Field Work: Designing Experience for an International Audience

Global Village - One Month Out

Global Village Dubai – One Month Out

A short while ago, my Esteemed Colleague, Disney Imagineer, Professor, Thought Shaper of the Future and Iconic Experience Design Chick, MK Haley, posed some questions to a few of us about designing for an international audience. Her purpose is the building of a new module for her Experience Design class, and if you are lucky enough to be one of her students you are in for a boffo semester.

(“Boffo” is a sophisticated design term.)

In case you are not one of her lucky few, I’m sharing my own responses for consideration and discussion amongst yourselves (or amongst yourself, if you live and work alone: in which case, keep it down. If others hear you discussing with yourself, it could make for awkwardness and possibly end badly).

Herewith, then; the Professor’s Questions and IMHO…

  1. … on the value of working with different countries, cultures, and for an extended period of time.

I’d say the value of this as part of one’s immediate postgraduate curriculum is integral to success in the field; especially in art and experience design.

First and foremost; until one has actually done design work in the field, seen one’s work built or installed and participated in the practical process, one’s work is likely to be myopically academic.

No matter where the work is done; once you’ve seen the design in physical dimension, seen how people interact with or pass through (or past) it, seen the effect of rain, wind, snow, dust, children…the physics of physicality. Only then does one have a true sense of how the thing will manifest in reality.

So, field work is essential to one’s professional development.

International field work takes things quite a bit further.

  • It offers the opportunity to fully appreciate one’s effect on other people.
  • If offers the opportunity to be aware of how one is communicating; to be more clear about choice of words, tone of voice, manner of collaboration, leadership across cultures, teamwork in that same context.
  • It can truly hone listening skills.
  • It will contribute to one’s objectivity. Other cultures don’t always react or respond to color, light, sound, physical storytelling, music or any sort of input or stimulus in the same way as do Westerners, for instance.

So, Looking and Listening are the first things to do a lot of when parachuting into another culture.

Remember: what you have from being educated at <insert name of amazing design school or university> or have been trained at <insert name of coveted design company or theme park brand> still, are simply Tools and Philosophies.

You don’t have experience. To gain experience, one must work in the field. So, go.

And when you get there, pay attention. Even experienced professionals make the mistake of thinking their position or previous experience in other companies or contexts qualifies them to make judgements and give immediate direction. It does not. Get to know the culture and the people who live that culture before depending entirely on previous experience. Context is everything.

2) Is it fun?

  • Yes.
  • If you embrace hard work, walking on a highwire, making mistakes, copping to those mistakes and learning from them.
  • Being open to learning from other cultures begets being embraced by the people of said cultures, and that offers fantastic opportunities for one’s own breadth of experience, perspective and worldview.

3) Is it hard?

  • Yes.
  • One must be on one’s toes.
  • It can get quite lonely.
  • A lot of places can be deceptively welcoming; seem western but are not. This can lead to trouble.
  • Assume nothing.
  • Personal Note: Obviously, Dubai and the UAE “look” and feel western-ish while we all know they are not. It is a muslim-based society; a benevolent monarchy. One knows to respect the culture or suffer severe repercussions: Get drunk and go to jail. On the other hand, Australia looks and feels “just like the states.” It isn’t. I spent a year there and had a great time; but was caught up short more than once in assuming things to which I would never have given a second thought in the US; causing great-though-inadvertent-offense. Lessons learned the hard way.
  • Nuance is Key.
  • Assume nothing.
  • Ask everything.

4) How are you different or better from having had the opportunity to work across cultures?

  • Far more patient.
  • Far more observant of the people around me.
  • Far more aware of the inordinate Privilege that White Westerners enjoy and share just from the color of our skin and the passport we carry.
  • This Privilege is immense. Do not forget that.
  • …And be careful of taking advantage of it.
  • I listen more intently and with acuity. When working with people whose native language is not English, it is critical to listen for what is actually being said beyond the words that are being used. Even the most adept English-speaker can misuse a word and change the entire message s/he is attempting to deliver. This is especially crucial in email.
  • To that, the appreciation of working with people of myriad other cultures who use English as the common denominator, professionally. We all should appreciate that: when others apologize for their “poor English,” that’s the opportunity to thank them for speaking English at all. I doubt many of us would fare particularly well were we to be made to conduct business in Farsi or Arabic or Turkish or Chinese…
  • I slow down and pay attention. Sometimes I have to catch myself; slow my pace from Western City Dweller to wherever I now am.

So, especially, I appreciate the freedom of movement I have as a Western White Guy, and I keep that at the forefront of my mind as I move through any culture or context, whether it be professional, recreational or just shopping for groceries.

5) What unique challenges are there?

  • Racism. There are many cultures on this planet that view anyone not of their race as Less. Be careful of falling into that trap. The simple fact that a person is smaller, has browner skin, is exceedingly polite and deferential to you and speaks poor English does not mean that person is less intelligent than you. Sometimes, actually, when it may seem that way, that person may be playing a “role” in order to survive in a given society. Watch for and see through that. Often, they are smarter… The quality of work, collaboration and cooperation realized will be significantly higher than otherwise.
  • Just treat everyone as equal. Remember, but for the geographical randomness of where you were born, that bathroom attendant, tea boy, car washer could be you.
  • Also watch for being the victim or target of racism. Though your national hosts may treat you well, it isn’t always because you are liked. It could be simply that you have something that is wanted. Actual friendship takes a lot longer in most cultures than it does in Los Angeles. Just sayin’. Give it time before you trust it as Friendship.
  • Assumption. Everywhere and in Everything. Yours and Theirs. Daily, hourly, moment-to-moment. Watch out for it. It will cut you!

6) How has it been on your family?

  • What family?
  • I can’t speak to that, as I have no family. I can say that it is extremely tough on any relationship and, while I know a few couples who have managed to work together or move families from country to country (arguably good for the kids to grow up, multiculturally), most people I know spend quite a significant time away from family, 70 – 80% of the time or more.
  • If family is a priority; that should be kept in mind when seeking or accepting a gig, project or full-time employment. If you are told that there is a lot of travel involved; that will mean there is a LOT of travel involved.

So, them’s my responses and ancillary thoughts on today’s topic. Field work is imperative. Foreign field work can make one a better artist and a better person. I say seek it out. Get out there and test your design ideas along with your preconceptions about Life.

Learn, Do, Grow.

IMHO.

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“IMHO: Creating Compelling Experience” is a free downloadable eBook on the tenets and methodologies we use to…create compelling experience. Find it in the iBooks app on any Apple device or in iTunes at this link.

How to Amass and Wield Great Power & Influence

Security Pin/ID for 1994 GGIV Opening Ceremonies, designed by Steve Boyd

Security Pin/ID for 1994 GGIV Opening Ceremonies, designed by Steve Boyd

Give Everything Away.

Take Responsibility.

Be Responsible.

That’s it. That’s all y’gotta do.

As a Production Executive, Creative Executive or Director, Producer or any combination thereof; these three practices will set you up and keep you in a position of effective, essential power and influence.

You already know that, no matter how fantastic one’s own original vision of a production or project may have been; it is likely, virtually assured, that after having shared it with your team and having collaborated and tested and massaged it through design and production to launch or show it is far better, more compelling and resonant for having opened it up to collaboration and contribution with and by your team.

Be sure they know that you know that. Walk that talk and it will come back to you in spades.

Give Everything Away.

I’m talking credit, here; acknowledgement. Put your people in the spotlight as they create or deliver exceptional or exemplary work.

Everyone already knows you are The One, the Creative Visionary, the Impresario Producer…that you drive the Idea or Concept and the Team…are In Charge. The world already knows that. My suggestion is to be relaxed and secure in your position and give all the credit to those who deliver for you.

So, when someone comes up to you after seeing your show or experiencing the thing you made and says, “Oh, Kile (if, in fact, your name is Kile); that was amazing! I still can’t get over The Moment when <whatever impressed them> happened: I will remember that for the rest of my life! THANK YOU!” That is your opportunity to publicly and graciously point to and acknowledge the person or team that made that one component happen for you; throwing attention and accolade their way.

“You know who did that? That was David, John and Melissa; they’re right over there, I’d appreciate it if you’d go over and tell them what you just told me. In fact, let me introduce you…”

…or some practical form of immediate acknowledgement…

  • share their contact informations
  • cite their work when interviewed
  • spontaneously recommend them when the subject of their craft comes up amongst peers and colleagues

Push and promote those who have delivered for you; it only makes you look generous and supportive and ego free…and we know you are at least two of those things, anyway…

The rewards and benefits of such a stance are legion. I can attest to the good feeling of handing off compliments, the power of the trust that is built and grows when your team knows you respect and appreciate them and the security that exists and builds in knowing that these professionals will likely jump with alacrity at the chance to work again with someone who treats them fairly and who readily shares the Glory.

And who pays them on time. (We’ve talked about this…)

So, what am I talking about?

Take Responsibility

Responsibility of The One in Charge extends well beyond the Production, itself.

  • Know your team. Know the individuals who make up your team beyond Job Titles. Know them. Know whether they have families, where they are from, other jobs they’ve had. Assuming an individual is only the title held can cut you off from great amounts of information and resource. The more you know of the background, activities, historical contexts and interests of the people who make up your team, the more I guarantee you will find resources you did not know you had.
  • Especially in an emergency. Who knows: the wind comes up, the tarps come loose, rain is imminent, your production coordinator is also a Scout Leader or was a Forest Ranger in a past life. Knots you need? Done. You never know. Find out.
  • Keep your agreements with your team. (see link, above.) Pay ‘em on time, don’t make them feel they have to ask for their money.
  • Respect their private / home lives.
  • Respect them. This has to be genuine and authentic. Another guarantee: if you treat your people with full-on respect, they will deliver anything for you.
  • Respect the expertise. A good leader should know a little bit about a lot of things and not pretend to know everything about anything. Knowing enough to know your team members are doing good work is important; thinking they need your close supervision in order to do their jobs is a sure way to get them to leave you. Ask for what you want, refrain from telling them how it’s done. If they don’t know more than you, you’ve hired the wrong people.
  • Never assume “ownership” of anyone on your team. They serve and support you out of their respect for you and your work or vision…and because they know you respect them, their expertise, their contributions. Should they sense an absence of respect on your part; they will likely be the next thing that is Absent.
  • Responsibility? Basically, if the show goes great, it’s due to them; if it goes awry, it’s your fault. Deal with any actual person who err’d in private; but publicly, that buck stops at your desk and must fall no further below it.

Finally, Be Responsible

Words are one thing; actions quite another. A Solid Leader pays attention to the little things that might be overlooked or fall between the cracks in a large bureaucracy.

This does not mean be a micromanager. For that, I will lead the mob with stakes and torches in hand. (There is, I hope, a special place in whatever Afterlife there may be for Micromanagers.) What it means is that, as a production ramps up and the work is getting done; the One in Charge must be sure the team is being supported by the infrastructure. Payments are made on time, insurance is carried and covered, breaks are taken and people are fed…and that craft services has carbs, protein and abundant amounts of chocolate and sugar.

Seriously: it is not unusual for a show to close or a project to wrap with a vendor or freelancer not yet paid. It should be unusual but it isn’t, unfortunately. Sometimes things move fast, invoices get lost, payment is assumed but not actually delivered. Many such things can result in that one payment not happening.

When this happens, the One Who Was in Charge remains responsible for the clearing of accounts. You may be on to another project, as may the individual or vendor the former client owes your team member. But being separated from the project is irrelevant; it remains your responsibility see to it that that artist or technician is paid…especially if you are ever going to want work from that person, again.

These are your relationships to protect.

Developing and maintaining a reputation for being committed to the well-being and professional treatment of those who work under you will ultimately give you a great reputation for respecting your people…and will result in those people trusting you, implicitly, and returning to you in the future.

Anecdotally; this is how it has played out for me…

I do work in theme parks, for non-profits and NGO’s, for corporations. When I have a good budget and a well-paying gig, I pay my teams accordingly … and always on time. The men and women who have worked for me in stadiums, theatres, Urban Malls and ballrooms have been doubt-free about the respect (and often awe) in which i hold and treat them. We get great results, every time.

(Well, there was that one time…)

At other times, when I have accepted a project for a weakly-funded charity or smaller entity; I can reach out to these same people, sharing with them the fact that “…there’s no money in this one…,” and they remain highly likely to jump onboard and join me on the project, because:

  • they know that they will be treated with respect
  • they will be paid on time, no matter how minuscule the payment
  • they will be asked to collaborate on something that will be emotionally engaging and likely quite fulfilling to them, personally and professionally, and
  • they will very likely get to see me cry, more than once, as the Experience unfolds…and chances are they will also be moved.

Not a bad reputation to have. Not a bad offer to make. Good practice for work and life.

To the point of the title of this piece; it is working in this way that will ensure the power to attract good people to do good work, it is working in this way that will offer the reputation for edge, for creativity, for creating healthy collaborative and fun environments that yield compelling experiences, it will make your teams attractive to others, lessen the amount of coal in your stocking at Christmas and lower the number of voodoo dolls made in your image.

Make sense?

Hope so.

IMHO

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“IMHO: Creating Compelling Experience” is a free downloadable eBook on the tenets and methodologies we use to…create compelling experience. Find it in the iBooks app on any Apple device or in iTunes at this link.