Wonder

Sparking WONDER

Sparking WONDER 1529 1071 SageRiver Consulting LLC

Does positive social change start with wonder? Denise McHugh, executive director of the Spark Community Foundation, suggests that it may. For the past 16 years, Denise has facilitated a large-scale collective impact initiative focused on reducing and preventing youth homelessness across rural Colorado. During SageRiver’s latest conversation about how wonder can inspire strategy and innovation, Denise shares the WONDERFUL tools and frameworks that are helping communities to spark change.

SageRiver (SR): Thank you for being part of our exploration of wonder. One of the topics that’s been very interesting to us—part of our wonderings—is  the concept of collective impact. So, could we start by asking you to explain what collective impact is?

Denise McHugh (DM): Collective impact is a structured way for organizations across sectors, such as government agencies, nonprofits, faith-based groups and others, to achieve equitable large-scale social change. The framework involves specific elements, such as a common agenda, ongoing communication, measurement and evaluation, and mutually reinforcing activities of the participating organizations. It also includes a shared management system, which I often referred to as the “backbone,” to support the overall efforts of the initiative.

SR: You’ve been involved in one collective impact initiative for more than a decade. Can you tell us about it?

DH:  Yes, it’s called the Colorado Rural Collaborative for Runaway and Homeless Youth. We started with about 13 communities and have grown to 40. Our common agenda is to prevent and reduce youth homelessness in rural Colorado. The project started with a grant through the Colorado Department of Human Services (CDHS). They had noticed that many rural youths became homeless when they left foster care. To get services, many runaway and homeless youth had to go to urban areas, which meant leaving behind whatever support networks they had. CDHS wanted to develop a system where rural youth could receive support, resources and housing within their home communities.

 

SR: So, you’ve found collective impact to be a dynamic, flexible model—and that’s our experience at SageRiver, too. What changes has your collective impact initiative adapted to over the years?

DH: With so many communities involved, we’ve learned to support different stages of readiness within each community. For example, a new or emerging community may start with prevention services, while a more established community may already have those services in place and be focused instead on expanding housing and aftercare options. When we look across all 40 communities, we can now say we have a full continuum of care in place for rural runaway and homeless youth.

More recently, we’ve added another component that I find inspirational. It’s a youth action board—called Youth MOVE Colorado—comprising youth from across rural Colorado. They provide insights and perspectives that we use to adapt our efforts to the lived experiences of youth in these communities.

SR:  As you look back, what lessons have you learned?

DH: I’d say one of the first is to have clear messaging. Collective impact as a concept is often hard for people to understand. In the beginning, we would look at people’s faces, and you could tell they didn’t understand what we were talking about. So, we’ve learned to translate the terminology of collective impact into everyday language and use graphics to paint the picture.

We also learned that it’s important to build on what already exists in the community. Every rural community has a human services department and school district, for example. It’s essential to understand what strengths the community already has and which organizations or people are most trusted by those you ultimately want to serve. Those organizations may be the best direct service providers or faces of the initiative, while others play behind-the-scenes roles.

Another big lesson is the importance of a common agenda. Everyone will say, “Oh, yes, we want to prevent and reduce youth homelessness.” But what does that really mean? And how does it play out in a community? We’ve learned to invest time up front to articulate a common goal and agenda. It’s the glue that holds everything together. Each community can tailor its efforts, but we have values and principles that are common across every community.

SR: You spoke earlier about a supporting management structure—or backbone—for the collective impact initiative. What does the backbone do?

 DH: One of the key functions is to help secure funding. In working with rural communities, for example, we’ve found that agencies rarely have grant writers on staff. So, we do a lot of fundraising support, as well as coordinate the distribution and reporting of monies in compliance with different funders’ requirements.

Our backbone organization also established key indicators and a shared measurement system to support ongoing learning and continuous improvement. We have an evaluator on staff who collects and synthesizes data and produces a monthly snapshot, as well as more in-depth quarterly reports. The data are gathered across the collaborative and shared at our monthly meetings. We also meet with individual sites to identify what they are doing well and where they might want to focus their efforts next.

Additionally, we provide much of the training and technical assistance, as well as pair sites so they can learn from each other. One site might be doing well at engaging youth living on the street, while another has successfully reunified families. Our sites serve as teachers for each other, which further strengthens relationships across the collaborative.

 

SR: That’s exciting! There’s so much to explore with this topic, but let me close with a question related to our theme for the year. How does wonder factor into collective impact?

DH: To be effective, you must ground the work in powerful questions and deep curiosity—or wondering—about the lived experiences and perspectives of others. What is it like to spend the winter living in an abandoned horse trailer because you don’t have any other shelter, for example? Who would you trust to offer help? What would you want—and what would really make a difference?

This is where our experience with the youth action board expanded our perspective. Youth are incredible, out-of-the-box thinkers, and they’ll share their ideas if they really believe someone is interested and willing to listen. But that collaboration starts with wonder—with a sense of humility and openness to other people and new ways of thinking. If we can help people and communities nurture their wonder, there’s no limit to what we can do.

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If you’d like to learn more about how to map existing resources and connections for a collective impact initiative, take a look at the example below. (Click to enlarge.)

 

Activating WONDER

Activating WONDER 2068 1438 SageRiver Consulting LLC

As part of SageRiver’s study of how wonder can inspire strategy, SageRiver’s founder, Susan Heinzeroth, sat down with author and management consultant Judy Goldberg. Following a cancer diagnosis in 2017, Judy realized that skills she spent a lifetime developing were helping her effect positive changes despite the health challenges she faced.  Wanting to share those tools with others, she developed a newly published resource, titled “Wake Up and Wondershift: Five Themes and 50 Exercises Designed to Activate Wonder and Create Lasting Shifts.”

SageRiver (SR): Thank you for being with us, Judy. Let me start with a basic question. What do you mean by wonder?

Judy Goldberg (JG): When I speak of wonder, I’m referring primarily to the wonder within our own control or influence. My focus is on the wonder that runs through our bodies and gives us hints at what we should pay attention to next, or the wonder that challenges us to leave our comfort zones or bring new ideas to life.

SR: So, your book is about the personal shifts and personal wonder we can cultivate in ourselves?

JG: Yes, it’s about waking up to the wonder that’s within us. Because I believe it’s within all of us. We all have a voice that whispers, “I wonder if I…” or “I wonder when I can?” I want to help people wake up to that wonder and do something about it.

SR: The subtitle of your book suggests that activating wonder is essential to making lasting shifts. Why do you think we need to activate wonder?

JG: Because it’s linked to our goals and objectives and what we want out of life. At the same time, activating wonder requires intentionality. It means that we’re actively engaging in our experiences, situations and ideas in new ways. And if we’re not activating wonder, then we might be closing ourselves off to possibilities and going after the wrong goals and objectives.

SR: I couldn’t agree more. In fact, SageRiver’s tagline is Illuminating Possibility. Igniting Change. We chose that tagline because we want to help our clients see the larger landscape and imagine a broader range of capability. Do you find that it’s difficult for some people or teams to do that?

JG: Yes, and there are myriad reasons why. One is people will say there’s no time, right? Other people have a cognitive bias that relies on familiar patterns and experiences. I think people also have a fear of the unknown, or fixed mindsets or simply limited exposure to diverse experiences that enable them to imagine possibilities.

SR: So how do you help them break through those barriers?

JG: It needs to be intentional and incremental because there’s been so much research that shows that throwing people in a room and asking them to brainstorm on the spot is probably the worst thing you can do.

Instead, we need to help people practice creative thinking and expose them to new experiences. For example, I ask people to read different reviews on a topic and bring people together to then engage in a debate. That helps them shift their thinking into seeing two sides of a question. Another strategy I’ve tried is to take people on a field trip to somewhere they’ve never been. Little things like field trips can be eye-opening and help people imagine possibilities.

SR: Those are great suggestions. Within our own firm, we make it a practice to inspire and invest in the curiosity and wonder of our staff. Even if the connection to our work isn’t immediately obvious, we find that by following our wonder, we bring back new ways of thinking that infuse our strategy work.

JG: Exactly!

SR: You included the word “shift” in the title of your book. Can you briefly describe the five themes in your book that help us wake up to wonder and make positive shifts in our lives?

JG: I use S.H.I.F.T. as an acronym as well as an outcome. Each letter stands for a different theme that I explore in a section of the book.

  • S is for Shape, which is about the power of mindset in forming our lives.
  • H is for Harmony, which is about achieving inner harmony as well as harmony with others.
  • I is for Imagine. This is where we let loose and let our imaginations run wild.
  • F is for Focus, which is where we cut through the world of distractions and zoom in on what’s important to each of us.
  • T is for Team, which helps us curate the team we need to make the shifts we desire.

SR: That’s a wonderful blueprint, and I highly recommend the exercises within your book and the creative thinking they spark. Before we close, is there one thing you’d like people to take away from our conversation about the value of wonder?

JG: I’ll share one of my favorite quotes: “A year from now, you will wish you had started today. So cross that threshold because your wonder awaits.”

Seeing WONDER

Seeing WONDER 2000 1333 SageRiver Consulting LLC

As part of SageRiver’s study of how wonder can inspire strategy, we sat down with photographer Tom Riggs. He has built his career around exploring landscapes with wonder to find the story, emotion and meaning in the world around him. His insights can help leaders understand how to open their eyes more fully to see possibilities that would otherwise stay hidden.

Trillium Lake. Published by permission of Tom Riggs Photography.

SageRiver (SR): You’re known for your astounding landscape photography, and it’s often difficult to get to the locations you photograph. Why do you do it? Are these images for you? Or, are you taking them as a gift to others, in the hope the pictures will resonate with them?

Tom Riggs (TR): I take the photographs for myself and process them how I remember the scene. And if that resonates or strikes a chord or an emotion or a memory in someone else, then that’s just the joy of connecting with your audience through your work.

SR: How do you decide what you’re going to photograph?

TR: If I’m out in nature, I’ll have something already in mind that I want to use as my main subject. That will anchor the picture and be what draws you or me to that specific scene. As I look at that, I try to satisfy my need for why I was there in the first place. I make sure I satisfy that curiosity first, and then I’ll look for other things that you can’t see. I’ll look around and explore other angles or a different subject matter or perspective. I may get down on the ground or get an overhead view to capture an idea I was wondering about while I was traveling to that location.

SR: When you look at a scene, how do you compose the photos you take?

TR: Usually, when I come upon a scene, I’m immediately looking for some sort of composition. I don’t know if that’s something inherent or something that is trained, but it seems to come relatively easy to me. I just notice how the eye reaches and flows and focuses around a certain landscape item. I notice the scene itself, as well as how my eye responds to it.

SR: I’ve heard you speak about drawing attention to or eliminating information from the picture. Those feel like strategic choices, and I’m wondering if you can describe the process.

Sol Duc Forest, Olympic National Park. Published by permission.

TR: If I have a subject or an anchor for the photo, I want to decide where to put it in the picture. And it’s usually not smack dab in the middle. It’s usually best to begin with some of the general rules of photography, such as the rule of thirds. That means dividing your frame into horizontal and vertical thirds to create four points where those lines intersect. Typically, it’s a good idea to put your main subject in one of those four intersections. It doesn’t mean you’re locked into that. It just means that’s a good place to start.

Then, I consider how my eye moves around that frame. Do I need to crop out details that pull the eye away from my anchor? Or if I’m walking on a trail, for example, and it leads up to a mountain peak, my eye will naturally follow the trail. If I’m aware of that and use that detail in my composition, it will help give the photograph some depth that leads the viewer into the picture toward my main subject.

SR: Are you conscious about evoking emotion in your composition process?

TR: I think that’s the deepest part of a photograph for me. And the emotion might come from the entire experience I’ve had in capturing the photo. That might mean how I got to that location. It might mean that I waited out a storm for the clouds to clear, and then, miraculously, a beautiful scene reveals itself. Emotion to me is the very essence of a photograph.

SR: Can you tell me about an experience you’ve had like that?

TR: There was a time in Oregon when I wanted to photograph a remote mountain lake at sunrise (see the picture of Trillium Lake, pictured at top). So, I drove there and tried to sleep in my car overnight. I was rewarded with one of the most incredible sunrises—a crystal clear lake with a mirror image of the mountain in the background. It was pitch dark when I got there. I had no idea what the morning would bring. But I made the effort, and it was incredible.

There was only one other photographer there, and we just looked at each other with wonder. It was almost as if we were saying to each other, “I can’t believe we’re visualizing this incredible sunrise and nobody else is around.” The emotion comes out of the whole process. It doesn’t always work out the way I hope, but I have to be open to the possibility. The voice in my head always tells me, “Well, if you don’t go, you’ll probably miss the best sunrise that’s ever been made.”

SR: So, the lesson is to embrace all aspects of the experience as part of the wonder that you’re creating in your life through photography.

TR: Yes. I’d also say that you join a community through those experiences. Most photographers are happy to help with instructions and tidbits about what they’ve learned. Rarely do you find someone who is not forthcoming with helpful information.

SR: And the experience doesn’t stop after you snapped the picture, does it? You also have the opportunity to edit the photo to bring out the wonder of what you saw when you were in nature.

TR: Yes, and the individual expression you can bring to it. It’s interesting that you can have two people who are side by side taking the same photograph, but they will come up with completely different final images. That’s what makes it so exciting.