Art and Design University of New South Wales College of Fine Arts October 2010

Table of Contents SECTION A: OVERVIEW.......................................................................................... 4 Background


Vision Statement


Project Overview


Project Objectives


Stakeholders and Audiences


Stakeholder Strategic Summary


Project Phases and Outputs


SECTION B: ORGANIZATION AND STRUCTURE ....................................................... 9 Creative Team


Project Management Team


Roles in Development of Exhibition Components


Roles in Development of Exhibition Systems


Devil’s Advocacy System


SECTION C: COMMUNICATIONS STRATEGY AND MANAGEMENT ..........................13 SECTION C: COMMUNICATIONS STRATEGY AND MANAGEMENT ..........................14 Communication Content Framework


Integrated Communications Management


SECTION D: PARTNERSHIP STRATEGY AND MANAGEMENT...................................16 Strategic Partnership Framework Vertical Partnerships Horizontal Partnerships Diagonal Partnerships

16 17 17 18

Partner Engagement Process Plan


Partnership Readiness Survey


SECTION E: PROJECT MANAGEMENT PROCESSES..................................................25 Content Development


Physical Development


Content Validation and Feedback Management Feedback Management

26 28

Marketing and Publicity Phase 1 and 2 Publicity Phase 3 Publicity Phase 4 Publicity

29 29 29 30

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SECTION F: ACQUITTAL PLAN ...............................................................................30 SECTION F: ACQUITTAL PLAN ...............................................................................31 Acquittal Report Macro Document


Acquittal Report Configurations


In-Progress Reporting


Project Value Adds


SECTION G: PHASE 1 DEVELOPMENT POINTS........................................................35 Proposed Budget




Financing Schemes


Time Table


CONCEPTUAL SKETCHES.......................................................................................39 REFERENCES ........................................................................................................44

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Section A: Overview Background Anilao in Batangas Province in the Philippines is the birthplace scuba diving in this part of South East Asia. Being at the center-of-the-center of global marine biodiversity (Salao, Honasan, & Sandalo, 2007), Anilao is a place of incredible undersea beauty as well as provides a rich resource for the sport with a wide range of diving for divers of all levels. Since the “discovery� by divers of Anilao in the late 60s the location has gone through a tremendous growth spurt that has, unfortunately, taken its toll on the ecosystem. Between destructive fishing methods, un-checked diving impact, and uncontrolled urbanization and development Anilao as a location began to suffer. Through concerted efforts by government, private and civil sectors in the 90s Anilao has gained a renewed energy as it strives to balance the needs of the coastal communities, the realities of commercialization, and the continued preservation of the marine environment that all stakeholders rely on to survive.

Vision Statement To create an awareness and consciousness of the interconnected nature of marine preservation and sustainable tourism through art- and design-based projects and products that engage audiences intellectually, creatively and emotionally. This vision is to be achieved by working in partnership with artists, designers, government, coastal communities, civil society and the private sector.

Project Overview As a macro project Mother Sea hopes to raise awareness of marine preservation and sustainable tourism in various stakeholder communities through a long-term series of projects rooted in arts and design. Mother Sea recognizes the multi-faceted, yet interconnected, nature of the issues surrounding marine preservation and sustainable tourism and hopes that through concerted efforts a greater appreciation and understanding of these various issues can be attained at different levels. The Mother Sea Project will initiate its activities with a multimedia photovideo installation incorporating a live storytelling performance to promote awareness and action in marine conservation and sustainable tourism in coastal resort communities. This shall be titled The Mother Sea Experience.

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The long-term nature of the Project will entail more directed arts- and design-based activities such as photo and video competitions and exhibitions, storytelling and digital storytelling workshops and showcases, community art projects, public art activities, lectures and symposia, capacity-building training, and similar efforts hope to engage communities and stakeholders in a greater understanding and appreciation of the interrelated nature of marine preservation efforts and sustainable tourism concepts.

Project Objectives This project aims to: 1. Visualize the beauty of coral reefs and the undersea world for non-divers to appreciate; 2. Provide a venue for both active and passive communication of messages and themes, and; 3. Engage viewers in taking action in efforts towards marine preservation and sustainable tourism. The project seeks to commission the work of: • • • •

Photographers – for photos of reef fish and people “in” the reef environment Videographers – for reefscapes and environmental visuals of a living marine ecosystem Sculptors/ Production Designers – creating a reef-like environment where the installed photographs/ transparencies will be mounted Storytellers/ Performance Artists – will provide the active or live component of the communication agenda; will engage the audiences directly through their performance Composers – to provide both the ambient sound/ music for the exhibition in its passive state and the background score for the storytelling performance

Stakeholders and Audiences Stakeholders and potential audiences may be grouped along the following lines: Local Tourism/ Coastal Communities – includes local fisher and lowland communities, local resort and recreation businesses, support and related enterprises (food, sanitation, manpower, transportation, etc.). Also includes related venues for communication such as public/ private school system, and women’s’, religious and livelihood organizations. The Mother Sea Project

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Marine Tourism community/ unaffiliated tourists – includes general dive community and organizations, organized groups of related marine tourists/ recreational activities, tourism-related business/ organizations based in the city or abroad. Also includes both local and international general tourism market. Local government units – includes the barangay (village), municipality and city, and ultimately the provincial level. Related to this is the inclusion of national agencies such as the departments of Environment, Tourism, and Local Government. Non-governmental/ Civil society – includes organizations, corporations, public venues, and other entities that may benefit from the general vision. Agencies here would include the World Wildlife Fund, Phil. Commission for Sport Scuba Diving, Museo Pambata, Science Discovery Center (and other SM malls), Manila Ocean Park, and the like.

Stakeholder Strategic Summary This section indicates the general strategy to be implemented with regard to developing communications, projects and content for particular stakeholder groups. Figure 1 illustrates the rationale of the stakeholder groupings by showing their relation to each other in the greater scheme of the project and society. Stakeholder Group Local Tourism/ Coastal Communities

Marine Tourism community/ unaffiliated tourists



These audiences are the ones “nearest the action” in terms of the marine environment and marine tourism. They have the most to gain or lose from any change in the social, environmental and economic structure of the coastal community.

People who rely on the coast and related tourism for their livelihood pose the largest resistance to longterm redevelopment programs as their concern is the immediate survival of their families.

This is the “feeder” group for local communities and businesses. They consume tourism facilities, services, resources and what the marine environment can offer with

Without tourism the community dies, but without sustainability the tourism offerings will eventually suffer.

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Content here should be geared towards understanding far-reaching impact of relatively small actions. Use a “butterfly effect” framework in communicating seemingly unconnected, but far-reaching effects/ impact.

Content here should focus on the concepts of sustainability and tourist


regard to recreation. Beyond divers this group includes “regular” beachgoers, swimmers, windsurfers, snorkelers, and their accompanying families and retinue.

responsibility; it should also include concepts of livelihood and community impact of tourism activities.

Local government units Barangay (village) Municipality/ city Provincial

This group will ensure that beyond the efforts of the project policies and systems are instituted to support sustainable tourism and help in marine preservation efforts.

Long term sustainability of tourismrelated activities, infrastructure and policies requires the participation of local government units.

Non-government agencies/ Civil society

This group balances out the demands of tourism consumers and government by lobbying for the local communities and its related concerns.

NGOs and civil society organizations have a better and wider infrastructure in place to make the proper representations to lobby local government while still being able to relate directly with local communities “at the ground level”.

Content here will have to consider the perspective of governance, economic resources and political developments while communicating the responsibility of government in sustainable development.

Content here should be messaged with empowerment and communicating longer-termed goals and programs.

Local Tourism/ Coastal Community

Non-government organizations/ civil society

Mother Sea artists, designers and creative projects

Marine tourism communities/ tourists

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Local Government Units

Figure 1: local stakeholders are supported by NGOs and civil society to lobby and make representations to government. Gov’t in turn provides for policy and infrastructure that allow for tourism business and attractions to exist – thereby attracting tourism and related business. This tourism directly “feeds” the local community which is primarily dependent on the long-term viability and sustainability of tourism to survive. In turn the activities related to the macro Mother Sea project will engage the individual stakeholder groups.

Management Plan


Project Phases and Outputs The Mother Sea Project seeks to be a medium-term venue for raising awareness of the interconnected issues of marine preservation and sustainable tourism. As such the project hopes to be realized over the following phases: Phase Phase 1: The Mother Sea Experience

Manifestation/ Plan The establishment of a medium-term exhibition at a partner venue such as the Museo Pambata. This multi-media exhibition will form the core component of the project – succeeding phases will take off from this core component. • • •

Phase 2: Mother Sea and Me

A series of live and digital storytelling activities will center on the Phase 1 component. This phase takes off from the permanent infrastructure of the Mother Sea Experience and utilizes it as a backdrop and stage. • • •

Phase 3: With Mother Sea

• •


Screenings/ showcases of marine life and related work by 3 parties such as divers, NGOs, coastal communities, and the like Parallel exhibitions by noted professionals in related fields rd Opening the exhibition venues to 3 party usage such as a venue for teaching and study, trainings and related workshops

This phase brings the Mother Sea experience “outside” of its permanent location by way of parallel travelling exhibitions. The material need not be the actual material on display but will utilize older or existing images and video material, similarly-designed design components and the like. Part of the travelling exhibit will be related components from the previous phases such as storytelling rd performances, workshops, training and 3 party material • • •

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Live storytelling performance/s Digital stories projected from screens Audience interaction sessions with stakeholder representations: fisher folk, divers, resort/ tourism providers, and the like

As the Mother Sea Experience progresses third-party involvement will be introduced. Workshops, features, and parallel exhibitions will be integrated into the Mother Sea setup capitalizing on the existing infrastructure such as projection screens, photos and video material. •

Phase 4: Your Mother Sea

Photos and videos of undersea life Designed coral reef environment Immersive point-of-view experience for audiences

Travelling exhibition targeting local communities, schools and other stakeholders in the area Art and design-based workshops for children, youth and other sectors Workshops and capacity building seminars for service providers, local government and other stakeholders

Management Plan


Section B: Organization and Structure Creative Team The principal artist (henceforth “Originator”) will provide overall creative direction for the Project. He will work closely with a team of design experts in the fields of technical theatrics and industrial design who will then execute particular exhibition components. The Originator will also coordinate with composers and performers for the non-physical components of the program. Originator Production Manager

Industrial Designer

Technical Designer

Musical Composer

Curator/ Devil’s Advocate

Storyteller/ Performer

Production Designer

Figure 2: Basic “Mother Sea” organizational structure of core creative team. This does not include the Project Management team nor contracted workers or partners.

This structure will maintain the artistic vision and direction of the Originator while maintaining a collaborative relationship with experts in the field who will be doing a lot of the actual execution. The inclusion of a Curator-slashDevil’s Advocate allows for an external force to control and help maintain direction in the artistic process by providing a 3rd party opinion in the endeavour.

Project Management Team The project management team will be an autonomous group working parallel to the creative team. Their function is primarily targeted towards the efficient production and execution of the entire project. The table below illustrates work of the entire project management team as it would happen across all four phases. The management strategy in place takes off from the writings of SoilaWadman & Köping (2009) with regard to creating a relational leadership environment allowing artists to create along their own temperaments and talents while keeping them aligned with the artistic vision of the Originator. There is an element of trust here and the Originator’s primary challenge in this aspect is providing enough leeway to the storyteller and composer to develop their material without smothering them with supervision and direction. The Mother Sea Project

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It must be noted at this point that the engagement or hiring of particular individuals and groups would be subject to their need. Likewise it will be common that several roles and offices will be manned by the same individual both as a consideration of actual workloads and timing as well as cost implications.


Marketing Manager Marketing Assistants

Production Manager Project management staff and assistants

Booking Agents

Fabrication/ Production Supervisor

Construction Foreman

Road/ Location Manager/ Asst. Prod. Manager

Logistics Supervisor

Maintenance and upkeep supervisor

Figure 3: The non-creative management structure. The Production Manager (PM) is primarily responsible for managing the staging, movement and upkeep of the exhibition. Assistant PMs and group leaders/ supervisors manage teams tasked or contracted only when the need arises.

Roles in Development of Exhibition Components This component entails the actual development of the photo-video exhibition as well as the live storytelling performance. Stages in this component will be as follows: Key Collaborators Originator, Storyteller, Composer, Curator

Task Determine “voice”, direction and tone for whole exhibit Output preliminary outlines of stories and other nonphysical components

it is key to stay focused on specific messages or concepts – this is also in recognition of how wide-spread the issue is vs. drowning the exhibition with too many concepts

Develop/ write script for story

It is very possible that different versions or variations of scripts and work would be needed depending on the context or phase of integration. Determine specific audiences such as children, adults, local communities, etc.

Develop music and score for exhibit and story

Music should not be too foreign nor distracting to the exhibition – it should also be interesting aesthically

Originator, Storyteller

Originator, Composer

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Originator, Curator

Write and choreograph storytelling component Hire understudy performers Rehearse storytelling components

Understudies will allow for flexibility during tours and longterm run commitments

Select photos for exhibition Post-process and finalize for printing/ mounting Print/ mount photos on transparencies

Develop a narrowing-down system and selection process between originator and curator. Might consider doing previews to creative team to get some initial input on choices

Develop and edit video material Finalize and burn DVDs for “airing”

Planned video material will be for texture; if sponsor/ partner provides documentary material this will be prepared and burned on separate DVDs for airing

Continuous and regular meet-ups for status checks, quality control and adjustment of direction and workflows

Quality control will include the production quality as well as the aesthetic integrity of the written/ photographed/ composed works to the theme and direction of the Project


Originator, Storyteller, Composer, Curator

Roles in Development of Exhibition Systems This component entails the actual development of the support and noncontent systems related to the exhibit including mounting/ hanging systems, lighting, sound and the like. Stages in this component will be as follows: Key Collaborators Originator, Industrial Designer, Technical Designer, Production Designer, Curator, Production Manager Industrial designer

Production Designer

Technical Designer

Originator, Curator, Industrial/ Production/ Technical Designer, Production Manager

Task Preproduction for necessary components, logistics, layout and other technical concerns Preparation of design drafts and sketches

Remarks Potentially lengthy process. Plan in multiple and regular meetings and check-ups prior to proceeding with any production/ prototyping

Development of prototype Production of mounting systems Production of exhibit systems Production design sketches Art direction for the Project Dress-up and detail design of the exhibit systems Development of props and costumes for storyteller

Will necessitate testing of individual components as they would be mounted together. Consider budget for equipment, space and other contingencies for this aspect.

Lighting and sounds plan for launch exhibit Lighting and sounds plan for touring exhibit Review of plans, prototypes and produced items for quality control purposes Development of revision and contingency strategies due to unforeseeable events: damage, weight and infrastructure considerations at remote venues, cargo/ transport considerations and the like

May entail development of alternate mounting and staging strategies for touring purposes.

Devil’s Advocacy System All members of the core creative team – particularly the Curator/ Devil’s Advocate – will work under a system of mutual validation. This is where the

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idea from anyone may be subject to an adapted Strategic Stress Test1 or devil’s advocacy process. Validation is a step or series of steps where project specifications – or in this case the technical and creative requirements of the Mother Sea project – are evaluated against the project or phase objectives ("Validation "). This ensures that ideas, concepts and plans generated by the body have been thought through to a proper extent. This also removes the burden of sole responsibility from an individual that his/ her idea will “work” purely as conceptualized. Lastly it ensures that creative work remains aligned to the objectives of the project even during the development stages when it is common for pre-laid plans to go off-tangent. The Devil’s Advocate - the curator – provides a foil against which the creative ideas and directions may be tested and adjusted to best suit the objectives of the project. Nemeth and Ormiston write how dissent – in the form of a devil’s advocate – can be instrumental in generating more divergent thinking and new ideas. It “stimulates the finding and detection of novel solutions to problems” and they cite how even debate can help increase ideas generated in a brainstorming context (Nemeth & Ormiston, 2007). The process will be moderated by either the Originator or Curator so as to control the degree and length at which discussions in this nature are made. This is to avoid the “splitting hairs” phenomenon that will arise from too prolonged a devil’s advocacy session. Figure 4 shows the process flow of this methodology as adapted from the Devil’s Advocate Group that provides a similar 3rd party service to corporations using what they call a Strategic Stress Test for ideas and concepts.


Original Strategic Stress Test framework adapted from the Devil’s Advocate Group – a collective of critical thinkers

who provide risk management and innovation solutions to various business and research enterprises. From

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Red Flag Analysis


Take: Task, idea or proposal at-hand

Ask: will it work? Why? Determine: potential failure/ risk points Determine: communication/ message flaws

Take: concerns, issues and questions raised or identified Work: respond to issues raised Determine: validity of issues Develop: possible solutions

Proceed as planned Synthesis Closure

Strengthen/ review

Abandon Take: concerns Take: validity Take: solutions, if any Determine: path towards closure Develop: any revisions or adjustments to timetables, plans, concepts, and other affected modules

Ask: how do we proceed from here? Work: implement decision End Process

Figure 4: Adapted from the Devil’s Advocate Group, this framework illustrates the process of the devil’s advocacy process in the Mother Sea Project. It is a simplified guide to allow for collaborators to verify the validity of their concepts and ideas, mitigate risk, and develop a richer project. A moderator should control the process so that it does not stagnate in a particular area, nor loops back to “split hairs”.

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Section C: Communications Strategy and Management Communication Content Framework The following graphics illustrate the materials and techniques in which the Mother Sea Project will address the content issues mentioned in the Strategic Summary. Figure 5, for instance, considers the type of imagery and environmental experience necessary to communicate the subtext with the hopes of creating a particular emotional response and hopefully long-term behavioural change as a result of a Butterfly Effect. Target Group

Tourists/ Consumers of Tourism Services


Photo/ video: colourful, with vibrant life. Use common/ popular visual cues (clownfish, morays, apex predators, cuttlefish, etc.)


Experiential: immersive experience and environment, simulate the tourist experience

Subtext: if you do not care for your environment “Nemo” will die and so will the source of your livelihood

Story/ text: participative, communicate the important role locals have as “protectors” of a natural resource – which in turn brings in tourism income.

Emotional Response

Appreciation of what biodiversity is present at the depths. Discern what impact they have on the environment.

Figure 5: when creating content for audiences in this stakeholder group a key note is that although the locals are in most contact with the marine environment, they are also the least likely to experience its recreational aspect the same way tourists could afford to. Communications in this regard will try to share the tourist experience with the stakeholder community to bring their experiential perspectives closer to the same level.

The Butterfly Effect is taken from Chaos Theory where a small difference in an initial state can make significant changes in the system at a later time ("Chaos Reigns," 1997). Edward Lorenz from MIT happened upon this phenomenon when seemingly small changes in weather data had long-term effects on projections of weather phenomenon in the future (Bradley, 2010). Banking on a Butterfly Effect, it is hoped that the small increase in awareness (as evidenced by the emotional response) would equate in larger societal and environmental effects in the medium- and long-term.

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Integrated Communications Management A concerted integrated communications management plan will have to be taken into consideration with the development of content for local communities. Content must be recognizable and accessible to audiences while maintaining a sense of freshness to retain interest. Though initially applied in an automotive supply company in an employeremployee setup, the 6 principles of performance communication as written by Bayerlein and Gailey (2005) can be adapted contextually to the management of content and messages in the Mother Sea project. Principle 1. Build communication as an integrated system connected to business strategy.

Contextual Adaptation The Mother Sea project will articulate its vision and core project values and use that towards driving communications made towards audiences.

2. Provide clarity, information and inspiration.

In the Mother Sea project’s content should “provide direction, clarity, simplicity, consistency, integration and, importantly, emotion” (Bayerlein & Gailey, 2005) as a way motivate audiences towards a desired emotional response.

3. Use communication as a leadership alignment tool.

In the Mother Sea project an initial survey of audience cultures and perceptions are made and the content adjusted towards the desired emotional response in that audience.

4. Strategic communication competencies for leaders, managers and supervisors.

Bayerlein & Gailey (2005) discuss how the communications group worked to strengthen competencies critical to building trust, credibility and respect – values important to the Mother Sea project when communicating with its target audiences. It is hoped that in the Mother Sea project this competency becomes invaluable when the project’s “story” is told to audiences, partners and other stakeholders.

5. Analyze information flow to provide objective perspectives.

The Mother Sea project has to consider this in its interaction as verbal and non-verbal language has to be part of the communications plan.

6. Move faster than the speed of change.

The Mother Sea project has to be one step ahead when finalizing content for specific audience groups in particular locales as there may be inherent political or cultural issues that were not previously known. The leaders on the ground have to be able to make judgement calls on how content will be adjusted or adapted to the local situation.

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Section D: Partnership Strategy and Management The Mother Sea project will not be possible with the financial and logistical participation of stakeholders and partners in the private sector, civil society and government. The Project believes that there is sufficient cause and value in the project to be attractive to partners not just for advertising or publicity mileage but for reasons of corporate social responsibility as well.

Strategic Partnership Framework Many strategic partnerships fail because of a lack of strategic compatibility or imbalances within the alliance it is thus important that partnerships established have a correct “fit� (BITCI, 2010; Tollemache, 2009) to the Mother Sea organization. A serious consideration and touch point in the strategizing is looking at developing more complex relationships between potential partners through vertical, horizontal or diagonal partnerships (Tollemache, 2009). Figure 6 illustrates this relationship as well as makes a listing of potential partners in each category.

Vertical Partnerships: Couriers/ cargo forwarders (Air21, LBC, DHL), airlines (PAL, Cebu Pacific, ZestAir), bus companies (Philtranco, Cagsawa, Penafrancia), printing/ mounting suppliers (Dexact), lights and sounds suppliers, food and beverage suppliers (water, cola, iced tea brands)

Horizontal Partnerships: World Wildlife Fund, Haribon Foundation, Manila Ocean Park. Other advocacy and environmental groups, dive groups, marine conservation groups, resort groups. Other NGOs and civil society groups.

Diagonal Partnerships: Telecommunications (Smart/ Globe), Ayala Corp., Concepcion Industries, Alaska Milk Corp., SM Development Corp., other major corporate entities. Also local governments and government agencies like tourism and environment Figure 6: vertical, horizontal and diagonal partnerships that may be formed for the Mother Sea project. This framework will increase work requirement but also allows for a very flexible relationship system where different partners with differing capacities are still able to participate in the endeavours of the Mother Sea project.

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Vertical partnerships are relationships within a supply chain and help maintain and control costs. Horizontal ones allow for smaller organizations to make concerted efforts toward unified or common goals; and lastly Diagonal partnerships allow entities from different fields and industries to reach common audiences with singular efforts. Vertical Partnerships Figure 7 is a process flowchart to determine the possible value the Mother Sea project would have on potential suppliers in a vertical partnership. This is adapted from a worksheet document designed for the construction industry ("Integrated Supply Chain: Chainlink Workbooks," 2003).

From this flowchart it would be possible to judge the degree to which the Mother Sea project could leverage with suppliers with regard to cost efficiency, discounts, credit lines and the like. This could be used to better manage the supply chain inherent in the project as well as assess the potential of the project to increase the partner’s engagement with the Mother Sea Project. Horizontal Partnerships According to the Integrated Supply Chain Workbook “consciously working as part of a strategic alliance, complementary organisations can benefit from real synergism, where the individual parties gain disproportionate rewards from their collective activities.� This describes the nature of horizontal

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partnerships where same-scaled organizations or those that work towards similar goals or advocacies can greatly benefit from pooling resources together towards the achievement of those goals. The Chainlink Workbook (2003) identifies the following steps in establishing horizontal partnerships. Again this is designed for a construction industry but its key points easily translate through to advocacy projects as Mother Sea. 1. 2. 3. 4. 5. 6. 7. 8. 9.

Determine the need Core principles Planning stage Selecting partners Address relational/process interface issues Agreeing measurable objectives Determination of Key Performance Indicators Management and communications Adding value, differentiation and control through collateral guarantees 10. Product co-development and innovation 11. Collaborative marketing 12. Develop electronic and other streamlined interfaces 13. Vertical integration 14. Refine, improve and develop This process is echoed and streamlined in the following section using the BITCI framework for partnerships between corporations and organizations. Diagonal Partnerships Diagonal partnerships bring together organizations from different sectors and industries and seek to leverage on their individual resources and capacities to achieve unified goals. Based on Tollemache’s limited description it can be inferred that in the context of the Mother Sea project diagonal partnership opportunities lie with 3rd party organizations and corporations who do not have direct connections to the issues underlying Mother Sea and its horizontal partners. The partnership opportunities lie in these organizations’ extra-corporate initiatives or corporate social responsibility efforts. It is these types of partnerships discussed in greater detail in the following section.

Partner Engagement Process Plan Strategic partnerships between entities allow them to combine resources to overcome challenges. This allows risks to be managed or mitigated more efficiently since liabilities and costs may be spread wider of more

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collaborators, or maybe costs may be lowered due to economies of scale (Tollemache, 2009). Tollemache continues that developing partnerships requires the establishment of a long term mutually beneficial relationship – a relationship that is based a lot on mutual trust. Trust is an underlying concern and caveat identified by other authors with regard to building partnerships (BITCI, 2010; "Integrated Supply Chain: Chainlink Workbooks," 2003). Corporate partnerships with such endeavors also have benefits such as promoting a positive image and reputation of a company, as well as create business development potentials by establishing links with local communities (BITCI, 2010). The BITC Ireland document illustrates a 7-step process (Figure 8) in which an organization – in this case the Mother Sea project – would prepare itself for developing and creating strategic partnerships with business organizations (including government, NGOs and civil society) towards achieving goals.

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For the purpose of this management plan the 7 steps are being adapted to the more immediate context of the Mother Sea project.

Partnership Readiness Survey This section will align itself with the general guide points illustrated in the BITCI 7-step framework. The survey seeks to make an “inventory” of the resources currently available or accessible to the Mother Sea project as well as making notes on materials and resources it will need to realize strategic partnerships. The content and sub-steps are taken from the BITCI document and may not immediately seem relevant to the project. This has, to some extent, been contextualized within the survey. Step/ Sub-step

Task Plan/ Resource Inventory/ Notes

Step 1: Identify Your Need Review your plan Review your work plan or strategic plan as a starting point. Consider which activities planned could require business expertise or additional supports?

Use finalized project plan for initial exhibition/s and extension plans for travelling exhibitions, alternate or ancillary projects, and gaps in resources.

Aside from funding external business expertise will be needed for logistics, local nuances and audiences, local socio-economic evaluation

Resources on-hand: experts/ expertise in art and design that may be applied to exhibitions, shows and extension creativity projects to enhance communication of message.

Consider input from core creative team as to where they would prefer external support versus managing certain aspects (such as design or logistics) within their departments

Vision-related projects that may be activated:

Consult with staff and management Think of ways external expertise or skills might enhance the project work or assist in moving forward initiatives that would otherwise be temporarily shelved.

o o o o o

Eco tours for local children creativity workshops/ capacity building for local crafts and craftsmen livelihood projects from creativity workshops art/ design workshops as tools to help cope with or promote change and development in the community beach/ coastal cleanups with resulting found-art activities

Identify gaps in internal expertise What skills and competencies does your organisation lack that partners might provide?

Internal expertise gaps o o o

Localized knowledge of people, culture, psychology and the like Logistics and representation to local chief executives as well as local townspeople Long-term community development planning and environmental management

Define your wish list Identify needs that would be of real benefit to your organisation, providing a variety of ways that one or more companies can get involved in different aspects of your project. The overall aim is to provide a menu of different types of partnership opportunities to present

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Wish list – Technical Aspect: o


Logistics support, support for food, venue and accommodations. Funding for travel of the exhibit, localized publicity and cooperation Sponsorship/ support for technical materials such as lights,


to businesses.

production of exhibition materials, audience area. •

Wish list – Social Aspect: o o o

Sponsorship of communities and schools to attend the exhibition “adoption” of local communities to create follow-up systems that would allow for future or extension projects participation of partner organizations in providing exhibition material or developing new/ updated exhibition material such as stories, photos, video and other similar material

Wish list – Creative Aspect: o o

Royalty-free use of images, photos, video and other material Access to and use of available research material or literature related to the theme of the exhibition

STEP 2: PREPARE YOUR ORGANISATION Why are we making this approach? Be clear why you are engaging the support of business and what you hope to achieve. Understand what business has to offer your organisation.

Business is in a position to provide support services to the Mother Sea project as well as fills in the gaps where the project wishes to engage audiences – such as access to local communities, data, audio-visual material, logistics and funding.

The Mother Sea project is engaging in strategic partnerships with outside entities so that the expertise and capacities of these organizations can be harnessed effectively without unduly stressing the project’s resources and limited pool of expertise.

The Mother Sea project originator believes it is time to approach business for support; likewise it would be prudent to seek support for elements outside of the Mother Sea creative team’s core expertise.

At this point there is no funding existing in the project, this means that production is highly-dependent on what financing sponsors and partners are able to bring into the project.

On-hand resources available to the Mother Sea project are audio-visual material from the Originator as well as those who have already given permission; there are design experts who are on-board and are willing to lend their design skills for the realization of a prototype and design but will need to be paid for actual execution.

The Originator has access to a network of possible venues and partner government organizations although these have yet to be approached.

No framework has been developed to date. For development and should include scope and responsibilities of partner organization, duration of engagement, renewal of engagement, and extent to which the partner will physically participate in the development or execution of the Mother Sea project

Is everyone agreed? It is important that everyone is on board and believes that it is timely and appropriate to approach a company for support. Do we have enough resources? Consider the implications of a company agreeing to your request. Do you have sufficient capacity to utilise any offer of support? If there is a financial cost in terms of materials, do you have a budget for this? A long-lasting mutually beneficial partnership requires an investment of a dedicated person with time to nurture the relationship.

STEP 3: PLAN FOR BUSINESS SUPPORT Introduce a framework to manage volunteers* A policy is very useful in helping you state your organisation’s role and responsibilities. The policy and action plan will cover a number of subjects such as legislation, health & safety, insurance, values, expenses, equal opportunities etc.

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*”volunteer” in the context of the Mother Sea project will be defined as “partner organization” or “partner” where there is an active engagement between both organizations

Management Plan


Types of volunteer activities The range of volunteering activities is wide and varied, ranging from using professional skills such as preparing financial reports or developing a database for local community groups to practical help in creating a sensory garden or cleaning up a local beach. Other types of activities include mentoring for staff and joining a management committee or board.

Contextually this is where the Mother Sea project can open up and define ways in which partner organizations may participate.

More importantly these open up opportunities where partners and sponsors may come in. Based on local contexts participant activities from organizations are usually in the form of: o o o o

Sampling and trial opportunities for related products Showcases of partner’s products and/or activities and efforts Inclusion of partner’s audio-visual material and/or advocacy material in the general exhibition Conduct of parallel activities such as workshops or demonstrations parallel to the partner’s products or thrusts

Possible sponsors and partners will always ask “what’s in it for me?” and the various ways in which a partner may actively involve himself in the project can go a long way to ensuring that an partnership is forged between the partner business and the Mother Sea project.

Contextually this means the definition of the types of participations that a business or partner may engage in.

To date sponsorship packages have not been defined. Considerations will primarily based on media values vs. cost-per-thousand (CPK) returns to potential audience counts.

This sub-step is not directly relevant to the Mother Sea project but does raise awareness in the management team of sensitivity to concerns with regard to dealing with local communities.

With regard to message generation, reception and emotional response data gathered through the communications/ feedback mechanism will be shared and communicated to partners to see if this aligns with or to their expectations as well.

This opens up channels to open opportunities for partners to further participate or increase their participation.

Define volunteer roles It is important now to define the volunteer roles around your requirements. Consider the specific tasks involved: the skills needed, the time commitment, the associated costs, the type of activities the volunteers will be involved in and who will manage the volunteers. Working with vulnerable groups Where a volunteering opportunity involves access to children or vulnerable groups, appropriate checks need to be in place to protect these groups. Measuring impact Measuring the impact of the work carried out by or with partners will demonstrate the societal and business benefits of the partnership. Consider how you capture information such as the number of volunteer hours, the value of the business support and the impact achieved.

STEP 4: TARGET A POTENTIAL BUSINESS PARTNER Strengthen current relationships or develop new partnerships •

On-hand data and information includes a list of potential partners with a history and track record in environmentally-related corporate social responsibility projects.

Contacts have been developed in the local government of Batangas (with a large number of marine tourism communities) through the Office of the Vice Governor.

Partnerships should be established with major or influential tourismrelated businesses in the locality such as larger resorts, soft drink and beverage dealers, and telecoms or cable companies.

• You might have received support from a company in the past that can be developed further. • Board members, staff and existing volunteers may have contacts or relationships with companies. • There is a wide variety of companies operating in every community. Researching the companies in your own area should highlight a number of potential businesses you can approach

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Think about the type of company you want to develop a relationship with •

This item is sound advice with regard to developing partnerships – team must decide if we’re going with targeted efforts in signing specific businesses and organizations or going with a wider “cast”.

Some of the items on this “checklist” have very important questions that will affect content, if not the overall perception and credibility of the project. These items such as the partner’s reputation, resources and its internal culture can unnecessarily burden the Mother Sea project with problematic imagery or bad PR.

Local telcos have a strong environmental slant as well as some foundations very close to the major networks. Major corporate giants (Ayala Corp. and Concepcion Industries) have strong marine conservation slants as well due to their top management being divers – this link should be a take-off point

Marketing Manager should target specific individuals and companies based on not just the corporate policy but the interests and biases of the decision makers.

Work with Marketing Manager to develop proper tone and wording for proposals. Prototypes and/or sample work must be developed into a “reel” that potential partners may view to better understand the scope and intentions of the project

Initial contacts should make for an appointment to make a personal presentation to key decision makers in the company.

This is the template for a concise project and partnership proposal to potential partners not just in business but in government, civil society and other key stakeholders.

As the BITCI document adds: “Be specific, concise and as focused as

Preparation is critical. Research is vital to identifying the most suitable company to approach. Consider the following: • Do they have the expertise you require? • Do they have a Corporate Responsibility or Community policy? • Is the company’s ethos compatible with your group? • Can you identify a benefit to the company? • What is the make-up of the workforce – do they have the skills you need? • What is the company’s image? • Is there a fit with your organisation? • What impact can the business have? • Where is the company located – is it within close proximity? STEP 5: MAKE AN INITIAL APPROACH Decide on the business to approach Do they have a specific community interest or focus? The company may have specified a social issue or cause stated in their community policy. Find out the right person to contact Call the company and ask who looks after Community Affairs or Corporate Responsibility? If the company does not have a nominated person it may be useful to check with the Human Resources or the Marketing and Communication departments. Draft an outline proposal Before you make the initial phone call, draft your key points which will help you focus your approach during the telephone conversation. Some of the key points include: background to your project, the potential benefits the partnership would bring to the business, your track record, the “fit” and the commitment involved. Make an initial phone call Call and introduce yourself and using the outline proposal as a prompt, get across your key points and follow up with a more detailed written proposal. Follow up with a detailed proposal Personalise your covering letter or email based on your initial phone conversation. Tailor each proposal to the company you are sending it to. STEP 6: WRITE YOUR PROPOSAL Key points of a proposal: • • •

An introduction to your organisation State the need and outline the support you require Detail the track record of your group in meeting community needs. If the group

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• •

is new, outline the individual capabilities of key members and their achievements to date. Comment on other sources of funding. Provide statistics or data to support your request for support. Explain why you have chosen to approach the company. Your reason might be because of geographic area, target market, or a stated company policy for supporting similar projects. Detail the benefits to the company if they choose to get involved with your group Don’t be afraid to use a little emotion to make your argument more compelling. State what’s unique or different about your organisation. Detail the extent of the involvement you are looking for.

possible while still addressing all the key points.”

STEP 7: MAINTAIN YOUR RELATIONSHIP For successful partnering: • Ensure flexibility

This is a recognized weak point on the part of the Originator and should be something that is seriously considered and acted-upon during the execution and completion of the project

• Provide regular feedback on the company’s involvement

Partners should be given regular updates especially during the travelling exhibition phase.

• Show appreciation to the company and to individual volunteers -always say thank-you for the help and support received with a letter or a card of thanks

Opportunities and future plans should be opened up after the first 10-15% successful runs of the planned tour so partners would seriously consider an expanded role in the future of the project by way of workshops, demos, or larger funding.

• Issue ongoing invitations to visit your organisation

• Actively manage the relationship and nurture it • Discuss next steps in the community partnership

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Section E: Project Management Processes Content Development Referencing the previous sections with regard to audiences, content notes and communication frameworks, Figure 9 illustrates the flowchart for content development of creative content including stories, photographs, video, curation, text and the like.

Creative Requirement

Idea generation/ suggestion

Devil’s Advocate/ Validation

Brainstorm/ discussion/ collaborative input Originator

Integrate Decision

Strengthen/ review


In the development of creative content the requirement will motivate the generation of ideas as solutions. These may then go into dialogue directly with the Devil’s Advocate/ Curator or do so after going through a collaborative brainstorming or discussion process. The decision is then made if the proposed solution will be adapted, abandoned or returned to the body for more discussion.

Physical Development Physical development covers the design, construction or fabrication of the modules necessary to implement the Mother Sea project. These modules would include the image mounting systems, venue décor, lighting and sound systems, video monitors or projection screens, and other material requiring a specific designer’s skill or talent.

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Originator Designs, sketches, solutions, plans, working drawings


Devil’s Advocate Process

Production Manager

Integrate Production, fabrication or construction process

Decision Abandon

Risk inspection/ review by PM, Originator and/or designer

The above flowchart (Figure 10) begins with constant coordination between the originator and the Production Manager in collaboration with the specific designer required to achieve the requirement. Initial sketches, ideas, concepts and scale models are subjected to the devil’s advocate process. From here construction or fabrication can begin. Throughout the process of fabrication inspections and reviews will be conducted by either the PM, Originator or designer. This will ensure that quality is maintained and both immediate and future risk may be managed and mitigated.

Content Validation and Feedback Management The proof of the worth of the message content is in determining if desired outcomes were achieved by the content. Feedback gathered from and given by audiences will be the primary basis of evaluating the effectiveness of the project content. The basis for this is Westley-MacLean’s communication model where a feedback (Kaminski, 2008; Nikhil, 2007) and feed forward (Shafer, 1961) mechanism is embedded in the communications design. Figure 11 illustrates the feedback audiences make on the message sender while message producers feed message content forward to these audiences ostensibly based on feedback received from them.

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Figure 11: In Westley-MacLean’s model the Events would be the audio-visual and experiential elements of the Mother Sea project. The Advocate would be the storyteller and the exhibition concept, while the Channel would be the text, storyline and exhibition itself. Audience Feedback to the channel and advocates would be returned by way of content revisions to the audiences. Image from

As seen in Figure 12 an interactive feedback-feed forward mechanism will be part of the program by way of the live storyteller. Messages fed by the Originator and the Mother Sea project will be based on the materials and techniques mentioned in the Strategic Summary and Tactical Framework. Interactive question-and-answer portions by the storyteller would then assess effectiveness of the content based on the intended emotional responses. In addition to the storyteller, incidental and informal feedback may be gathered from audience reactions, unsolicited comments and man-on-thestreet interviews or queries by staff to audiences.

Subtext and experience/ emotion directed at audiences

Mother Sea Materials and Techniques

Audiences present in exhibition or performance

Subtext and experiential elements embedded in content and exhibition design Dialogue/ Question and Answer

Mother Sea actual exhibition and performance Live Storyteller interactions/ Q & A; other incidental feedback

Figure 12: the feedback and feed forward mechanism of the Mother Sea project utilizes feedback from audience interactions and feeds this into the project execution. Feed forwards also include subtext and experiential elements of the program (see tactical framework) to achieve desired emotional effects.

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The results here will then be considered as addendums or revisions to the Mother Sea content and will enhance future renditions of the program to other audiences. Likewise discussions on learnings by the storyteller with the audiences form a continuous and interactive feedback-feed-forward system where gaps in information and text may be addressed while the experience of the exhibition is “fresh”. Feedback Management It is not the goal of the Mother Sea project to test or assess long-term behavioural change in target audiences, but rather instituting the initial idea or concept of sustainable tourism practices towards marine preservation. The feedback gathering process will be fairly informal but regardless it would become apparent as the project rolls on and audience counts increase that a system will have to be put in place to manage all the feedback gathered as well as the "filtering" of audience comments that are fed-forward into the project. Feedback data gathering will be centralized around the Production Manager although depending on the context or phase of the Mother Sea Project the task may be assigned or delegated to specific individuals. Operationally “assignment” would entail the PM expecting the data gathered directly from the person assigned, while in the event it is delegated, the PM would trust the task will be done properly without needing to immediately see the actual result of the delegation (Berman, 2003). Phase


Phase 1: Primary exhibition in a permanent venue (Museo Pambata)

Task of gathering and preparing feedback is on the venue partner utilizing in-house staff

Phase 2: Live/ interactive activities in the permanent venue

Task of gathering and preparing feedback is on the venue partner utilizing in-house staff

Assignment PM assigns self or assistant to gather collated data from venue partner. Discussion ensues between PM, Originator and creative team. PM assigns member of Mother Sea team to supervise/ observe live components. Assigned to gather data as well from own observations. PM assigns self or assistant to gather collated data from venue partner. Discussion ensues between PM, Originator and creative team.

Phase 3: rd 3 party engagements centered on permanent venue but not necessarily as the sole venue

PM is in-charge of managing, observing and gathering feedback from the activity

Phase 4:

Task delegated to Road or Location

PM assigns member of Mother Sea team to supervise/ observe all components of the partnership including off-site activities. Post-mortem ensues between PM, rd Originator and 3 party partner.

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PA assigned to actual data gathering and


Performances and exhibition off-site from the permanent venue

Manager including documentation and acquittal

collating. Submits data to Road/Location Manager. Post-mortem ensues between PM, Originator and Road/ Location Manager.

Marketing and Publicity The Mother Sea project will not rely on large publicity efforts to gain audiences, efforts will be made in targeting audience groups and bringing them into the exhibition or alternatively bringing the show to their location. Phase 1 and 2 Publicity The Mother Sea Project will capitalize on existing audiences and marketing/ publicity network of the venue partner – such as Museo Pambata. MP has an average attendance of over 2,000 weekly. The Executive Director indicates that the lowest numbers for annual attendance are approximately 125,000 persons with the bulk being its target 2-12 year old demographic (Montero, 2010). Regular audiences are primarily schools that arrange for fieldtrips and attend storytelling and similar activities at the museum. The Manila Ocean Park has a higher audience traffic count with an average 5,000 people weekly during the school season and upwards of 7,500 during the summer (Gastiada, 2010). Phase 3 Publicity Marketing efforts here will target 3rd party partners who would use the permanent exhibit as a key component of their activities. These may have more directed or limited audiences but carry the advantage of using the partners’ marketing and publicity structures to generate interest and participation from audiences. A sample of these Phase 3 activities and their constituent audience bases would be: a) Underwater photo lecture and showcase – tied up with local dive clubs or marine preservation organizations – utilizes social networks of dive clubs and underwater photography enthusiasts. b) Coastal clean-up drive – tied into a corporation’s CSR efforts – capitalizes on the company’s employees for audience and corporate communications group for publicity, advertising and mileage.

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Phase 4 Publicity Information drives will be made with schools and community groups where a bulk audience can be generated and targeted. This will also allow for small adjustments and nuances in the content and execution to be made to address the specific needs and requirements of a particular demographic. This will also allow for more effective management of the staging and the location since location and audiences will be more specifically defined rather than broad. The Mother Sea Project will also capitalize on the local government’s ability to “pull� audiences in through the public school system and other community organizations.

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Section F: Acquittal Plan The preparation, management and production of the acquittal report will be the primary responsibility of the Production Manager. The PM will gather pertinent data from various members of the project and incorporate such into the macro document. The macro document shall form the source of the various data sets required by various partners and stakeholders such as: strategic partners, venue partners, government agencies, sponsors and the like.

Acquittal Report Macro Document The macro document will contain the following data and will be sourced from the indicated individuals or groups. Data


Project Overview Concept Paper Objectives Design Concepts Visual Pegs Preliminary Sketches Working Drawings Final Design Sketches And Specifications Final Image And Visuals Scripts Storyboards Scoring Sheets Construction Timelines Fabrication Timelines Production Timelines Construction/ Fabrication Weekly Monitoring

Minutes/ Notes of Meetings Key Email Exchanges Marketing Report Sponsorship Deals Partnership Arrangements Activity Reports – Permanent Venue rd Activity Reports – 3 Party Engagements Activity Reports – Off-Site Exhibitions Photo Documentation – Fabrication Photo Documentation – Installation Photo Documentation – Final Works Photo Documentation – Activities Audience Feedback Report

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Originator Curator Originator Production Designer Industrial Designer Industrial Designer Production Designer Originator Curator Storyteller Composer Production Manager

Production Manager Construction Foreman Fabrication Supervisor Production Manager Curator Originator Marketing Manager

Production Manager Venue Partner Road/ Location Manager Production Manager Venue Partner Road/ Location Manager Production Manager Originator


Financial Report

Production Manager Accountant/ Auditor (Contracted) Production Manager Venue Partner Originator Production Manager

Maintenance And Upkeep Plan Maintenance And Upkeep Report Post-Mortem Reports

Part of the preparation of the macro document will entail the collection of minutes and email exchange. These will be archived and collated as a means of tracking all the exchanges and conversations that occurred during the project development and staging stages. Key points of the development stages as well as any major events, crises or comments will be extracted and analyzed to determine how such incidents were addressed and resolved. This can form the basis for mitigating future incidents or setting a precedent in addressing audience, production or stakeholder concerns.

Acquittal Report Configurations This section outlines specific report formats for specific readers and partners. Configuration


Horizontal Partner Report Co-presenters, content partners and contributors

Project Overview Concept Paper Objectives Partnership Arrangements Activity Reports – Permanent Venue rd Activity Reports – 3 Party Engagements Activity Reports – Off-Site Exhibitions Photo Documentation – Final Works Photo Documentation – Activities Audience Feedback Reports Post-Mortem Reports

Vertical Partner Report Supply chain partners and in-kind sponsors

Project Overview Concept Paper Objectives Partnership Arrangements Construction Timelines Fabrication Timelines Production Timelines Construction/ Fabrication Weekly Monitoring Photo Documentation – Fabrication Photo Documentation – Installation Photo Documentation – Final Works Audience Feedback Reports Maintenance And Upkeep Plan Maintenance And Upkeep Report Post-Mortem Reports

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Diagonal Partner Report Monetary sponsors and supporters, CSR participants

Project Overview Concept Paper Objectives Partnership Arrangements Activity Reports – Permanent Venue rd Activity Reports – 3 Party Engagements Activity Reports – Off-Site Exhibitions Photo Documentation – Final Works Photo Documentation – Activities Audience Feedback Report Maintenance And Upkeep Plan Maintenance And Upkeep Report Post-Mortem Reports

Funding Agencies and Venue Partners

Project Overview Objectives Working Drawings Final Design Sketches And Specifications Final Image And Visuals Construction Timelines Fabrication Timelines Production Timelines Marketing Report Sponsorship Deals Partnership Arrangements Activity Reports – Permanent Venue rd Activity Reports – 3 Party Engagements Activity Reports – Off-Site Exhibitions Photo Documentation – Fabrication Photo Documentation – Installation Photo Documentation – Final Works Photo Documentation – Activities Audience Feedback Report Financial Report Maintenance And Upkeep Plan Post-Mortem Reports

In-Progress Reporting Key stakeholders who are part of the development process will be "kept in the loop" by way of open invitation to meetings and update sessions, and a copy of the minutes of any meetings that are being formed. In most cases stakeholders will be kept in an "FYI" context as there has to be a limit as well as to the degree to which different stakeholders participate in the actual development of the project. In this case the caveat is synonymous to the danger of having "too many cooks". The Progress Report will contain the following key components of the Acquittal Macro Document:

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Progress Report Partners, funding agencies, sponsors, venue partners

Working Drawings Final Design Sketches And Specifications Final Image And Visuals Construction Timelines Fabrication Timelines Production Timelines Construction/ Fabrication Weekly Monitoring Minutes/ Notes of Meetings Key Email Exchanges Photo Documentation – Fabrication Photo Documentation – Installation Maintenance And Upkeep Plan Maintenance And Upkeep Report

Project Value Adds The key value adds for the Mother Sea project is the increased awareness in the importance of sustainable tourism and marine preservation. manifestations of this would be in reduced litter in the coastline, better regard and attitudes towards tourists, increased level of customer service, and implementation of more responsible and organized tourism services and venues (such as organized boatmen associations, clear and set tariffs, etc.) These are long-term and macro manifestations, though, and are not the scope of the Mother Sea project. As a result using the feedback gathering mechanism the Mother Sea project hopes to see and increased appreciation in the audience of the importance and interconnectedness of the marine environment in the continued survival of the coastal community. It is also hoped that audiences gain an increased appreciation for the value and potential harm that tourism can bring to a community; and also the hopes that "seeds" of progress and sustainability can be "planted" in the audiences for long-term "harvesting" as stated above. This is the Butterfly Effect (Bradley, 2010) that the Mother Sea Project hopes to achieve through its endeavors.

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Section G: Phase 1 Development Points This section is designed and geared primarily for the implementation of The Mother Sea Project’s Phase 1: Mother Sea Experience which is the establishment of a medium-term (5 year) exhibition at a partner venue such as the Museo Pambata. This multi-media exhibition will form the core component of the project – succeeding phases will take off from this core component. Initial discussions with the Museo Pambata have indicated the museum’s sincere interest in pursuing this project as a replacement for their aging “Under the Sea” room. This section seeks to reflect more realistic figures although final budgetary constraints are to be determined at a later date.

Proposed Budget The following projects costs specifically for Phase 1: Mother Sea Experience which develops the primary exhibition in a permanent setting including its physical elements and creative content. Item Professional Services Jag Garcia – Proponent/ Principal Artist Jannah Galvez – Production Manager Jay Aranda – Technical Design


25,000 5,000 10,000 10,000 10,000

Art Department Team Tech Department Team (incl. electrician, riggers) Visuals Production Team Script/ Copywriter Video Editor Area Total Construction/ Fabrication Space preparation

10,000 8,000 15,000 10,000 3,500 156,500 15,000

Exhibition/ venue construction Mounting systems fabrication

100,000 150,000

Photo panels (7,500 each x 15)


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Curator Pepe Manikan – Music/ Audio Patrick Sunico – Industrial Designer

Wiring and mounting of A/V and sound system AV equipment


Design/ supervision honorarium

Design/ supervision honorarium Package for crew of 3-4 Package for crew of 4-6 Package for crew of 3-5

156,500 Incl. labor, removal of existing structures, fresh wall treatment, screens Incl. materials, labor Incl. materials (resins, fibreglass, acrylics, etc.), labor, installation Direct-print on acrylic panels

50,000 350,000

Management Plan

Incl. LCD TVs (8), players


(6), speakers (6), and mounting 780,000 Production Facilities/ Services Video equipment – underwater per day


Video post production facilities


Production Design Development


Area Total Miscellaneous Items Office/ Administrative supplies Communication Transportation/ van rental/ trucking Production dive (4,000/ pax @ Balai Resort) Collaterals, invitations, communications Production meals (meetings, rehearsals, ingress/ egress) Area Total Raw TOTAL + 10% Contingency Fund GRAND TOTAL


780,000 May be sponsored or c/o independent orgs/ clubs or individuals May be sponsored c/o school or clubs Package incl. materials/ production 70,000

2,000 3,000 10,000 16,000

2 weekends x 2 divers/ weekend

5,000 20,000 56,000

56,000 1,062,500 106,250 1,170,000

Maintenance The exhibition will need a regular maintenance schedule for its projected 5year lifespan. The amounts are general approximations based on Museo Pambata’s estimates. In most cases such as power and maintenance costs are contributory to a general fund for the museum’s overhead expenses. Item


Electricity – AV equipment, A/C and lights Maintenance – daily cleanup, etc. Maintenance – retouch of works, fresh DVDs Repair/ replacement – panels, players, mounting systems Production manager supervision/ visit Grand Total


3,500 1,000

42,000 12,000 10,000 15,000


24,000 103,000

Financing Schemes Discussions with Museo Pambata indicate a usual budget of approximately P15,000/ sqm towards the production of a particular room. The room where the Mother Sea project will be placed is approximately 60sqm (Montero,

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2010). Based on the above proposed budget there’s an approximate deficit of P400,000 (A$ 10,000). Discussions have already pointed at targeting corporate sponsorship for the funding as well as partnerships with vendors and brands for provision of AV materials and other items. The advantage the Mother Sea project will have in this partnership with Museo Pambata is its established networks of supporters and funders; these relationships give the possibility of funding and partnership grants a much greater chance of happening. This section lists possible partnerships or sources of funding that may reduce costs. Partner De La Salle-College of Saint Benilde Museo Pambata World Wildlife Fund Philippine Paradise Divers, Divelink, MADAboutUs organizers Balai Resort, Aquaventure Dive Resort, Acacia Resort Hewlett-Packard, 3M

Samsung, LG, Sony, Philips Multinational corporations/ regular donors

Arrangement Industrial design work, art department teams, video editing, technical/ lighting/ sound design. Subsidy of prototyping costs. Provision of venue, marketing and audiences. Tap existing donor pool for corporate sponsorships and CSR participation. Funding/ assistance for generating images, video, and data on marine conservation efforts. Images and video material. Sponsorship of accommodations and/or dives for team gathering additional materials. New direct acrylic printing technology (HP) and substrate materials (3M) – open up sponsorship/ branding agreement to decrease/ remove photo panel production costs Sponsorship or major discount on 52” LCD screens, DVD players, and speakers Subsidy of regular upkeep and maintenance of the exhibition including electricity, replacement and repairs.

Time Table The following time table is designed for Phase 1 implementation at the Museo Pambata (National Children’s Museum) given the current design and concept of the Mother Sea Project. This does not include, at this point, final curatorial input from MP nor incorporates technical or budgetary constraints that may apply in actual production and mounting of the project. ID

Task 1 2 3 4

finalize proposal/ concept Pitch and meetings with MP Create formal partnership w/ CSB initial meeting with CSB designers

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Pre-req Task

Jag Jag

03-Nov-10 15-Nov-10

13-Nov-10 25-Nov-10









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5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

assignment meeting CSB timetable/ funding meeting w/ MP Design of venue layout design of exhibit systems final material approval prototyping stage Exhibition system production image collection/ selection shoot for additional images Digital stories writing/ production postprod for photo/ video venue preparation venue construction panel production A/V rough-in/ wiring work exhibit mounting testing, previews, retouch Opening of Exhibit Compile acquittal report




Jag Patrick Patrick MP Patrick Patrick Curator Jag

05-Jan-11 15-Jan-11 15-Jan-11 16-Feb-11 01-Mar-11 25-Mar-11 30-Jan-11 01-Mar-11

10-Jan-11 15-Feb-11 15-Feb-11 20-Feb-11 30-Mar-11 30-May-11 30-Mar-11 25-Mar-11

Jag Jag contractor contractor Jag Jay Aranda Jag/ Pat/ Jay Jag/ Museo Museo Jannah

10-Mar-11 01-Apr-11 15-Apr-11 21-Apr-11 15-Apr-11 22-Jun-11 28-Jun-11 30-Jun-11 05-Jul-11 01-Jul-11

05-Apr-11 20-Apr-11 20-Apr-11 24-Jun-11 15-May-11 29-Jun-11 30-Jun-11 04-Jul-11 05-Jul-11 03-Aug-11

8 9 10

16 17 19 20

The above is reflected in the Gantt Chart below:

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Conceptual Sketches

The initial sketch of the project. The key creative effect here are the superimposed panels – the idea being that standing at a particular vantage point allows you to see through the panel into the one behind it creating a superimposed image. The initial idea was really just mounting The Mother Sea project in a location where it’s primarily a backdrop with surrounding panels. The simulation (bottom) shows the individual panels would interact. The larger image is supposed to double as a backdrop for performances or lectures.

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Initial drawings of exhibition elements with rough measurements. This sketch also became the basis of the design team’s go-ahead to produce the scale model. Seeing this they expressed a strong interest and confidence in producing a scale model from which to make the final presentation. This was before the Museo Pambata advice that they were interested in mounting the project.

3D rendering and perspective of the Mother Sea project. This one incorporates only still images and does not show where it would other media could be included such as video projections, screens or even LED walls.

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Above is a panoramic of a potential venue at Manila Ocean Park, below shows a mock-up of Mother Sea. MOP is open to such exhibitions but this venue necessitates that objects are modular as it is also chartered out for functions and events. The area behind the backdrop/s (cordoned in “before� shot) leads to a function room and pavilion that hosts weddings and lecture events. The exhibit would have to be moved or packed-up for such instances.

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Panoramic composite of Museo Pambata’s existing “Under The Sea” exhibition. They want to change and update it as this particular exhibition has been up for over 5 years. The space is approximately 60 sqm and has to accommodate approximately 125,000 people worth of traffic in one year (conservative figure). MP has given the green light to totally clear the room and start from scratch. The space already incorporates elements such as mounting hoops (from which the fibreglass creatures are hung), an A/C unit, and some lighting. These are included in the elements MP wants “updated” – essentially the project has carte blanche in redesigning the whole room/ experience.

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A rough layout of images are lain out for filling in. This part of the highlighted the need for a curator or a devil’s advocate to the proponent’s choice of images. There were a fairly large number of photographs to choose from but the issues lay in their theme, the appropriateness of the image with the others nearby, and the actual quality of the photos. Some of the photos were taken earlier in my “career” and were shot on lower resolutions or processed with a more amateur workflow. Such may be acceptable for web viewing but will suffer in large-format printing as well as suffer from criticism from more seasoned and professional photographers.

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References Bayerlein, P., & Gailey, R. (2005). The six principles of performance communication. Strategic HR Review, 4(4), 32-35

Berman, E. (2003). Splitting hairs.(Methods of authority delegation).

BITCI. (2010). Communities and Business Working Together: A step by step guide to help community and voluntary groups work with business to achieve sustainable community development: Business in the Communities - Ireland

Bradley, L. (2010). The Butterfly Effect - Chaos & Fractals Chaos and Fractals, from

Gastiada, D. (2010). Project Introduction Meeting - Manila Ocean Park. Manila.

In a World of Order Chaois Reigns. (1997). Oracle Thinkquest, from

Integrated Supply Chain: Chainlink Workbooks. (2003). Retrieved from

Kaminski, S. (2008). Communications Models.

Montero, M. (2010). Project Introduction Meeting - Museo Pambata. Manila.

Nemeth, C. J., & Ormiston, M. (2007). Creative idea generation: harmony versus stimulation. European Journal of Social Psychology, 37(3), 524-535

Nikhil, B. P. (2007). Theories of Communication.

Salao, C., Honasan, A., & Sandalo, R. (2007). Anilao – Paying to Play: The Dive Fees of Mabini and Tingloy. Quezon City: World Wildlife Fund-Philippines.

Shafer, R. E. (1961). Mass Communication. Review of Educational Research, 31(2), 197-207

Soila-Wadman, M., & KĂśping, A. (2009). Aesthetic Relations in Place of the Lone Hero in Arts Leadership: Examples from Film Making and Orchestral Performance. International Journal of Arts Management, 12(1), 31-43,76.

Tollemache, A. (2009). Forming Strategic Partnerships Ezine Articles.

Validation Project Management Knowledge, from

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Mother Sea - Project Management Plan  

Requirement for the Managing Creativity Course at UNSW COFA's Masters in Cross-Disciplinary Art and Design program

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