Event
In the
BY KENNETH GREEN
Event
In the
BY KENNETH GREEN
Table of Contents
Chapter I – Main Idea Searching for that single idea as you wander out into the blue? It’s important to get right on the right path. The Big Idea Keep it Brief In the Spotlight: MLK
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Chapter II – Assets Preparation is key. Gathering your assets will give you an opportunity to organize and categorize to get you going in the right direction. Getting Started Solve the Problem The Creative Process Two Heads Are Better Than One In the Spotlight: Skirts
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Chapter III – Gut Instinct Trusting your instincts. The more research you do the more confidence you will have creating your project. Leading with Instinct In the Spotlight: Lowery
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Chapter IV – Inspiration Look for inspiration in all kinds of places. You never know what may lead you down a creative direction. These ideas my influence you at the right time. Taking It All In Creative Repository What Inspires Me Now In the Spotlight
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Chapter 5 – Collaboration Process Working with people who will help you elevate your creative game is great. Putting together the right team is essential. The person who has the best answer wins. Collaboration Teamwork Makes the Dream Work Practice Makes Perfect In the Spotlight: “Six Flags”
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Dedication
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Foreword
IN THE EVENT: A PROCESS AND RETROSPECTIVE I have been fortunate to have had the opportunity to produce and create creative projects for a variety of audiences over the past 35 years. These projects afforded me new knowledge, furthered my expertise, and helped me build my portfolio. All of these experiences have led me to unforgettable collaborations which have taught me that, while many artists and disciplines are different and require unique skill sets to execute, we all share the common goal of building the best immersive audience experience possible. Creating shows for a living and bringing happiness and joy to people is a DREAM JOB! I’m excited to share some of my artmaking processes and unforgettable experiences.
Introduction
For nearly four decades, I have collaborated with a diverse group of clients and creatives across the country to create product shows, press events, food events stage performances, and musical productions. In the Event: A Process and Retrospective is the planning and creation involved in a few of my favorite past projects. This retrospective is a reflection of my passion for the creative arts, my love of design, some best practices for producing events, and the many attributes associated with them. From producing a star-studded show for the gala preceding the unveiling of the Martin Luther King Jr. Monument in the National Mall in Washington, D.C., to staging halftime productions for the National Football League’s Atlanta Falcons, and celebrating historically Black colleges and universities through stage productions and exhibitions, I have a strong love of many forms of creative expression. This retrospective celebrates a life-long commitment to excellence in all areas of my creative work. I am often asked, how you do what you do? What is your process? This is my attempt to answer these questions. It also describes how I have done my work and, in some case, how I could have improved. My mother gave me a deep appreciation for creative design. Her work as a seamstress serendipitously inspired me and set me on my creative journey. I watched her sketch, cut patterns, match squares with circles, and magically convert two yards of fabric into two and a half yards. Her aesthetic and personal style were reflected in her dress. She was a great dresser. Church on Sunday mornings was a fashion show especially the hats. The hats she wore were not just a fashion accessory but an integral part of the outfit. As many would know hats are a tradition for Black women in the church. Her sense of style had a huge impact on me.
In the early 70’s, I was inspired by the choreography of Lester Wilson. His dancers were featured on the Bill Cosby Variety Hour. I loved the show not just for the great entertainment, but Lester choreographed and staged fantastic numbers with primarily Black dancers. These black dancers that looked like me became positive role models for me at a very early age. As I continued to watch the show, I became increasingly interested in how the dancers entered and exited the stage, picturization, the stage design and the unique movements. I was unaware at that time the concept was known as choreography. I started my dancing training at age 16 in San Bernardino, California and was exposed to several forms of dance including ballet, jazz, folk, and musical theatre. I continued my training through college and university earning a Bachelor of Fine Arts in Dance from the United States International University, and a Master’s in dance from the California State University at Long Beach. My time in both college and university provided a unique opportunity for intellectual inquiry in dance, choreography and directing. Through the works presented by classmates and iconic creators; I was exposed to concepts of symbolism, layering and aspects of design to the point of being able to use it in my commercial dance works. While on faculty at Spelman College, I served in the Department of Drama and Dance and later as the Director of Cultural Initiatives in the Office of College Relations. In these leadership roles, I connected students and faculty with entertainment and cultural institutions in the public and private sectors. My goal was to forge relationships for internship, mentorship or creative opportunities for both faculty and students. Sincerely, Kenneth
Chapter One:
or presentation to clients or teams. Storyboards usually have a story arch or story path. Story-path demonstrates a beginning, middle and end with THE MAIN IDEA theme points and a climax. • A story board allows you to produce The Big Idea before producing. You can create your project’s world taking into Everything you have done up until now account textures, sights, sounds, has prepared you for your project. It all colors, smells etc. begins with an idea. Your blank canvas is a sheet a paper, a dance studio with • High concept boards are story specific and original and unique. It yourself or a few dancers, or a talented should be no more than three to five musician with the ability to improvise lines, combine big-picture ideas with music, you have a starting point which must-have moments. will guide you towards success. • Look or mood boards allow you to effectively drill down with specificity Your idea is the single most important fabric swatches, colors, costumes, or ingredient for any successful event. No other production details. matter how small, peculiar, or grandiose, an idea is an idea which can guide you in your journey as long as the idea collides with a vision that you would like to bring Keep it Brief to life. Once you launch your ideas into action, you will gain momentum, The project brief brings the scope and and they will begin to blossom. As the vision together in a document with you formulate your ideas, gather your benchmarks and timelines. It conveys creative assets, decide what they mean a full understanding of the project to you, and determine the relationship with details and requirements. Use as you are going to maintain with them. The a reference to ensure you and your fun part of this process is that you can let team remain on track. Allow it to be a your imagination go wild. You can put living document throughout the span any and everything into the pot. of your project. Build upon the brief and brainstorm around its contents. Nurturing an idea takes time, sometimes weeks, months, or even years. You can formulate and capture your idea through numerous processes. Three of them include; storyboarding, high concept boards, and look boards: • Storyboarding is the pre-visualization of an idea. It allows you to clearly express the essence of your product
In the Spotlight: MLK: A MONUMENTAL LIFE In 2010, I was asked to develop a theatrical production to precede the unveiling of the Martin Luther King Jr. Monument in the National Mall in Washington, D.C. Through music, movement, and narrative, we honored Dr. King’s legacy and shared his journey, struggles, and accomplishments with dignitaries and special guests from around the world. How do we create a production that offers an audience a life changing experience that will affect their life? With intentional layering i.e., music, movement and text and thoughtful placement of Dr. King’s life events. The productions goal was to give the audience a sense of walking in Dr.
King’s shoes in critical historical moments. I was cognizant of placing the theatrical elements in the correct political and social context so as to provide a broad cultural landscape and background. I wanted to be sure to include other civil rights stakeholders surrounding Martin Luther King Jr., as well as specific events; and to talk about the psychological underpinnings of blacks and how they reacted to certain situations during this time period, the ideas are largely represented through the religious, cultural and artistic expressions while telling a story.
The cast of “A Monumental Life” consisted of 50 talented singers, actors, and dancers. Celebrity performances included many standout voices such as Jennifer Holliday, Sheryl Lee Ralph, Nancy Wilson, Della Reese, Keisha Knight Pulliam, Kenny Lattimore, Cassi Davis, Denise Graves, Jasmine Guy, Cuba Gooding Jr., Terrance Howard, Omari Hardwick, The Pace Sisters, Sweet Honey In The Rock, Cleavon Little, and the Morehouse College Glee Clubs. The production dramatized several of Dr. King’s sermons, the March on Washington, the Memphis sanitation workers’ strike in 1968, and Dr. King’s arrest and time in Birmingham Jail.
Kat Conley’s set design of the Edmund Pettus Bridge, stained-glass windows and pews representing the 14th Street Baptist Church in Birmingham where we staged the tragic bombing with the four little girls Denise McNair, Addie Mae Collins, Cynthia Wesley and Carole Robinson; and the pulpit depicting Atlanta’s historic Ebenezer Baptist Church, where Dr. King pastored for many years. From the opening number to the final song, the show was performed with love and was colorful and proud in presentation. In shaping our script, we consulted with global thinkers and various theorists to truthfully depict human interactions. These experts included: • an ethnomusicologist who gave us a broader understanding of the role of music during the movement from the perspectives of folklore, psychology, and music theory. • a cultural anthropologist who provided us with a greater understanding of religion, customs, and belief systems of the era, country, and cultures. • multiple psychologists who advised on the driving forces which propel human behavior, attitudes, and ideas.
Portraits of John Lewis
Chapter Two: ASSETS
Up Your Sleeve Once you’ve decided on your idea you want to start to gather your assets. The assets are all the tangible parts and pieces you might consider toward for inspiration for your project. As you study your findings you extract the essential ideas and create storytelling opportunities. To manage your assets, you can create a repository for yourself. That repository can be as simple as a file, crate, box, or envelope. Something used for safe keeping, so they are readily available when needed. These thoughts and items can be efficiently archived. These objects can be a fabric swatch, matchbook that has an interesting graphic design on it, design sketches, music ideas, costume designs set design, magazine or newspaper clippings, notes with links to videos, books or treasured objects. Anything that leads to inspiration.
Get Set Go Not knowing completely where your headed with your project, you can begin to layout initial plans, you can mix and match themes, and interchange ideas to create a unique work. The process is about exploring it can involve many design iterations. As you decide which moments should be highlighted and emphasized continue to investigate through traditional and non-traditional methods to develop a special moment. This is where the pre-production work of storyboarding can come in handy. Remember your clients are an equal partner in this process. Always take the time to have meaningful conversations to make sure we both have a clear understanding of goals and deliverables. One of my goals is to always have clients expect the unexpected by creating special moments. I often refer to Maya Angelou’s famous quote: “People will forget what you say, people will forget what you do, but people won’t forget how you made them feel.” It is my goal to use my “blue sky” approach and expertise to transform ideas and thoughts
into moments that will become some of their fondest memories. With working together, and a committed team my goal is to move the clients vision through my head, my hands and my heart to create memorable moments. Solve the Problem One of the first steps in building your event is determining your goal or the problem you need to solve. Ask the five w’s: who, what, when, where, and why? It’s important to know who’s in the room and for what purpose. Is it a purposeful party or a simple social gathering? When does it need to take place and where? Is the venue indoor outdoor, or some special location? You can more effectively frame your content and develop the right tone and voice for the event. What does the event mean to your audience? What do you want the event’s takeaways to be? Answering these questions and others will allow you to establish and better understand the parameters of the project while developing an action plan.
The Creative Process
Two Heads Are Better Than One
As you develop your plan, consider the following: • Review all your assets and their potential in the project. • Collect and organize all ideas. • Ask questions you can’t answer • Expand concepts and ideas • Listen to things that will improve idea • Create a project brief with presentation objectives and brainstorming ideas. • Create a draft script or run of show with all the key project aspects as they relate to transitioning from moment to moment.
A good brainstorming group is diverse and unites a variety of perspectives from individuals with various backgrounds. In your sessions, think big and broad, expanding simple ideas to larger, more complex ideas. Ask yourselves challenging questions, elaborate on concepts with great detail, and examine how to improve upon your original ideas. You can talk how to present your idea, what does your creation look like and is it unique. What is and isn’t working? I encourage teams to dream big and in color. With your teams travel as far into the depths of their imagination as possible. Through these collaborative moments you can create environments where you transport your audience to another experience. When it’s time to reel it back and get real with it you’ll know.
In the Spotlight: SKIRTS: PETTICOAT TO CRINOLINE
WOMEN’S APPAREL 1881- 1950
It goes without saying that some of your best assets are your relationships that you forge over time. My partners and collaborators were my greatest assets when creating Skirts: Petticoat to Crinoline Women’s Apparel: 1889-1950.
I reached out to several designers to loan, design, or create women’s apparel for the exhibition. Garments were either commissioned by the designer or on loan from institutions including Wake Forest University Theater Department, Cobb County Center for the Performing Arts and from the private collections of designer Melissa Stewart, a costume designer specializing in clothes of the 17th century Renaissance period. Showcasing 30 original pieces, the collection displayed the progress of women’s clothing trends from 1881 to 1950, from the Gibson girl pigeon pouter tailor-made shirtwaist style to the dramatic mood of Dior’s New Look which revolutionized women’s fashion with its state-of-the-art construction. Skirts: Petticoat to Crinoline Women’s Apparel 1881-1950, offered a glimpse into ninety years of women’s predominant fashions. Exhibition talks and shows were held in Atlanta, at the Auburn Avenue Library on African American Research and Culture, the City of Norcross, Georgia 125th Birthday Celebration, and the Cosby Museum of Fine Art at Spelman College. Power in fashion, and a love for fashion.
Chapter Three: THE INVISIBLE GIFT
While creating there are on foreseeable situations, circumstances and challenges that cannot be pre-determined; this is where the passion for the work is realized. Knowing that challenges are a part of the process, experience and knowledge allow you to learn to make decisions quickly. When creative opinions strongly differ, you reference life experiences and make decisions based on similar or past events. Often those decisions are based on instinct. I ask myself a lot of questions with a focus on solutions.
Our instinct is an invisible gift. How many times have you said or heard someone else say, “I second guessed myself” or “I wish I had gone with my gut after making a decision”? Your gut feeling or intuition has already suggested a course of action, but we often continue to ponder, delaying what could instead be a simple decision. At times, our intuition effectively indicates our thoughts and desires. When your intuition starts to tell you something, stop, listen, and consider taking a leap of faith. Trusting our gut can remove us from our comfort zones so, while your instinct is your soul telling you what is best.
In the Spotlight: WILSON PICKETT LEGACY So much of building the Wilson Pickett brand has been instinct. With the reason being we were moving into uncharted waters. Most of the projects we took on were new experiences for all involved. The Wilson Pickett Legacy has been in existence for over 12 years and continuously adds programs and brands to their rooster. Wilson was a respected advocate for equity in terms of compensation and access for black artist during the 60’s and 70’s. He was quite vocal on the treatment of rhythm and blues artist of that time. That has always been an attraction for me in terms of telling his story and promoting his legacy. It has been my honor to creatively contribute under the Wilson Pickett umbrella. I am proud to do this through theatrical productions, cultural arts festivals, high school leadership arts programs, and music opportunities for singers and aspiring singers. Some of the projects include: • In the Midnight Hour the Musical – Producer and Director. This jukebox musical tells the story of celebrated Hall of Famer, Wilson Pickett from his humble beginnings in the cotton fields of Prattville, Alabama to his internationally acclaimed success. • Wilson Pickett Music and Arts Festival – Co-Producer. The Wilson Pickett Music and Arts festival offers guests a fun day full of arts, games and fitness. Double Dutch workshops and exhibitions, 3 on 3 basketball tournaments, interactive culinary arts experiences, and local
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live concert performances designed to entertain all in attendance. Wilson Pickett 25 at the Top Exhibition – Curator. The Wilson Pickett Exhibition, “25 At the Top,” featured a brilliant collection of prized memorabilia once cherished by the “Wicked” Wilson Pickett. Among those items are flamboyant clothing and shoes, jeweled sunglasses, gold records, Rock & Roll Hall of Fame Awards, and Grammy Nominations awards. High School Leadership in the Arts Workshop – Facilitator. This event involves experiences about arts leadership including a workshop titled “Cultivating Your Creativity: From Concept to Creation.” Wilson Pickett Sing Off – Facilitator. A professional music competition where winners win cash prizes and a national platform to perform their music. People Make the World Recording– Producer and Director. “People Make the World” is a song written by Bobby Womack and recorded by Wilson Pickett which is dedicated to workers on frontline of COVID-19 and those who that have lost their lives as a result of racially motivated violence and police brutality.