Social movements need powerful stories. Strong and compelling stories that grapple with timely and important issues can benefit from careful planning to ensure the message reaches the right audiences, in the right ways, at the right times. I help filmmakers, funders, and movement leaders build strategic partnerships and plans that strengthen their respective projects and contribute to lasting change.
Campaigns that I have contributed to, through my work at Active Voice and elsewhere, have gone on to influence public discourse and measurable change related to immigration, racial justice, aging and eldercare, health disparities, LGBT rights and inclusion, worker advocacy, and more.
Snyder, and Who is Dayani Cristal? To find out how we can work together, click here. Active Voice now the Active Voice Lab is my impact and engagement home. Their exchange about equity, pop culture, funding, and more reveals the dynamic fusion of creativity and strategy. Please see their full bios, below.
In that way, I have always been movement facing in this work — that started at Active Voice. What are people focused on? What are people doing to advance social justice on an issue, What do people need?
What resources do I have that I can offer to help support? I look for points of intersection and points of possibility. I worked at the Arts Council for a number of years and they put huge amounts of money into equality and diversity schemes. So why are we still talking about structural barriers 15 years later? I think this is critical for us to move forward. So that the organizations that have made explicit commitments to supporting people of color over the long-term are centered.
I do a lot of things and it varies, but basically, I work at the intersection of mostly non-fiction film — although there are some outliers — and social change. How does that intersect with what a movement is doing? How do we create an architecture around that story to support what the social movement is doing and all the different players within it who are working to solve the issue? I love that and love seeing people like you who are actually learning on the job and see the need to shift and change.
Because, of course, that also gives others the permission to build on your knowledge. I hope so! Right now the way I support impact strategy on film campaigns has mostly been focused on cultivating strategy and in a very limited way — for example: doing an evaluative pilot. That helps the process of mapping out what a campaign will look like. What are you particularly proud of, or what was the most challenging at Active Voice?
I think probably the stand out was Welcome to Shelbyville , which was early in my career there. Ellen Schneider, at Active Voice Lab, spent a lot of time with the filmmaker, Kim Snyder, before and throughout production identifying what the pro-immigrant movement needed at that particular moment.
The original film was a long feature-length film broadcast on PBS. We created a behind the scenes look at the organization that helped to organize a lot of the community members to support the new refugees. But it is a really strong indicator of the power and potential of an impact campaign when years into it, organizers are still working with it.
I see in arts and social justice that people have to cooperate. Can you tell me more about them? A ctive Voice Lab created the Prenups for Partners , which is a tool to help filmmakers, funders, and organizations or groups that are doing work on the ground to understand where each other is coming from.
And so this is a guide for people who want to work together to begin to cultivate a relationship that is ethical, accountable, informed, and effective.
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