Ar Waith Ar Daith: inside NativeHQ’s digital artistry for WMC #Awen2015

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During August 2015 the iconic Wales Millennium Centre celebrated its tenth anniversary with help from Walk the Plank, NativeHQ and other contributors.

As a prelude to the public show in Cardiff Bay on 12th September we sent the Awen Bus on an epic tour of Wales to encounter musicians, poets, visual artists, actors and other talented performers.

Members of the public walking through the foyer of WMC in August were enchanted by these diverse performances – emerging from the smoke and broth of the Cauldron of Inspiration.

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Occasionally they would have a surprise conversation with a ghostly apparition of somebody elsewhere in Wales!

Over one hundred videos were also posted on the web. The videos embedded in this post are just a sample.

To enjoy further encounters with performers, artists and others, go to the Ar Waith Ar Daith website and navigate the map or search for the #Awen2015 tag.

We’re particularly chuffed at the website map, where you can browse the tour and see the artistic encounters at any location. For example the National Eisteddfod tour location includes performances by Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd and many others. The bilingual website was created by our friends and collaborators Proper Design.

I’ll elaborate on the work in detail, for those who are curious.

Almost a year ago NativeHQ was commissioned as digital artist on the Ar Waith Ar Daith project.

When a lighting designer, say, is booked for a theatre show the conventions and expectations tend to be known – but not so in digital work.

Once Walk the Plank, the outdoor events company working on behalf of WMC, had contracted NativeHQ we admitted we didn’t really know the meaning of the job title ‘digital artist’. Maybe they assumed we were joking.

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From our experience of theatrical collaborations, we find that it does help to be open-ended about our involvement, while the possibilities and scale of ambition are still being worked out. There is currently no convention for the role of digital media in the creative aspect of such a project, unlike the lighting and other more traditional elements. We simply don’t know if and how digital media will be used creatively. Our remit here is way beyond sales and promotion of the show. Hence the initial period of work was to understand the story and aims of the project – and then scope possible platforms, content ideas, personnel, hardware, software, budgets and schedules.

From the start we knew that the finale celebration would be based on the medieval Welsh legend of Ceridwen, her cauldron and the ineffable poetic inspiration that is awen – referenced in Gwyneth Lewis’ poem on the face of WMC.

It became clear that digital media platforms and the idea of a bus tour offered opportunities for WMC to have a pan-Wales project, to work with diverse artists wherever they live, and meet the centre’s aspiration to showcase the best of Wales to the world.

We intended for our work to have lasting effects, to connect artists – to each other and to fans. Artists would want to accrue fans beyond the tour, with a view to future gigs and performances, selling artworks, releasing music, offering crowdfunding and the like.

Once the plan was written, refined and approved, the Awen Bus was fitted with a stage, window blinds, rudimentary furniture and storage, electricity supply, modest kitchen, and some much needed access security.

The bus team did a sterling job of sharing the performances through video, Periscope live streams and other social media posts. It became apparent that video editing should be kept to a minimum if we were to reach a maximum number of artists in the time available.

One essential requirement was to render a permanent onscreen credit to each artist in each video – along with a link to become a fan where possible, e.g. the artist’s Twitter account or website. That and the ongoing persistence of the video on YouTube would lead to maximum benefit for the artist.

Each artist had the option of releasing the resulting video under a Creative Commons Attribution-ShareAlike licence to encourage re-use and adaptations. Alternatively they could take a more traditional licensing option to offer the video for use by the Ar Waith Ar Daith project and reserve other rights.

Connectivity was a major challenge, especially in some rural areas, and despite valiant efforts with a BRCK WiFi hotspot and two mobile data plans we struggled to upload videos from all the tour locations. Instead we had to opt for occasional café access and shuttle trips to reliable home broadband.

ar-waith-ar-daith-engagement-globeExample of Ar Waith Ar Daith conversation analytics from Pulsar Platform

We obtained useful data analytics and tour conversation insights from a paid service with Pulsar Platform – although for a smaller projects the level of detail offered might be overkill.

Our aim was for the Cauldron of Inspiration to feel authentic and avoid any associations with computers. According to the writer Arthur C. Clarke, ‘any sufficiently advanced technology is indistinguishable from magic’, which conveys the kind of result we desired.

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At this point I can reveal that the Cauldron of Inspiration was powered by two computers. Inside the chassis was a Raspberry Pi computer connected to proximity sensors, motion sensors, and activation effects: fog, furnace lights and sounds. The other computer was a Mac Mini creating the apparitions of artists, achieved with a remotely-curated Dropbox playlist of fresh performance videos, a darkened panel and foggers.

This Mac Mini was also connected to a webcam for live conversation with the bus team. We deliberately limited the input devices on the cauldron to just the sensors, with no graphical interface or notifications. The live conversations would appear ad hoc without warning, between recent videos.

As a brand new design of a one-off piece of hardware we often had to intervene directly in the cauldron to fix problems and ensure maximum levels of awen. We could also access the two computers remotely, from our phones if necessary. Software tools and platforms included VDMX, Dropbox, WebRTC, Python, Node.js and other libraries.

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Penblwydd hapus WMC! I think we broke new ground, not just for ourselves as a team but in an artistic sense. We are enormously grateful to the following people for their ideas and valuable work.

Diolch o galon i:

  • All artists and performers who took part, each of whom is credited in their video.
  • Liz Pugh, John Wassell, Sarah Cole and the Walk the Plank team
  • Wales Millennium Centre
  • The hardworking Awen Bus team members: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe for booking and curation
  • Proper Design for graphic design, cauldron envisagement, software development and for the website
  • Sarah Edmonds for illustration
  • Wild Creations for cauldron design and construction work
  • Kazimier for kitting out the bus
  • John Rea for music

Ar Waith Ar Daith: celfyddyd ddigidol NativeHQ ar gyfer Canolfan Mileniwm Cymru #Awen2015

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Yn ystod Awst 2015 dathlodd Canolfan Mileniwm Cymru ei ddegfed pen-blwydd gyda chymorth Walk the Plank, NativeHQ a chyfranwyr eraill.

Fel preliwd i’r sioe gyhoeddus ym Mae Caerdydd ar 12 Medi, anfonwyd y Bws Awen ar daith epig o Gymru i gwrdd â cherddorion, beirdd, artistiaid gweledol, actorion a pherfformwyr talentog eraill.

Roedd aelodau cyhoedd a oedd yn cerdded trwy gyntedd Canolfan Mileniwm Cymru ym mis Awst yn cael eu swyno gan berfformiadau amrywiol – yn deillio o’r mwg a hylif y Pair Awen.

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O bryd i’w gilydd byddai hi’n syndod iddynt gynnal sgwrs gyda rhith o rywun yn rhywle arall yng Nghymru!

Cafodd dros gant o fideos eu postio ar y we hefyd. Detholiad bach yw’r fideos yn y cofnod hwn.

Ewch i’r map ar wefan Ar Waith Ar Daith i fwynhau rhagor o fideos gyda pherfformwyr, artistiaid ac eraill, neu chwiliwch am yr hashnod #Awen2015.

Rydym yn bles iawn fod y map ar y wefan, lle gallwch bori’r daith a gwylio’r fideos mewn unrhyw leoliad. Er enghraifft, mae lleoliad taith Eisteddfod Genedlaethol yn cynnwys perfformiadau gan Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd a llawer eraill. Cafodd y wefan ddwyieithog ei chreu gan ein ffrindiau a chydweithwyr Proper Design.

Byddaf yn ymhelaethu ar y gwaith yn fanwl, i’r rhai sy’n chwilfrydig.

Bron i flwyddyn yn ôl cafodd NativeHQ ei gomisiynu fel artist digidol ar brosiect Ar Waith Ar Daith.

Pan mae dylunydd goleuo, dyweder, yn cael ei gomisiynu/chomisiynu ar gyfer sioe theatr mae’r arferion a disgwyliadau yn weddol amlwg fel arfer – ond nid felly mewn gwaith digidol.

Ar ôl i gwmni digwyddiadau awyr agored Walk the Plank ein comisiynu ar ran Canolfan Mileniwm Cymru, roeddem yn cyfaddef nad oeddem yn wir yn gwybod ystyr y teitl ‘artist digidol’. Efallai roedden nhw yn meddwl taw jôc oedd hi.

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O’n profiad o gydweithrediadau theatrig, rydym yn meddwl fod hi’n helpu i fod yn benagored am ein cyfranogiad, tra ein bod yn ansicr am y posibiliadau ac union naws y prosiect. Ar hyn o bryd nid oes templed ar gyfer rôl y cyfryngau digidol yn yr agwedd greadigol mewn prosiect o’r fath, yn wahanol i’r golau ac elfennau traddodiadol eraill. Yn syml, dydyn ni ddim yn gwybod os a sut fydd y cyfryngau digidol yn cael eu defnyddio yn greadigol. Rydym yn meddwl tu hwnt i werthiannau a chyhoeddusrwydd y sioe. Felly roedd y cyfnod cychwynnol o waith am ddeall y stori ac amcanion y prosiect – ac yna sgopio platfformau posibil, syniadau cynnwys, personél, caledwedd, meddalwedd, cyllidebau ac amserlenni.

O’r dechrau roeddem yn gwybod y byddai’r dathliad terfynol yn seiliedig ar stori Ceridwen, ei phair ac awen – y cyfeirir atynt yn y gerdd Gwyneth Lewis ar wyneb Canolfan Mileniwm Cymru.

Daeth yn amlwg bod platfformau cyfryngau digidol a’r syniad o daith bws yn cynnig cyfleoedd i’r Ganolfan gael prosiect Cymru gyfan, i weithio gydag artistiaid amrywiol ble bynnag maent yn byw, ac yn mynegi dyhead y ganolfan i arddangos y gorau o Gymru i’r byd.

Roeddem yn bwriadu cael effaith parhaol trwy’r gwaith, i gysylltu artistiaid – i’w gilydd ac i’w ffans. Byddai artistiaid eisiau casglu cefnogwyr ar ôl y daith, ystyried gigs a pherfformiadau yn y dyfodol, gwerthu gweithiau celf, rhyddhau cerddoriaeth, cynnig ariannu torfol ac yn y blaen.

Unwaith yr ysgrifennwyd a datblygwyd y cynllun, cafodd y Bws Awen ei gyfaddasu gyda llwyfan, bleindiau ffenestri, dodrefn a storfa syml, cyflenwad trydan, cegin gymedrol, a diogelwch.

Gwnaeth y tîm bws gwaith gwych o rannu’r perfformiadau drwy fideo, ffrydiau Periscope a chofnodion eraill ar y cyfryngau cymdeithasol. Daeth yn amlwg y dylid lleihau ar waith golygu fideo pe baem yn cwrdd a gymaint o artistiaid sy’n bosibl yn yr amser.

Un o’r gofynion hanfodol oedd i roi priodoledd parhaol ar y sgrin i bob artist ym mhob fideo – ynghyd â dolen i ddod yn ffan lle bo hynny’n bosibl, e.e. cyfrif Twitter yr artist neu wefan. Byddai hynny a fideo parhaus ar YouTube yn arwain at y budd mwyaf i’r artist.

Roedd gan bob artist yr opsiwn o ryddhau’r fideo o dan drwydded Comin Creu Priodoledd-‘ShareAlike’ i annog ailddefnydd ac addasiadau. Fel arall, gallent wedi dewis opsiwn trwyddedu mwy traddodiadol i brosiect Ar Waith Ar Daith ddefnyddio’r fideo a chadw hawliau eraill.

Roedd cysylltedd yn her fawr, yn enwedig mewn rhai ardaloedd gwledig, ac er gwaethaf ymdrechion gyda dyfais di-wifr BRCK a dau gynllun data symudol roeddem yn straffaglu i lanlwytho fideos o’r holl leoliadau daith. Yn hytrach roedd rhaid i ni ddefnyddio caffis yn achlysurol a thethiau gwennol i fand eang dibynadwy gartref.

ar-waith-ar-daith-engagement-globeEnghraifft o ystadegau sgwrs Ar Waith Ar Daith oddi ar Pulsar Platform

Cawsom ystadegau defnyddiol a mewnwelediadau i sgyrsiau taith o wasanaeth Pulsar Platform am ffi – ond ar brosiectau llai gallai’r manylder a gynigir fod yn ormodol.

Ein nod oedd i greu Pair Awen go iawn ac osgoi unrhyw awgrym o gyfrifiaduron. Yn ôl yr awdur Arthur C. Clarke, ‘nid oes modd gwahaniaethu rhwng unrhyw dechnoleg sy’n digon datblygedig – a hud’, sy’n cyfleu y math o ganlyniad roeddem eisiau.

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Erbyn hyn gallaf ddatgelu bod dau gyfrifiadur o fewn y Pair Awen. Y tu mewn i’r ffrâm oedd gyfrifiadur Raspberry Pi yn gysylltiedig â synwyryddion agosrwydd, synwyryddion symudiad, ac effeithiau: niwl, goleuadau ffwrnais a seiniau. Mac Mini oedd y cyfrifiadur arall, yn creu’r delweddau o artistiaid, trwy rhestr chwarae Dropbox o fideos perfformiadol newydd, panel tywyll ac unedau niwl.

Roedd y Mac Mini hefyd yn gysylltiedig â gwe-gamera ar gyfer sgwrs fyw gyda’r tîm bws. Yn fwriadol roeddem yn cyfyngu’r dyfeisiau mewnbwn ar y pair i dim ond y synwyryddion, heb unrhyw rhyngwyneb graffigol na negeseuon ar y sgrin. Felly byddai’r sgyrsiau byw yn ymddangos yn sydyn heb rybudd, rhwng fideos diweddar.

Fel dyluniad newydd sbon o galedwedd yn aml roedd rhaid i ni ymyrryd yn uniongyrchol yn y pair i ddatrys problemau a sicrhau’r lefelau gorau o awen! Roedd modd i ni gael mynediad i’r ddau gyfrifiadur o bell, o’n ffonau os oedd angen. Roedd offer a phlatfformau meddalwedd yn cynnwys VDMX, Dropbox, WebRTC, Python, Node.js a llyfrgelloedd eraill.

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Penblwydd hapus i’r Ganolfan! Rwy’n credu ein bod wedi torri tir newydd, nid yn unig fel tîm ond yn yr ystyr artistig. Rydym yn ddiolchgar iawn i’r bobl ganlynol am eu syniadau a mewnbwn gwerthfawr.

Diolch o galon i:

  • Yr holl artistiaid a pherfformwyr a gymerodd ran – mae pob un ohonynt yn cael priodoledd yn ei fideo.
  • Liz Pugh, John Wassell, Sarah Cole a thîm Walk the Plank
  • Canolfan Mileniwm Cymru
  • Aelodau tîm gweithgar yr Awen Bws: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe am fwcio a churadu
  • Proper Design am ddylunio graffeg, gwaith ar y pair, datblygu meddalwedd ac am y wefan
  • Sarah Edmonds am ddarlunio
  • Wild Creations am ddylunio ac adeiladu’r pair
  • Kazimier am gyfaddasu’r bws
  • John Rea am gerddoriaeth

Productivity and cloud collaboration on CultureHive Academy

I’ve blogged again on the CultureHive Academy website about productivity and cloud collaboration. I’ve set out some of the tools and practices that Carl and I are regularly training our clients in, and which we aim to employ in running our company. If you’re struggling with an inbox full of unread emails, or you’re losing track of which document version is the latest, it’ll be useful, I promise!

Swyddi eraill ar Ar Waith Ar Daith: Cynhyrchydd Cyfryngau Cymdeithasol, Fideograffydd a Gyrrwr / Rheolwr Llwyfan

Rydym yn hybysebu rhagor o swyddi o heddiw ymlaen: Cynhyrchydd Cyfryngau Cymdeithasol, Fideograffydd a Gyrrwr y Bws / Rheolwr Llwyfan.

Maent yn rhan o brosiect Ar Waith Ar Daith, ar gyfer dathliadau dengmlwyddiant Canolfan Mileniwm Cymru yn ystod haf 2015.

Dyma gyfleoedd gwych i gymryd rhan mewn prosiect cyffrous gyda chwmni Walk the Plank, NativeHQ ac eraill; taith o gwmpas Cymru i ddarganfod ysbrydoliaeth a chelfyddyd y wlad, i’w rhannu o’r Ganolfan i’r wlad a’r byd.

Plîs rhannwch y manylion gyda phobl sy’n addas am y swyddi.

Ewch i wefan Ar Waith Ar Daith am ragor o fanylion am y prosiect.

More jobs on Ar Waith Ar Daith: Bus Driver / Stage Manager, Social Media Producer, Videographer

We are advertising three more jobs from today: Bus Driver / Stage Manager, Social Media Producer and Videographer.

All these roles are for the Ar Waith Ar Daith project, part of Wales Millennium Centre’s tenth anniversary celebrations over summer 2015.

These are fantastic opportunities to take part in an exciting project with Walk the Plank, NativeHQ and others; a tour of Wales to discover inspiration and artistry of the nation, to share from the Centre to Wales to the world.

Please share the details with people who would be interested in these jobs.

Check out the Ar Waith Ar Daith website for more details on the project.

Er sylw pobl celfyddydol Cymru! Tair swydd gydag Ar Waith Ar Daith / Walk the Plank

Rydym yn chwilio am gyflwynydd, dylunydd a threfnydd taith ar gyfer prosiect mawr o’r enw Ar Waith Ar Daith, ar gyfer dathliadau dengmlwyddiant Canolfan Mileniwm Cymru yn ystod haf 2015.

Dyma gyfleoedd gwych i gymryd rhan mewn prosiect cyffrous; taith o gwmpas Cymru i ddarganfod yr ysbrydoliaeth a chelfyddyd y wlad, i’w rhannu o’r Ganolfan i’r wlad a’r byd.

Plîs anfonwch y manylion at unrhyw un sy’n addas am y swyddi.

Rydym ni yn NativeHQ yn falch o gael ein penodi fel artist digidol gan gynhyrchwyr cwmni Walk the Plank. Byddwn yn rhannu mwy am y profiad hwnnw trwy gofnodion sydd i ddod.

Yn y cyfamser, ewch i wefan Ar Waith Ar Daith am ragor o fanylion am y prosiect.

Calling all Wales arts people! Three jobs with Ar Waith Ar Daith / Walk the Plank

We need a host, a designer and a programmer for a big project called Ar Waith Ar Daith, for the 10th anniversary celebrations of the Wales Millennium Centre in summer 2015.

These are superb opportunities to participate in an exciting project; a journey around Wales, discovering the inspirations and art of the country, sharing it from the Centre to the country and the world.

Please pass the details to anyone you think might be interested.

We at NativeHQ are chuffed to have been appointed digital artist by producers Walk the Plank. We’ll be sharing more about that experience in upcoming posts.

In the meantime, head to the Ar Waith Ar Daith website for further info on the project.

NativeHQ expands its pioneering SMI Arts programme after successful pilot

If you’re an arts organisation looking to use digital media more intelligently, this post is for you. Read on for details of how NativeHQ can help you, through our Social Media Insights: Arts programme.

Social media have the potential to change the possibilities for arts organisations to connect meaningfully with audiences, communities, staff and other key people – if done properly. It’s getting it right in a specific arts context that is the challenge. And it’s much more than just improving your promotional activities or selling tickets.

All arts organisations are facing challenges:

  • How can we achieve more with less public funding?
  • How can we involve our audiences better in the creation, as well as the production of new work?
  • How can we build a better understanding of our company that can help us recruit more volunteers or help raise funds to secure our future?
  • How can we test a new business model in the quickest and cheapest way?

Social Media Insights: Arts is specifically designed to help arts organisations develop social media understanding and skills that are most relevant to them.

NativeHQ can help your company develop more efficient working practices, embrace emerging art forms; reach new audiences and participants; and sustain the company through new business models or generate more income from new sources such as crowdfunding.

“Social Media Insights came at just the right time for Hijinx. We were in a period of change as a company, so it was the right time to stop and reflect on who are we, what we do, and how digital and social media could help us do that at a foundational level. NativeHQ have helped us to take a holistic approach to digital and social media as a company: to see digital’s potential for serving the company’s entire mission, rather than just as part of the marketing strategy”
Vanessa Morse, Hijinx Theatre

As NativeHQ’s newest associate I can also offer my expertise in helping arts companies undertake organisational development and innovation reviews.

Your arts organisation would work with NativeHQ to develop and follow your own agenda for improving your use of social media, covering issues such as strategy, training, network growth, individual campaigns, advertising, media production, monitoring and evaluation.

We won’t run your Facebook or Twitter accounts for you, but we will teach you how to run and manage meaningful social media relationships that support your overall artistic and development needs.

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On the roof of the Millennium Centre, Cardiff

 

The programme consists of the following activities:

  • 10 x half day sessions with NativeHQ over a four to eight month period (agreed with you and starting when most convenient for you)
  • We will begin with a process based on our 4P Method for developing strategic direction with social media and prioritising initiative ideas, that we will then pursue through training and enabling work with you
  • Between each session, you and NativeHQ would agree agendas for the next sessions
  • Our closing session would focus on developing ongoing social media plans and success metrics.

What we would ask of you:

  • An enthusiasm across your organisation for the potential of using digital networks for development. We would prefer to include leaders, marketing/communications and other team members. The implications are important to all aspects of the company’s work.
  • A morning or afternoon set aside for staff to meet with NativeHQ regularly
  • An open, rigorous, experimental approach to learning
  • A named lead person for the programme in your organisation
  • Willingness to participate in a limited number of R&D and evaluation activities to assist learning in the programme

“When we embarked on the Social Media Insights I really had not anticipated quite how the project would touch on every aspect of what we do and how we operate. Instead of some glib, generic advice on what to do / what not to do on social media, the project went so much deeper than that and required us to unpack who we are, how we do things and how we want to be and do. It was very, very bespoke and accommodated everyone’s’ skills and needs as well as the organisational needs.

As a result of the SMI Arts, we now manage our projects; communicate within the team; manage our time; market ourselves; make and edit films and of course, use social media – much better than before!”
Amanda Griffkin, Powys Dance

If you are interested in engaging NativeHQ for this innovative programme, or for a specific social media project you are considering, I would love to meet you.

I will provide more details about the programme including wider business and organisational development, our costs, how we can help you secure additional funding (if necessary) and to ensure we tailor the programme to your company’s needs and plans.

Email richie@nativehq.com or phone 07870 569316 for a discussion about Social Media Insights: Arts.

NativeHQ yn ehangu ei raglen arloesol Craffu ar y Cyfryngau Cymdeithasol yn y Celfyddydau

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Ar ben to Canolfan y Mileniwm, Caerdydd

Os ydych chi’n rhedeg sefydliad celfyddydol sy’n eisiau defnyddio cyfryngau digidol yn fwy call, dyma gofnod blog i chi. Darllenwch am fanylion ar sut gallai NativeHQ eich helpu, trwy’r rhaglen Craffu ar y Cyfryngau Cymdeithasol yn y Celfyddydau.

Trwy ddefnydd doeth o’r cyfryngau cymdeithasol mae potensial i newid posibiliadau i sefydliadau celfyddydol i gysylltu â chynulleidfaoedd, cymunedau, staff a phobl allweddol. Yr her yw bod yn gywir i’r cyd-destun celfyddydol penodol. Mae’n llawer fwy na gwella eich gweithgareddau hyrwyddo a gwerthu mwy o docynnau.

Mae pob sefydliad yn wynebu heriau:

  • Sut allwn ni wneud mwy ar lai o nawdd cyhoeddus?
  • Sut allwn ni cyd-greu a chyd-gynhyrchu gwaith newydd gyda chynulleidfaoedd?
  • Sut allwn ni hybu dealltwriaeth well o’n cwmni er mwyn i ni recriwtio mwy o wirfoddolwyr neu helpu i godi arian er mwyn sicrhau ein dyfodol?
  • Sut allen ni brofi model busnes newydd yn y ffordd gyflymaf a rhataf?

Dylunwyd Craffu ar y Cyfryngau Cymdeithasol: Celfyddydau i helpu’ch sefydliad celfyddydol ddatblygu’r ddealltwriaeth a sgiliau sydd fwyaf perthnasol i’ch tîm.

Mae NativeHQ yn gallu helpu’ch cwmni i wneud celf fwy ystyrlon; cyrraedd cynulleidfaoedd a chyfranogwyr newydd; a chynnal y cwmni drwy fodelau newydd neu gynhyrchu mwy o incwm trwy ffynonellau newydd fel ariannu torfol.

“Daeth Craffu ar y Cyfryngau Cymdeithasol: Celfyddydau ar yr amser addas i Hijinx. Roedden ni mewn cyfnod o newid fel cwmni, felly roedd hi’n amser da i stopio a myfyrio ynglŷn â phwy ydyn ni, beth rydyn ni’n ei wneud, a sut allai cyfryngau digidol a chymdeithasol ein helpu ar lefel sylfaenol. Mae NativeHQ wedi ein helpu i gymryd dull cyfrannol i gyfryngau digidol a chymdeithasol fel cwmni: i weld y potensial sydd gan ddigidol i wasanaethu cenhadaeth y cwmni, yn hytrach na bod yn rhan o’r strategaeth marchnata yn unig.”
Vanessa Morse, Theatr Hijinx

Rydym yn ysgrifennu atoch i ofyn os hoffech elwa o’n rhaglen ddatblygu Craffu ar y Cyfryngau Cymdeithasol: Celfyddydau. Mae’n ddrwg gennym nad oedd eich cwmni yn rhan o’r rhaglen beilot gyda Chyngor Celfyddydau Cymru – cafwyd ymateb mawr ac yn anffodus nid oedd modd cymryd mwy na pum sefydliad celfyddydol. Y newyddion da yw ein bod wedi cyflawni’r peilot ac mae’r adborth wedi bod yn bositif iawn.

Fel y cydweithiwr NativeHQ mwyaf newydd gallwn i gynnig fy arbenigedd mewn helpu sefydliadau celfyddydol i ymgymryd â datblygiad sefydliadol ac adolygiadau busnes ac arloesedd.

Bydd eich sefydliad celfyddydol yn gweithio gyda NativeHQ i ddatblygu a dilyn agenda pwrpasol i wella defnydd y sefydliad o gyfryngau cymdeithasol ar draws pynciau fel strategaeth, hyfforddiant, twf rhwydweithiol, ymgyrchoedd unigol, hysbysebu, cynhyrchu cynnwys digidol, monitro a gwerthuso.

Fyddan ni ddim yn rhedeg eich cyfrifon Facebook a Twitter drostoch chi, ond byddan ni’n eich addysgu sut i redeg a rheoli perthnasau cyfryngau cymdeithasol sy’n cefnogi eich anghenion celfyddydol a datblygu.

Bydd y rhaglen yn cynnwys y gweithgareddau canlynol:

  • 10 x sesiwn hanner diwrnod gyda NativeHQ dros gyfnod o bedwar i wyth mis (cytunwyd gyda chi ac yn dechrau pan fydd hi’n gyfleus i chi)
  • Rydym yn dechrau gyda phroses sy’n seiliedig ar ein Dull 4P ar gyfer datblygu cyfeiriad strategol ar gyfryngau cymdeithasol a blaenoriaethu syniadau menter. Bydd hyn yn cael ei ddilyn gan hyfforddiant a gwaith galluogi gyda chi.
  • Rhwng sesiynau, bydd y sefydliad a NativeHQ yn cytuno ar agenda ar gyfer y sesiynau nesaf
  • Bydd ein sesiwn olaf yn canolbwyntio ar ddatblygu cynlluniau parhaol sy’n ymwneud â chyfryngau cymdeithasol a metrigau llwyddiant.

Byddwn yn gofyn am:

  • Brwdfrydedd trwy’ch holl sefydliad am botensial o ddefnyddio rhwydweithiau digidol am waith datblygu. Byddai’n well gyda ni gynnwys aelodau eraill o’ch tîm yn ogystal â’ch tîm marchnata a chyfathrebu gan fod y gwaith yn wirioneddol holistaidd ac yn bwysig i bob agwedd o waith y cwmni.
  • Bore neu brynhawn wedi ei neilltuo er mwyn i staff gwrdd â NativeHQ yn rheolaidd
  • Dull agored, manwl ac arbrofol wrth ddysgu
  • Person penodol wedi ei enwi i fod yn gyfrifol am y rhaglen yn eich sefydliad
  • Awydd i gyfranogi mewn nifer cyfyngedig o weithgareddau ymchwil a datblygu a gwerthuso i helpu dysgu o fewn y rhaglen

Pan wnaethon ni dechrau ar Graffu ar y Cyfryngau Cymdeithasol: Celfyddydau o’n i ddim wedi rhagweld sut yn union y bydd y prosiect yn cyffwrdd ar bob agwedd o’n gwaith. Yn hytrach na chyngor ysgafn cyffredinol ar beth i’w gwneud / peidio gwneud ar gyfryngau cymdeithasol, aeth y prosiect yn ddyfnach ac roedd angen i ni ddad-bacio pwy ydyn ni, sut yr ydyn yn gwneud pethau a sut yr ydyn eisiau bod a gwneud. Roedd e wedi cael ei deilwra ac yn cynnwys sgiliau ac anghenion pawb yn ogystal ag anghenion sefydliadol.

O ganlyniad i’r rhaglen, rydym yn rheoli ein prosiectau; cyfathrebu o fewn y tîm; rheoli ein hamser; marchnata ein hunain, creu a golygu ffilmiau ac wrth gwrs, defnyddio cyfryngau cymdeithas yn well nag o’r blaen!”
Amanda Griffkin, Dawns Powys

Os ydych chi eisiau bwcio NativeHQ am y rhaglen arloesol hon, neu am brosiect cyfryngau cymdeithasol penodol yr ydych yn ystyried, byddwn i’n hapus i ddod i gwrdd â chi.

Gallwn i ddarparu rhagor o fanylion am y rhaglen gan gynnwys datblygu busnes a sefydliadol ehangach, ein costau, sut yr ydym yn gallu’ch helpu i sicrhau cyllid ychwanegol (os oes angen), ac yn hollbwysig, i wneud yn siŵr ein bod ni’n dyfeisio rhaglen sy’n diwallu eich anghenion a chynlluniau.

E-bostiwch richie@nativehq.com neu ffoniwch 07870 569316 am drafodaeth am y rhaglen.

More CultureHive blogging about digital arts and marketing

I’d just like to flag up a couple of posts within the CultureHive Digital Academy blog – one that I wrote about baking marketing into the production of art, and another one by one of the fellows that I have been mentoring, about developing social media content strategies.

Both are useful insights into the use of digital within the arts 🙂