StoryToGo

Exploring storytelling in its many forms in this digital age

Case Studies

River Revery – a Sustainable Funding Case Study

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River Revery is a community-based, collaborative project of two London, Ontario  writers, artist/educator, poet Penn Kemp and media artist and educator, Mary McDonald. River Revery addresses the artists’ concerns with the health of the habitat surrounding the Thames / Deshkan Ziibi River. In addressing local environmental concerns in an artistic and poetic way, and through inviting community participation, they aim to engage with global, universal concerns for the environment.

Story Wall River Revery

River Revery’s Transmedia storytelling initiative, #RiverReveryLdn invites Londoners to join in “knowticing” intricate details of beauty in London’s natural world surrounding our beloved Thames/Antler/Deshkan Ziibi River. These small moments of beauty help to remind us to celebrate and care for the beautiful and fragile environment within which our community is held.

Creators

Mary McDonald, MultiMedia Artist, marymcdonald.ca

Penn Kemp, Poet, http://pennkemp.weebly.com/

Country

Canada

Link to project

RiverRevery.ca

The Creators

Poet Penn Kemp, and editor of Pendas Productions

Pendas Productions is a micro publishing company publishing artbooks of poetry and drama, often in combination with CDs. Since 1977, Pendas has produced 30 poetry artbook/CD and DVD combinations often in collaboration with musicians and artists with editor Penn Kemp. We have featured more than 20 Souwesto authors and produced several anthologies.

Penn writes: “Poetry is an essential expression of the human spirit: collaborating with Mary extends poetry’s possibilities and audience to the wider community. I believe that poetry is a path to environmental activism and change”.

Media artist Mary McDonald

I am passionate about community participation in arts and the ways in which new media and accessible creative technologies can make that happen. I create interactive Augmented Reality installation and transmedia storytelling using accessible digital mobile technology to show, share, invite and empower others to bring and contribute their artistic responses to “Become Part of the Story.”

I have been very active in the London arts community for a number of years, through a number of artistic disciplines. Through these projects and through my development as a multimedia artist, my passion for bringing community together through the arts, creating opportunities for contributions of the community to the arts and inviting their interaction and engagement has become increasingly important to me and a foundation of my work.

I plan to leverage River Revery as a way to connect our community, our artists into a creative collective. Bringing our attention and our intention to our natural environment is of paramount importance to me. What we care about is what we will care for. Using artistic responses, new medias and accessible, mobile creative technologies, enables people to bring their attention to the beauty around them, to “knowtice” it with intention, which creates in turn, collective environmental action.

Through interactive guided Augmented Reality poetry/art walks and participatory exhibitions, walking workshops and in-place workshops focussing on how to create transdisciplinary art with accessible, mobile digital creative technologies the community of London will be invited and empowered to become part of the story of River Revery, uniting community and artists into a creative, collective, generative response to the environment which envelops London.

Screenshot of RiverRevery.ca website

The Project

River Revery is a collaboration of  London, Ontario artists — poet and activist Penn Kemp, and multimedia artist, Mary McDonald. River Revery received a City of London’s Community Arts Investment Program grant (CAIP grant) from the city of London through the London Arts Council. This collaboration was designed for building community engagement around the appreciation and protection of the Thames/Antler River that runs through London and involves community arts participation through transmedia storytelling. 

Wishing Well AR Artwork
AR artwork for Wishing Well

The project includes an Augmented Reality moveable art exhibit which is a series of artworks with embedded QR codes, printed and mounted on aluminum plates. These hang on free standing metal easels, which allows the freedom to have the exhibit to occur in any location, including in natural locations outside such as along the river, at the Forks, and in conservation areas. The visual art is linked through QR codes (a very simple but accessible and effective method of AR) to Mary’s multimedia sound and visual interpretations of Penn’s poems. The project also includes a website on which the Community Story Wall features community participation in arts, the text of the poems and the sound and poetry film interpretations as well as hosting the OER components and community workshop materials. 

The main goals of the project are to leverage River Revery as a way to connect the community, our artists, our schools to celebrate and “knowtice” the beauty around London, our River…to “knowtice” is to acknowledge the value, appreciate and care for the natural ecosystem London sits within.

As well, the artist aims to break down the barriers between artist and “audience” to become a collective community, all active participants, caring, creating, sharing and learning with accessible creative technologies, art, and transmedia storytelling. connected and acting through art, and transmedia storytelling.

Story Wall at RiverRevery.ca
Instructions can be found linked on the Story Wall at RiverRevery.ca

Road to Sustainable Funding: 

Free/OER Elements:

The text and the poetry films are freely available on the website. Print versions of the entire poetry book which includes some photographs and QR codes to the online AR films and sound explorations are available for purchase. Also available to purchase are prints of photographs and a DVD of the poetry films. 

OER downloadable and remix visuals including film segments will be available on the community workshop resources page on the website. Also included here will be plans and curricula for community workshops for participatory and engaging art projects utilizing mobile, accessible creative technologies. 

Developing a Multiyear Plan:

River Revery  — Become Part of the Story

River Revery at London, Ontario 2018 Wordsfest.
Premiere exhibit of River Revery, Centre at the Forks, Museum London for Wordsfest 2018.
  • 2018 Creation of River Revery
  • 2019 Community Engagement
    • walks and workshops
    • possible partners: Thames Talbot Land Trust, UTRCA, Fanshawe, Antler River Rally, Western Serves student volunteers, London Public Library, Centre at the Forks 
  • 2020 Bring in other artists for collaborative, curated events and explore other partnerships
    • “Bring the Outside In” (working title) large, curated transdisicplinary event(s) bringing together community, artists, environmentalists

Developing River Revery’s Broad Community Engagement, a Multi-year Plan:

  • 2018 Creation of River Revery —
    • 4 AR visual artworks have been printed and mounted on aluminum plates which can hang from free standing metal easels such that the exhibit can be placed anywhere — including outside along the river, in the park at the forks of the river in the centre of downtown…
    • These artworks are linked to 4 poetry films which are sound and visual interpretations of Penn’s poems which I have created with accessible mobile technology
    • 4 artworks remain to be printed and mounted, (cost exceeded well beyond capacity)  linked to 1 more poetryfilm and 3 sound and music interpretations
    • Community Story Wall and transmedia storytelling #RiverReveryLdn is live and there has been some initial engagement with the project through the initial exhibition of the work as well as volunteer Western University students who raised awareness by distributing invitation cards and engaging with the public.
    • All of the elements are free to access. They are not openly licensed as the poet is a strong believer in Access Copyright. In Canada, the majority of the literary community are advocates of Access Copyright.
    • OER: The workshop materials I create, located on the Resources page, with the Community Story Wall, are OER and will include workshop plans along with art only — downloadables — images, video, nature and music sound clips to jumpstart or remix projects
  • 2019 Broad Community Engagement — walks and workshops
    • There is a possibility of partnering this year with the Thames Talbot Land Trust, to provide guided AR poetry walks in conjunction with their “Mood Walks,” a partnership they have with the local chapter of the Canadian Mental Health Association, as well as other walks and events they program such as their volunteer BBQ — possibly funded through a second Community Arts Investment Program grant
    • Explore and implement “Advertising through Arts Partnerships” initiatives — local businesses pay to “host” the AR Artwork for River Revery with the promotion of this multiple location “River Exhibit” done through the London Arts Council, the City of London, Tourism London etc which often offer free promotion of cultural and artistic events
    • Possible other partners include the local Conservation Authority, Fanshawe/Komoka Provincial Parks, Antler River Rally group, Western Serves student volunteers
    • The London Public Library has expressed interest in a proposal for a series of community workshops in partnership with their new emerging media lab — focussing on community participation in art with accessible mobile creative technologies 
    • The London Public Library has also expressed interest in hosting an exhibit and interaction with the AR participatory installation, Still/ed Here which includes the poetry film and AR installation, On the Margin of History
    • Possible additional workshop partner: Museum London’s Centre at the Forks emerging media labs
  • 2020 — Beyond River Revery to expand out into larger events that Mary would curate
    • “Outside In/Inside Out” (working title) large, curated transdisicplinary event(s) bringing together community, artists, environmentalists
    • I have discussed the possibility of launching these in connection with London Arts Council’s new social enterprise — Culture City X Tours — some funding through the London Arts Council
    • Lead AR poetry walks and walking workshops for the Thames Talbot Land Trust Passport to Nature program, which is funded through their corporate, community and private sponsors
  • Additional funding partnerships to pursue: City of London, tourism London, local businesses and foundations, private donations, patronage, “adoption”/sponsorship of events/artworks 
  • Explore and implement ecosystem that connects local businesses with artworks to benefit from “Advertising through Arts Partnerships” in which a reverse advertising model is implemented — the local business pays the artist to host/rent the artwork (AR artwork in the case of River Revery) and this hosting, perhaps as part of a temporary, or on-going exhibition of single or multiple locations is promoted as an arts and cultural event, perhaps in conjunction with a regional arts venture, by the artist and the arts organizations they partner with — thus leveraging the arts and culture networks developed in a city/region for the benefit of both local businesses and artists (producing thriving cities)
  • I am also exploring other ways to connect local businesses in support of the arts — either through in kind donations, supporting live or online events, sponsoring the mounting of artwork …other ways to include local businesses within the funding “ecosystem” beyond simple advertising or patronage. *Building the value and vested interest into the partnership so that it becomes a reciprocal, multiplying  partnership
  • Other possible sources of revenue include sales of poetry books for Penn and printed photos and artwork, DVDs of the poetry films for Mary.
  • Additional opportunities to investigate include sales of other printed items with digital art/photo art/ AR art through online companies like Redbubble and links on the site to purchase prints, the book of poetry, photography and QR codes, and even possibly other things like clothing/home decor w the visual art and/or the QR code triggers to the AR.

Lessons learned, tips for success:

  • Key takeaway: the larger the project became, the more people it could impact and involve not only increased the value of the project to the community but opened up new opportunities and avenues for funding to pursue
  • It’s very difficult to be creating the art at the same time as you are trying to promote and arrange events and collaborations. Ideally these time periods are separated and/or some of the legwork or preparation for crowdfunding, developing sponsorship and partnership relationships ahead of creating time.
  • Looking at all the elements with a “whole value” mindset is essential — aspects of the work may be fuelled solely by passion and driven by determination and my own money and time — however, the exchange value of this work or these aspects of a project may prove just as, or more valuable in terms of future connections in the long run — keep my eyes on the big picture
  • Continue to look at each project as a stepping stone to the next “level”, the next vantage point from which it is possible to see or launch your next project
  • Expanding the project also allowed me to expand into other ways of funding — moving towards a more sustainable funding model
  • However, as I move forward with more and more projects, I am developing my “pie in the sky” approach — one that allows for continual spiralling iterations of a project that at the same time allows for funding “slices” to be added in to the pie as it grows
  • Think Creatively — financial support opportunities are directly linked to the numbers of people impacted and reached which often has at least an incidental corresponding relationship with the cultural value of a work — as the community reached, impacted, connected with, around a project grows, so too doors to potential funding opportunities open.

Open Stax – a Sustainable Funding Case Study

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Open Stax has been producing OER textbooks since 2012 when they published their first 5 titles. They have 32 titles today, with 6 more coming within the next few months. 2.7 million students in the States use their content per term, and their textbooks are in 58% of degree granting academic institutions in the States. 

Creators:

Interview with Daniel Williamson, Managing Director

Country:

Houston Texas, US.

Interview Date: 

March 22, 2019

Link to Project: 

https://openstax.org

Funding Methods:

Non-profit

Ecosystem model involving for-profit partners who sell value added services who then give back a “mission support fee” along with sales of print versions of the textbooks.

Open Stax is a part of Rice University and is supported by foundations such as the Bill and Melinda Gates foundation, the Hewlett Foundation along with others.

Textbook content is written by paid educators and experts.

The Project:

Open Stax provides free web-based, post-secondary level OER textbooks. 

As cost is one of the number one drivers for the use of Open Educational Resources, so if we can target those high enrolment, high expense courses, we tend to have really high traction.

Daniel Williamson

Open Stax textbooks have been localized for use throughout the US, in Canada, and in Poland.

Broadly, because these are OERs, we see this content used everywhere.

Daniel Williamson

UNICEF told Daniel about Learning Equality’s use of their content. Learning Equality is a group that works in crisis and conflict zones, they have been loading all our content onto their portable internet for use by post-secondary learners in these situations. 

https://learningequality.org/about/

The Creators: 

I spoke with Daniel Williamson, Managing Director for Open Stax who described to me the mission and goal of Open Stax, their business model and their insights for sustainability of OER as well as their hopes and goals for the future.

The Road to Sustainable Funding

The business model for Open Stax was designed from the very beginning for Sustainability. Open Stax has built an ecosystem style model.

In this ecosystem, Open Stax produces the core content. For profit partnering companies offer for cost, value added technology services such as virtual simulations, and clicker apps with are integrated with the content of our textbooks. These partnering companies then pay Open Stax a portion of the fee that has been charged to the student which then goes back into Open Stax to support their sustainability, and to keep the content up to date. This ecosystem model brings the benefit of co-marketing to their partners as well as giving them access to high quality educational content.

Open Stax looks at and targets the highest value to decide which textbooks to produce, although their goal is to have a much more comprehensive library. They look at the size of the market and the number of students who would be impacted and at the cost of the resource for students and balance these. As the point of Open Stax is access for students, and to make education more affordable, the partnering companies are mandated to keep their fees to the students low.

As well, print versions of the textbooks are produced for sale at a low cost by Open Stax and that revenue is fed back into the system to develop further textbooks and to keep the content fresh and current. “As there are so many students using the content, we are able to bring the unit costs down.”  

Daniel describes his key thoughts on sustainability:

You need to build in sustainability from the beginning as it’s really difficult to retrofit these things. Most of the OER players are reliant upon grant funding — but you can’t wait until the grant runs out to figure out a sustainable way forward.

There are two aspects to sustainability — fiscal and the people. The money makes it possible but it’s the people who are actually going to take and give this content a life of its own. So we really need to feed both of these.”

Daniel Williamson

Sustainability is somewhat controversial — Stick to your guns. There will be people who might not like what you’re doing and that’s ok. It’s good to challenge each other. As long as you are really connected to that mission which we here at Open Stax believe our mission is to improve access and improve learning for all..that you’re going to be guided by those mission principles which will lead you in the right direction. 

Daniel Williamson

Into the Future

Daniel believes that by ensuring that the Open Stax content is high quality while keeping the content generic, this allows Open Stax textbooks to serve as the foundation for localization. 

If we can reduce the barriers to entry for people to OERs, then we’ll see more and more people participate.

Daniel Williamson

When talking about sustainability, Daniel mused that there’s a lot of interesting models emerging, and that we’ll see which models survive.

The thing that I dream of is the day we’re not just sustainable, we’re in perpetual growth.

Daniel Williamson

In thinking about what that perpetual growth model might look like, Open Stax is calculating how many titles they need to have produced and generating revenue, to allow them stability and sustainability enough to invest in continuously growing their library and to react to changes in the market.

Now what we’re thinking is about how can we both spur greater ownership and creativity where people take and think what ca we do next…I think there’s a lot of ways that can lead to expansion…

Daniel Williamson

Key Opportunities:

I think OER really unlocks the ownership piece. It allows content to become this foundational knowledge that is infrastructure which brings us to this opportunity which now we can build upon. We can start having a research infrastructure that allows us to start diving deeper into how humans learn, and how can we help them learn most efficiently and effectively instead.

Daniel Williamson

A lot of tremendous opportunity there to move beyond just consumption of content to really thinking about it as research infrastructure for understanding how we move the state of the art in terms of education forward.

Daniel Williamson

Swaddled – a Sustainable Funding Case Study

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Swaddled is a community driven, crowd sourced series of art collages. Swaddled began from a call from the group, Making Grey-Bruce Home, for  a project which involved creating an online resource for newcomers to Grey-Bruce county and to Canada.

Creators:

Jennifer Hicks

Country:

Canada

Interview Date: 

April 4, 2019

Links to Project: 

https://hicksinthesound.simdif.com

Instagram at Woodchuckandbrush

https://www.instagram.com/woodchuckandbrush/

https://www.instagram.com/p/BxuYb_uFoBc/

Funding Methods:

Artist fees for exhibitions

Sales of artwork

Subsidizes artwork by providing services such as facilitating workshops around her participatory art

Hicks shares her artwork, much of which is self-funded, freely as it is an investment to build an audience and to leverage for future projects and exhibits.

The Project:

Swaddled is a touring, community driven, crowd-sourced series of collages. Each work begins with the text. These texts are newspapers in other languages, from other cultures, donated to her by friends and family. This text forms the background which Jennifer then collages over based on the stories she receives from friends, family and viewers. 

After the exhibit was shown for the first time in Owen Sound, I received feedback from the people who saw it, who are strangers to me but who have experiences in those places or with that culture. And then their stories get landed on top of the artwork in the form of collage — additional symbols, icons, words, to represent their reality with that language, and that culture.

Jennifer Hicks

The Creators:

Jennifer Hicks is a Canadian visual artist and teacher. Her artwork includes the participatory works — Swaddled and Turtle Island Footprints. 

I think this is the way artists, teachers, facilitators need to be — open to what comes, and chase all leads — if we choose to live this way.

Jennifer Hicks

Road to Funding Sustainably

Services —Jennifer’s funding model includes revenue comes from offering added value workshops around her participatory artworks. Building a community around her work as well as community co-creation and collaboration are keys to her funding model.

Sales of artwork — When Swaddled goes to its next exhibition location, the Japanese piece which has been sold, will be replaced by a piece in another language and about another culture. “We’ll see, it depends on what viewers recommend and offer, from their stories, their experiences. 

Art fees for exhibitions of work — Jennifer looks for places to exhibit her work, aiming for locations that will pay artist fees, while keeping in mind the other kinds of value she gains from exhibition in places where they don’t pay artist fees. These other kinds of promotional value include community building and networking, which may lead to future paid exhibitions 

Partnering — Jennifer partners with groups such as Influencers Motivate/Influencers Motivating Influencers for paid opportunities to work and travel, connect, and to promote self as artist, teacher and facilitator. Influencers Motivating Influencers is a group who arrange tours through remote Northern Canadian communities, focussing on arts and wellness. https://www.facebook.com/InfluencersMotivate/  https://www.instagram.com/influencersmotivate/ 

Into the Future

A really important piece to it is — you choose who align yourself with so that you’re not spinning your wheels putting out artwork to every juried exhibit that comes along or applying just anywhere to show your artwork. It is a thoughtful, meditative process where…having this exhibit at Hamilton Turner Park Library is not a paid gig. However, it makes sense to be there for future, down the road networking and possible other exhibits that will be paid. It’s a tricky situation where you need to learn to be a good thinker, and promoter and networker and those things will lead to the money that you need to keep going.

Jennifer Hicks

Providing Swaddled was a community service. It was healing for me and great for the community and led to this really neat community powered feedback opportunity for the viewers.

Jennifer Hicks

Jennifer is currently looking for a new home for Swaddled. She is hopeful it will exhibit each year in a new city, at least once a year, and ideally exhibited in a place where they pay artist fees.

Facilitating workshops is a key part of Jenifer’s funding model. She would like to provide workshops around the Swaddled series and feels this would add value to the exhibit wherever it goes

Granting process is only accessible if you have access to the technology needed to apply. 

Obtaining funding, applying for grants is difficult for collaborative groups in terms of the scope needed to meet deadlines. Communication amongst members and meeting timelines can be a challenge. 

Keys to Success to Carry Forward

Tips for Emerging Artists: 

Instagram has been a good place for Jennifer to promote her work, to develop art-related projects, and for connecting with other artists and possible jobs.

Sarah advises that one possibility is to go to your local city or town hall. They often employ someone (with a small budget) to do a yearly juried art exhibit in the city hall. 

Poet Laureates ..why don’t we have artist in residence for each city or town?

Motion Poems – a Sustainable Funding Case Study

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A match made in creative heaven.

Motion Poems is a non-profit dedicated to the creation and free distribution of “motion poems” — poetry films. Motion poems started with animator Angella Kassube and poet, Todd Boss. Angella approached Todd after a poetry reading and said she would love to animate one of his poems. 

It took me half a second to say, Sure! I’ll send you everything I’ve ever written.  Within a week and a half she came back with all of these cool drawings and ideas.

Todd Boss

Motion Poems began as a self-funded collaboration between a poet and an artist, then branched into a matchmaking service for artists and poets to connect and collaborate. Todd Boss, Co-founder Executive and Artistic Director could see great potential in growing the genre of “motion poems” and embarked upon the route of setting up a non-profit organization to make this happen.

Creators: 

Todd Boss — Co-founder, Executive, Artistic Director

Country:

Minneapolis, Minnesota, US

Interview Date:

March 12, 2019

Link to Project:

Motion Poems

Funding and Business Model:

501c non-profit managed by a Board of Directors with the co-founder, executive and artistic director, Todd Boss

The Creators:

Motion poems started with Angella Kassube and Todd Boss. They met when Todd was reading his poems at a poetry reading.  Angella approached him afterwards and said she was an animator and would love to animate one of his poems. “It took me half a second to say, Sure! I’ll send you everything I’ve ever written.  Within a week and a half she came back with all of these cool drawings and ideas.” 

Together, the pair started the project as a “matchmaking service” — she reached out to animators and filmmakers and he reached out to poets to see who wants to play.

Todd came from a non-profit arts administration background and so saw the value and potential in having a wider impact of developing motion poems/poetry films as a genre. He wanted to formalize the project as a non-profit, get some funding, and be able to get themselves paid. Todd got the papers together, got a board together,  and gathered people with a background in non-profit experience to help guide and direct them. They were fortunate and landed some big grants right away. Angella is not as much involved in the project currently. She was not interested in expanding and developing the project in this way. 

The Project:

Motion Poems is a non-profit organization that partners and collaborates with filmmakers, producers, for-profit and non-profit publishers and literary organizations and educators. They produce and freely distribute motion poems — films created as interpretations of poems. 

Motion Poems hires a guest producer each season and partners with publishers and literary organizations to obtain free rights to the poems. Filmmakers are offered a small stipend of $1000 per film, although they hope to be able to offer more to filmmakers in the future. They also create lesson plans in-house which they freely share. On their website, they share lesson plans created and sent in by teachers who utilize their poetry films as educational resources as well as films created by students.

Todd explained that each guest producer, always a woman, brings her own ethos to the project, reaching out to her filmmaking community. “This is a way of keeping things fresh and new and changing and expanding their roster each year.” They also partner with new publishers and literary organizations each year. With the material they gain access to through these partnerships —  “we shovel the poems out to the filmmakers — dozens and dozens until they fall in love with something.”

The filmmakers have full creative control over the films. It’s always a surprise for the poet, usually not a good surprise, which we prepare them for. But it’s a gamble they are willing to take. It’s one person’s interpretation, not a translation of the poem.

Todd Boss

Angella, co-founder with Todd, envisioned a project and place where artists and filmmakers could express themselves creatively. Filmmakers and animators often have to support themselves with daily jobs which don’t allow them to have full creative direction. Motion Poems offers this creative space. 

Filmmakers go to art school, filmmakers are artists, but in the necessary jobs they do day to day, the creative direction isn’t theirs, it’s from the client, to the client, for the client…and it drains the soul from their artistic practice. MP gives them full creative control.

Todd Boss shares Angela’s secret

Filmmakers are given a small stipend of $1000 which Todd acknowledges is nowhere near enough for the creative resources they are pouring into it, but it’s at least a little bit. They have hopes to someday be in a position to be able to pay the filmmakers more. MP puts on an annual premiere for them, promotes them through the monthly launches and through their Facebook. Poets walk away with a film, exposure, and people who have engaged with their work. MP gives the filmmakers access to a poem as script which is rights free and that’s really important to them. MP has tapped into a need, a creative need for filmmakers. Every week, a filmmaker is reaching out to Todd to collaborate with them. 

Into the Future — New Ventures

Poetry will always be at the core of what we do — it’s surprising/unexpected that it’s poetry that has worked as the core of these ventures.

Todd Boss

This is a transition year, Todd said, shifting from what they have always done which is creating films. They are going to continue creating films but are now branching out into public art. 

They’ve created an app, in partnership with a local media company who’s very excited and interested to partner with them and their innovative ideas. MoVA is a moving virtual art museum for the rapid transit line in Minneapolis-St. Paul. During the ride, viewers can hold their phones to the windows. In this AR experience, viewers will see what they could be passing, what they could be seeing out the window — artworks bigger than can fit in a museum. 

Motion Poems is putting out the call soon to artists for innovative, creative art for this initiative. “It’s not a difficulty of partnering with artists and having to tell them what to do, the artists will come up with the wonderful ideas, it’s just a matter of partnering with great artists.” 

Todd Boss

They are hoping to launch the app this summer. This venture came from the project, Chaos on the Green Line which was a VR experience using Google Cardboard. During the ride, the GPS triggered the Virtual Reality experience and you moved through it, virtually in a 360 environment. That was highly intensive. 

MoVA is an AR experience. Todd has reached out to the local art museums, hoping to partner with them so that someday, “this line is sponsored by this museum”…. As Todd envisions it, the museums could use these as annexes for artwork that is bigger than can fit into a gallery. Todd feels this experience could expand beyond this rail line . “Flip the right switch and this could work on a New York transit line”. 

Other smaller new ventures

Hot House — a 48 hour pairing of 4 poet/filmmaker teams. This initiative was funded through a Kickstarter campaign. Teams were challenged to create a moving poem within that time frame.

It’s an effort to capture some of the thrill and the surprise of the collaboration that happens between poet and filmmaker.

Todd Boss

Eppy awards — first ever Epiphany awards. Poetry filmmakers from outside Motion Poems collaborations have been invited to submit up to 3 films each. Six prizes of $500 each will be awarded in three commentaries — adaptation, innovation, production. 

It’s a shift year, not sure in the end which initiatives will turn out to be the most sustainable, most successful ventures.

Todd Boss

Road to Sustainable Funding

Todd has learned that it’s Important to have a diverse mix of funding — corporate, foundation, personal, earned income.

It’s a constantly evolving, changing landscape, it’s important to be able to pivot and reach out to new partners and opportunities.

Todd Boss

He notes, It’s always a struggle to keep enough money coming in — “Priorities change, it’s a challenge in contested election periods, year after year,… and with natural disasters and humanitarian crises, people are giving money to those causes of course”(Todd Boss).

Todd has found that it’s easier to get funding for new initiatives — grants for flashy, sexy big immersive and augmented reality projects. It’s an ongoing struggle to maintain operating costs. 

Diverse Mix of Funding

Recently, they have been able to get earned revenue from consultations and speaking, which is increasing the organization’s sustainability. In addition, they have a support button and a list of their donors on the website.

Funding partners include state, corporate sponsors, foundation grants, arts organizations and personal donations. Motion Poems is funded, in part, by an appropriation from the Minnesota State Legislature with money from the State’s general fund. They list sponsors of specific seasons: 

“Season 5 is sponsored in part by contributions from HDMG, Gentleman Scholar, The Mill, and MPC. Season 6, an all-female-poet season, is sponsored by VIDA: Women in the Literary Arts. Season 7 is sponsored by Cave Canem.”

Major Funding Contributors

Horncrest Foundation, John S. and James L. Knight 1Foundation, Lowertown Future Fund, MRAC, Saint Paul Foundation, Springboard for the Arts, St. Paul Cultural STAR, Toro Foundation

They charge admission for the premieres. Locally, they have been able to co-host their premieres with the Walker Art Center, and the Minneapolis-St. Paul International Film Festival, thus able to present at these galleries for free.  But in New York that’s  been more challenging for an outside organization to find a venue.

In LA, is where many of the guest producers come from and where many of the filmmakers come from. They run crowdfunding campaigns. “hey, help us share these films with the world” They’re able to raise money, rent a big warehouse, have catering and host a party.

Todd Boss

They sell screening packages to organizations wishing for Motion Poems to provide a themed curated program of the films with promotional materials.

Currently MP is in the process of revamping and recruiting for an expanded Board. Up to now, they’ve had a basic Board of 6 to 8 members with non-profit, foundation experience.

We would like to have the people we haven’t had — corporate members, legal members, philanthropic members —  these are the people they would like to have around the table. The greater their collective capacity, the greater Motion Poem’s capacity.

Todd Boss

Why Free Access? 

As a non-profit, they are always thinking about access to the work and who is able to access it. And, as Todd says, “there’s the instinct to share, a childish instinct to say, ‘see, look what I made’” and you want to get the work out to as many people as possible.

As a poet, Todd recognizes that there isn’t a commercial market for poetry.

There is no precedent for motion poems, it’s a new, hybrid form. Need to show people that poetry can be transformed in this way, into a film, get people interested. You can’t charge them for something they don’t know what it is.

Todd Boss

Todd hasn’t come from a background where he has been aware of Open licensing or Open Educational Resources. Motion Poems has been built upon a foundation of primarily free access.

Free Educational Resources

As Motion Poems gathered a following, they found that college teachers, poetry teachers  were reaching out to them, telling them how powerful their films are for teaching poetry. Sara, their communications person has an education background so she wrote lesson plans that are freely available. It is important to MP to make their material as accessible as possible to educators — at the high school, early college and grad school level. Creating a motion poem is a deep read of a poem, a personal interpretation, an adaptation. They designed a curriculum for creating motion poems for grad school. Student created poems created from the lesson plans are linked to the website, and teacher initiated lessons and suggestions are welcomed and shared on the website as well.

This is a transition year, shifting from what they have always done, creating films. They are going to continue creating films but are now branching out into public art. 

They’ve created an app, in partnership with a local media company who’s very excited and interested to partner with them and their innovative ideas. MoVA is a moving virtual art museum for the rapid transit line in Minneapolis-St. Paul. During the ride, viewers can hold their phones to the windows. In this AR experience, viewers will see what they could be passing, what they could be seeing out the window — artworks bigger than can fit in a museum. 

Keys to Success to Carry Forward: 

Todd explained that he is always learning, always taking forward what he has gained from/learned from in developing Motion Poems. They have a new, separate initiative of collaborating with composers and poets. He will take into that what he has  learned from developing  Motion Poems.

Artistic freedom for the artists — tapping into that creative need of artists is powerful.

Collaboration — vision of collaboration is essential. Todd hopes that that would continue beyond himself as Executive and Artistic Director. 

Collaboration is not an intuitive process for most, you learn by doing. Powerful  sparks come from collaboration.

Todd Boss


Changing the Face of Courage – a Sustainable Funding Case Study

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Sarah Redohl is an immersive media journalist who creates social impact VR documentaries such as Changing the Face of Courage, Welcome Home: A Veteran’s Story and Zambia, the Gift of Mobility.

The Immersive Shooter — a resource website containing interviews with experts in the VR industry, and offering tips and nuggets of wisdom that Sarah and her co-founder Robert Hernandez wish they’d known when they were first starting out in VR.

Creators:

Sarah Redohl

Country:

Sarah was born in the US but is now living and operating out of Bohn, Germany.

Interview Date: 

March 26, 2019

Sarah Redohl

Links to Project: 

Immersive Shooter

Funding Methods:

Sarah’s funding model includes direct sponsorship through organizations, and grants from corporations invested in VR content creation. As a journalist, Sarah directly sells her work to newspapers and online journals for publication.

The Project:

Changing the Face of Courage is an immersive 360 film which honours the history of women in the American military service.

Zambia, the Gift of Mobility is an immersive documentary about the PET (Personal Energy Transportation) all terrain wheelchairs that have changed the lives of many Zambian women who live with physical disability.

Welcome Home: A Veteran’s Story is a 360 film focussing on the issue of veteran homelessness and the Missouri non-profit who is tackling the problem. 

The Immersive Shooter: Sarah co-founded this free educational online resource for creating immersive VR work with Robert Hernandez who teaches VR journalism at University of Southern California. This website is full of the resources they wish that they had had when setting out on the journey of immersive, VR shooting, as both are passionate about helping to develop this industry.

The Immersive Shooter is important to Sarah as a resource for other creators. She is passionate about the development of VR journalism and feels the best way for that to happen is to have a lot of great content creators. The best way to do that is to make it easier for newcomers to VR to have access to the resources they wish they’d had, and to benefit from the collective wisdom of VR practitioners.

The Creator

Sarah is the immersive new media journalist behind Changing the Face of Courage and other immersive 360 film projects such as “Welcome Home, A Veteran’s Story” and “Zambia — the Gift of Mobility”.

Anything that I think makes people feel more deeply connected to the world and more deeply connected to the people I’ve chosen to profile — that’s my bread and butter.

Sarah Redohl

You can find many of Sarah’s 360 stories on her website sarahredohl.com

The Road to Sustainable Funding

Zambia, the Gift of Mobility was Sarah’s first project. This project was self-funded and freely released to allow the creators to build an international audience.

Changing the Face of Courage project was commissioned directly by the Women’s Memorial for their anniversary. As the Women’s Memorial wanted the project to be in-house, they did not want the story to be picked up and published by a big name publisher. In the past, Sarah has found in working with non-profits that being picked up by a major publishing company is one of the main goals.

Welcome Home: A Veterans Story is a project about the issue of veteran homelessness in the US. The funding model behind this project was a mix of self-funding along with a stipend from the McClatchy publishing company to include the story in their Facebook series, The War Within.

Sarah notes the funding opportunities provided by companies with a vested interest in content creation: Grant programs and opportunities like these include Youtube VR Creator lab, Google’s Jump Program, Ocular Stories Studios, and Oculus for Good.

For example, Facebook funded content for their series, Love Has No Labels.

And there’s Journalism 360 — a partnership by Google News Initiative, McKnight Foundation, and Online Journalism Association — which Sarah says has given out half a million in funding for VR projects. 

Facebook and Google have a vested interest in 360 content creation. and a lot of content has been funded by them. 

Sarah Redohl

Samsung funded the New York Times Daily 360 for some time — with a 360 video produced every day. Samsung pulled back from this program and doesn’t currently offer funding opportunities for immersive projects. 

Sarah notes that this can’t be the way projects are funded as creators never know when companies are going to pull back.

This can’t be the only way to fund what you do.

Sarah Redohl

Through The Immersive Shooter, Sarah has had the opportunity to interview many different VR creators and she offers some of the funding strategies these creators have used.

For creators who wish to release their work for profit, there are paid apps that can house their VR work. However, even these are not dependable. Sarah has heard that Steam VR has announced that they won’t be supporting 360 videos in the near future, but are considering 180 VR instead. 

Some creators have tried producing 360 Stock to subsidize their other work. Sarah has heard mixed reports on success from this kind of venture.

Liquid Cinema is an authoring tool and CMS for immersive content creators which allows creators to provide clients with a fully customized app experience for for-profit release of content.

Free Educational Resources

The Immersive Shooter is funded by a mix of advertising revenue, along with Sarah and her co-founder Robert Hernandez’s free offerings of  insights they have gained while on their own journeys of VR shooting. Funding this site was a lot easier when they started it in 2017. Sarah thinks this is because the industry has seen a pull back from VR that people in the industry are calling, “VR winter”.

Sarah is also co-founder and co-writer of the Immersive Shooter, an educational website for learning how to create immersive films. Adding new interviews depends upon the amount of advertising support they have from time to time. She continues to add tips from her own learning journey regardless of funding as this is her passion that she is driven to share.

Into the Future: Model for going forward

Self-funding projects has been hit or miss in terms of selling and placing these stories. Sarah now plans

to make sure to have those funding partners and publishing partners nailed down in as early part of the process as possible so they have buy in.

Sarah Redohl

VR Facebook communities have been talking about agencies that aim to match content creators and their ideas with prospective interested clients. This would be good.

“I’d love to see more ideas coming from content creators that don’t have to be self-funded.”

Sarah Redohl

Shifting Mindset — One of Sarah’s key tips was to take advantage of the freelance community culture, making bigger projects more sustainable and feasible through freelance relationships. This project to project approach is similar to the movie industry and is more sustainable than forming studios. The benefit of these kinds of collaborative groupings is the sense of community that has formed amongst immersive content creators. Sarah remarked that the industry is formed of a small, positive community of creators who know each other, who are excited to share best practices with each other, whose relationships are built more upon collaborating than competition and that

there’s good energy coming from the collaboration.

Sarah Redohl


Revisiting Storyworlds from Your Childhood Self

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This article was originally published in Reel West Magazine, and was republished here to archive it, after the close of the magazine.

These days there’s always a new buzz word when it comes to storytelling and technology. Admittedly these usually make me groan, as, as they gain in popularity, they bring with them the so-called gurus and prophets, who spend more time talking about them tha they do actually creating. Part of my eye rolling comes with the fact that by the time it’s a buzz word, and people are dropping it left, right and centre in conversation, it is no longer cutting edge and people start over using it (if I never hear the word ‘selfie’ again, I will be one happy gal). Oh and please stop using the term ‘new media’. It stopped being ‘new’ ages ago. Then there’s the infighting between groups of media makers – using different terms for the same thing, as they aren’t fans of some of the ‘so called prophets’ – really are transmedia and convergent storytelling all that different? But mostly I cringe at these terms and the posturing to be seen as a leader of them as none of these terms describe new concepts. Think about it.  The only thing new to storytelling are a few of the platforms in which we tell our tales on now, but conceptually people have been doing things like transmedia and convergent storytelling all throughout human history.  We’ve just become a little precious about spotlighting ourselves as trail blazers.

One term that you may have heard if you’ve been attending conferences like Storyworld Quest, Merging Media, and Storyworld, that is becoming a buzz word with media makers is ‘storyworlds’ or ‘storyworld creation’. This is one term that admittedly I love, but again is not new.  The concept of storyworlds is the idea of having stories that overlap with each other, that have different platforms in which people can experience aspects of the story on and allow the audience to engage within the story and take a personal stake in it.

I suspect most of you at some point have created a storyworld as children.  One that standouts for me from childhood was created by my siblings, cousins and myself at my grandparent’s place. This storyworld involved our rooftop ‘Dairy Queen’ (which was a place of imaginative play and theatre – rather than ice cream), another rooftop Star Wars play zone (for creating our own brand of fan fiction), magical beasts (as we watched the shoreline for the Cadborosaurus), mysteries to be solved (in the form of a coy pinching otter), our own Olympic Summer Games resided over by my grandfather in top hat and tails (for our gaming component), the ‘how-to’ project of the tree fort we were constantly rebuilding, and our own foodie adventures in homemade fruit leather creations.  

Think about it.  I bet you too can remember storyworlds that you were a part of as a child.

So what is that magical ingredient that makes some people more successful in creating storyworlds, than others, in this age of social and mobile media?  Building community!  This means engaging, listening, empowering others to feel a part of the story and engage within it, and letting go of the reigns and not trying to control everything.  As media makers, this means remembering that lesson we learned in Kindergarten – it’s not all about us!  While you can still broadcast – also ENGAGE – let your audience feel they have a stake in your story and it’s success. And remember we can’t do it all alone – just like I needed my cousins, siblings, and adult family members to help create that childhood storyworld, you need to build community – both within your audience and with other creatives – and allow them to take a stake within your story, without micromanaging and trying to control everything.

Give yourself permission to embrace the kid in you again and begin building storyworlds around your projects.  Once you do, please tell us about it at @AhimsaMedia or via the #StoryToGo hashtag, and invite us into your storyworld.