here<\/a>.<\/p>\nChanda said she\u2019s witnessed an increased interest from parents and caregivers in \u201ccontent that is more socio-emotional, rather than more hard curriculum like ABCs and STEM and numbers and math. It corresponded with some of this global polarization that\u2019s happening in our political world. There\u2019s also the rise of bullying and anti-bullying initiatives. Parents want content to grow great humans, as opposed to being more traditional school-based curriculum.\u201d<\/p>\n
\u201cParents need help,\u201d Mazzucco added. \u201cChildren are more exposed than ever to a constant and very accessible flow of audiovisual content that is not so well controlled. More than ever, children have to find a way to enhance their [self-esteem]. Our role as a content provider for children is to give them inspiration.\u201d<\/p>\n
\u201cIn the last decade, we\u2019ve all seen this reduction in the influence of the big legacy platforms, broadcasters particularly,\u201d Shields said. \u201cWe\u2019ve seen the shift over to an on-demand model. And so the audience also has become more empowered. Instead of grown-up programmers making decisions about what to schedule, the audience makes the decision. I agree that social-emotional programming is very sanctioned by grown-ups. But at the end of the day, the impulse for this story comes from young children, and they know what they like and they\u2019re a very discerning audience. As you\u2019ve shifted more power toward the audience with on-demand, whether it\u2019s AVOD or SVOD or mobile, the audience has chosen emotional narratives they can relate to to a greater extent.\u201d<\/p>\n
Chanda concurred, adding, \u201cWith kids\u2019 ability to navigate, they must be engaged by the storylines and great socio-emotional storylines that actually connect to their real life, to their every day, that make them laugh. That\u2019s ultimately what is keeping them from swiping away. So, it\u2019s in all of our best interests to make sure that this content connects at a very basic level, which means great characters and strong emotional connections to not only the stories but what the characters are going through.\u201d<\/p>\n
The panelists then highlighted the ways in which social-emotional learning can be incorporated into content. Chanda observed that in preschool, almost every project contains social-emotional themes because they \u201cshow how kids interact with each other or how to be a good friend or to understand someone else\u2019s perspective. That is baked into the stories because of how simple and \u2018gettable\u2019 the stories need to be for that young audience. That bucket of socio-emotional is so massive. It\u2019s kindness, it\u2019s empathy. It\u2019s emotional intelligence. It\u2019s gratitude. It\u2019s being shy. It\u2019s embracing differences. There are so many human traits that fall into that bucket. So, there\u2019s an argument to be made that all stories are socio-emotional, at least the good ones.\u201d<\/p>\n
Shields quoted the American educator Julia Cameron, noting that \u201c\u2018stories are equipment for life.\u2019 Feelings are supercharged in importance in 2-, 3-, 4-year-olds, before their cognition kicks in and gets them to where they can calculate reality. So, telling stories to do with loss, jealousy, anger, frustration, impatience, that are at the right pace, using the right language for their age range, they\u2019re really equipping them. And if you\u2019re equipping them with stories that are giving them a hinterland beyond their lived experience, you\u2019re just giving them equipment. You\u2019re nourishing them in a way that nothing else can.\u201d<\/p>\n
Atlantyca\u2019s book-based shows skew older, targeting kids 6 to 12. \u201cWe have always aimed to balance not only education and entertainment, but also the social-emotional aspect into storytelling,\u201d Mazzucco said. \u201cThe emotions very often are the triggers of the narrative development.\u201d<\/p>\n
The MIAM! slate covers multiple demos, Errea noted. \u201cWe are really concerned about how our shows can make a positive impact on the audience. We want to entertain kids, but give them some keys to live better together and build a better world. Social-emotional learning is part of this. How do you behave in a group? How do you live better in the community? I think social-emotional learning can be integrated through two mediums. The first one is through relatable characters and strong personalities, but also through stories, like what are the situations our heroes will experience, and how will they have conflict resolution?\u201d<\/p>\n
Stalcup then asked the panelists to weigh in on the importance of using consultants. \u201cYou can get quite granular in terms of how specific you are with your curriculum and who that educational consultant is in their particular expertise,\u201d Chanda said. \u201cI prefer working with people who are more generalist and know the audience, especially with social-emotional learning. If the story itself and the characters in the way they behave don\u2019t resonate with the audience, then the messages will fall flat or won\u2019t land.\u201d<\/p>\n
\u201cFor broadcasters, it\u2019s very important to know what kind of consultants worked on the show to have authentic stories and relatable characters,\u201d Errea added.<\/p>\n
Regarding Atlantyca\u2019s book-based content, Mazzucco said, \u201cThe consultant comes into the process at the very beginning of the content, before the books are written.\u201d<\/p>\n
The discussion then moved to rollout strategies and the benefits of linear broadcasters and streaming platforms when it comes to building brands.<\/p>\n
\u201cIt\u2019s definitely true that terrestrial platforms across the world have lost audience share,\u201d Shields said. \u201cMost of them are under similar kinds of economic pressures too, so they\u2019ve lost budgets. More recently, they\u2019ve lost some talent. I think that\u2019s an issue for us as professionals in this industry because they historically have been great centers of excellence for training and for building craft skills among young people in our industry. There was a period of really painful, marshy ground, where there was a religious divide, where within all of these big organizations, half of the teams were arguing for exclusivity and they wanted their rights and they wanted only their rights. And another group was arguing for rights to be spread across all the new platforms, a more ubiquity model, so that the audience could get access to them. As producers, very often we\u2019re right in the middle of that discussion. Is it an either\/or between legacy channels and on-demand channels? In an ideal world, no, it\u2019s both. We\u2019re looking for a constellation strategy, where there are many points of light, and we have an emotional scheduling approach to the audience, which is it might be Sunday morning on the big TV in the family room, but Wednesday evening it might be on dad\u2019s iPad or their own tablet. They might be visiting their cousins and are on mum\u2019s phone. We want to make sure that our storytelling and our characters are available wherever they want to view us.\u201d<\/p>\n
Chanda added: \u201cThe terrestrial platforms are also more in a position to market their material than the streamers have been able to, so there is just some very basic value there that the streamers have not been able to capture. If you launch all the episodes at once, the kids can just burn through it. And then it tends to be a little harder to find after you\u2019ve seen it. It\u2019s not built to tee up what kids have already watched. It\u2019s built to tee up new content, which for a young kid audience, doesn\u2019t necessarily foster that franchise build. That binge-and-purge model is harder to create any kind of long-term connection with your audience.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
The best approaches to delivering social-emotional learning in content were debated by Atlantyca Entertainment\u2019s Claudia Mazzucco, Acamar Films\u2019 Mikael Shields, Lion Forge Entertainment\u2019s Koyalee Chanda and MIAM! distribution\u2019s M\u00e9lanie Errea at the TV Kids Festival.<\/p>\n","protected":false},"author":290,"featured_media":26831,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[744,1337,8893,8355,7499,8456,6400,8930,9024],"class_list":["post-26830","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-acamar-films","tag-atlantyca-entertainment","tag-claudia-mazzucco","tag-koyalee-chanda","tag-lion-forge-entertainment","tag-melanie-errea","tag-miam-distribution","tag-mikael-shields","tag-tv-kids-festival-2024","pmpro-has-access"],"yoast_head":"\n
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