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P.M. slams negligence

By Lanuola Tusani Tupufia ,

2240 Hits

NO MINCING WORDS: P.P.S Managing Director, Fanene Samau Sefo and Prime Minister, Tuilaepa Sa'ilele Malielegaoi.

Prime Minister, Tuilaepa Sa’ilele Malielegaoi, did not mince words yesterday when he was asked about the deadly fuel tank fire at the Matautu wharf on Monday.

“This is what happens when people are negligent,” he said.

According to Tuilaepa, if the fire had spread to the other two tanks nearby, he is certain the entire Apia Township would have been affected.

“If it exploded, it would’ve burnt the Tusitala, the big government buildings heading to the Parliament house and other buildings because this (in Sogi) is where petrol is stored,” Tuilaepa said.

Accusing the workers and the company responsible, P.P.S, of being negligent, the Prime Minister said there should never have been any work that involves fire near the fuel tanks.

He also assured that the government is already looking at a plan to ensure what happened on Monday is not repeated.

 “To protect us from such negligence, there are plans to remove the fuel tanks and relocate them somewhere far away that is not near the big buildings (in town) and where people are crowded so that no one will be affected,” he said.

Tuilaepa said he is extremely grateful to God for his protection and the firefighters who battled the blaze. He is also grateful that it was diesel tank, which caught fire, not the petrol or the gas one.

 “That is why it was easy to put out the fire because it was diesel and it doesn’t explode like petrol.

“It is why we shouldn’t sit around because the development of Samoa is continuing to grow and in another 40 years, there will be a lot more containers coming in.”

So what is the government’s plan?

Tuilaepa believes the planned international wharf at Vaiusu is the way to go.

“It’s not a plan that can be done next year,” said Tuilaepa.

“There needs to be discussions on financing it because if we don’t start talking about it nothing will be done.”

The Prime Minister recalled that the first year a survey was conducted on a wharf at Vaiusu was 1972. He said after the findings the report was put away and was only dug up again when a lot of issues in terms of space surfaced at the Matautu wharf.

Two days ago, claims that the fire could have blown up the wharf, destroying a large part of the Apia waterfront and placing hundreds of lives at risk, were rejected by Petroleum Products Supplies Ltd (P.P.S).

“The tanks were designed in a way that it cannot be destroyed by a fire,” said P.P.S. Managing Director, Fanene Samau Sefo.

 “I believe the evacuation was called for precautionary measures but with the fire alone, there wouldn’t have been a time when it would spread outside of the tank. The tanks are surrounded by a cement wall so if there is any fuel leakage it is contained inside the bund wall.”

Fanene also downplayed the concerns about the pipeline that pumps fuel from the wharf to P.P.S’s main terminal at Sogi.

“This pipe is buried six feet deep underground,” he explained. “When the incident happened, the workers shut down all fuel valves and there isn’t any possibility that a problem like that will happen because any fire requires oxygen…no oxygen can get through down where the pipeline is locked.”

According to Fanene, the explosion happened when two P.P.S workers – including the man who died – did maintenance work.

 “They started work from the first tank, second and it was the third and last tank where the incident happened,” he said.

A consultant responsible for the design and supervision of the tank team, Peseta Konelio Tone, said it is understandable that what was seen made people believe that the fire could have spread outside the tank.

He maintained, however, that the tanks are designed to a standard that is safe. Even if the lid had blown off, there are other measures to prevent a fire.

According to Peseta if the oil had spilled, there is a separator tank that can be used to extract the fuel so that the environment will not be damaged and people living close to wharf would not be affected.

© Samoa Observer 2016

Developed by Samoa Observer in Apia


Why I chose to volunteer in Uruguay:

I am 28 years old, I am from Germany and for my daily living I work in an office.

I wanted to get out of my daily rountine for a while where I used to worry about deadlines, the quality of my work, traffic jams and what I am going to cook tomorrow. I wanted to get out of the office and explore another country, to see how people are living in a completely different context.

Thats when I decided to take some time out and participate in a volunteering program in Uruguay.

Why Uruguay? Well, I did my exchange semester in Argentina and before starting my social work I had already spent several months in Uruguay- in a more touristy kind of way.

What fascinated me the most about Uruguay are the immigrants from mostly Spain and Italy who introduced their culture in a very new way. A typical Uruguayan is now 2 or 3 generations away from those immigrants and is characterized by a very social and friendly attitude, passion for football and barbecue, the addiction to mate and dulce the leche, their unique way of speaking Spanish and their hospitality.

Did you know that Uruguay was once very advanced in their politics in terms of their democrary and womens rights? And it has proven to maintain, to this day, it’s progresive politics by legalizing recreative marihuana consumption, gay mariage and abortion. It was quite wealthy at some point in time, prooven by those stunning old buildings which nowadays sometimes are barely maintained and partly abandoned. In Uruguay you can find many rich people having vacation houses in Piriapolis, Punta del Este and Punta del Diablo but also many poor. The poorest of them living in casas de chapa (houses made of tin plate) and revising the trash.

The complexity and multilayers of Uruguays history and society created all together a special flair which has raised my interest and made me want more.

How I got started:

I decided to participate in the voluting program offered by Spanish Herradura and started with a 4 weeks language course when I came to Uruguay. My Spanish communication level was quite good at that time, but there were some flaws in the Grammar. As I started my language course in Winter, there were fewer students so I was able to cherish the lessons, being mainly alone or with one more student.

While taking classes, Margo (the lovely owner of Spanish Herradura), remitted my CV to different places and finally introduced me to two different projects: the first one is a small house where two women dedicated themselves to work with children with a small mental disability (see also the blog “Belgian volunteer describing her experience working with Young Adults with a small mental disability”) and the second one being one of the biggest NGOs in Uruguay, dedicated to the personal development and creative transformation of the society through their involvement in a wide range of different projects. Margo set up meetings with coordinators from both projects so I was given the chance to meet with the people working on the project and gain a better insight of the work I was supposed to do.  Finally, alongside the coordinator of the big NGO, we were able to quickly find one out of the different projects that suited my interests:

I was going to participate in the education of adolescents and young adults in a youth center!

The age of the kids ranges between 12 and 17 years, from different institutional origins and socio-economic conditions. The youth center is managing a program to promote insertion, re-education and educational permanence and offers various socio-cultural spaces and trainings.

I was not really sure of what to expect, as this work was completely different to what I was used to do but nevertheless very excited to get started!

1st day at work (meeting with the team):

I started working at the youth center on a Monday as the entire day is dedicated to a big staff reunion- the perfect occasion to introduce me to my new colleagues. My future team consisted of around 6 people who gave me a warm welcome and I was able to ask some general questions related to work. In the upcoming hours I gained insight on what my work was going to be like: we discussed upcoming projects like a camping that was going to be realised in the next month, the scheduled activities of the week, issues regarding the adolescents, exchanged experiences and shared some mate (of course).

I was told that generally speaking, in the mornings different topics are taught to those adolescents who do not go to school or do not participate in a formation. In the evenings there is a small group meeting with the educators before and after the activities to discuss the plans for the day as well as any recent happinings. The afternoon activities with the adolescents then consisted of doing homework together, sports, playing tambores in the streets and several creative activities… and as a must: a small merienda in between which is a snack during the afternoon.

Link to Facebook


How to Handle Criticism as a Highly Sensitive Person

Boom. Criticism GONE. Is it Possible?

Let's pretend for a second that any critical remark that came your way
went right through you and didn't even make you budge.

Are you someone who falls apart when you're criticized?
As a recovering perfectionist, holy crap, I didn't know it was possible not to.

Because of my intense fear of negative feedback,
being misunderstood, and the sting of a critical remark,
I did everything in my power to not mess up.

I would think through every detail before putting it out;
I would throw something away and start over 5x before going through with sharing it;
Or I would downplay my ideas or project BEFORE anyone had a chance to say anything about it.

It was as if I was constantly apologizing for not being everything to everyone
in every project, idea, or inspired idea that came through me.

No wonder I was overwhelmed in the first 2 years of my business,
and was in hiding more than I allowed myself to Be Seen.

I knew deep in my heart that I wanted to help others.
I knew that I wanted to make a positive impact in the world around me.

But the anxiety and fear to actually step into the spotlight and risk criticism
and negative feedback was enough for me to almost call it quits.

Can you relate?

In this week's video, I share 3 shifts in perception
that will help you dissolve any negative emotion around
negative feedback and criticism that comes your way.

Please share with a friend or family member if you found this helpful.

And leave a comment below!
Which perception shift resonated with you the most?

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Consensus Algorithm

The public Aergo network uses Delegated Proof of Stake (DPoS). This article explains some of the main concepts and their implementation in Aergo.

Block Producer (BP): In Aergo, only a limited number of nodes generate blocks. They are called Block Producers. BPs are elected via users’ voting, where the voting power is weighted by each voter’s staked tokens. Based on this voting, BPs are re-elected round by round so that they can be changed over time. The number of BPs and the number of stand-by BPs (candidates) have not been decided yet.

Staking: DPoS uses a weighted voting system, where the voting power weighted by staked tokens. Hence, a voter must stake one’s tokens for voting. The detailed policy about staking/untaking has not been decided yet. This includes the minimum amount of staking and the mandatory days of staking.

Voting: Any user with staked tokens can vote for BPs by using a voting transaction. But the voting results are not affected immediately. The current BPs are elected based on the voting result gathered at the block number: (<current block number> / <the total number of BPs> - 1) * <the total number of BPs>. In other words, the voting results gathered in the past (approximatedly 1 round before) are used for stability (recent blocks may be rollbacked via a reorganization).


2018-2019 HTDTWT Seminar Anselm Franke: Frontiers and Mediality: The S/O Function - from month to month

Seminar 4 February

Is there a way of defending what is specific to the aesthetic without affirming the capitalist-colonial functions of its disciplined forms? How do we practice, describe and defend that specificity while resisting its reification and/or symptomatic compensation and displacement? When, for instance, does narrative form betray the very "aesthetic destabilization of the subject’s hermeneutic access"? In the February seminar, we will continue to explore the SO-nexus and its institutional exposition through the juxtaposition of its technological framing and genesis, its ideological configuration and the ontological insecurity of aesthetic experiences. Reading material for this discussion will be Spivak’s Aesthetic Education in the Age of Globalization, Felix Guattari’s  Chaosmosis and Erich Hörl’s “The Technological Condition”.

Spivak, Gayatri Chakravorty. An Aesthetic Education in the Age of Globalization. Cambridge: Harvard University Press, 2013. READ: "Introduction" (page 1-34).

Guattari, Felix. Chaosmosis: An Ethico-Aesthetic Paradigm. Indiana: University Press, 1995. READ: "The New Aestic Paradigm" (page 98-139).

Hörl, Erich. "The Technological Condition." Parrhesia 22 (2015): 1-15. READ: whole Essay.

Seminar 3 January

Do we have historical accounts of technology, and their function in reorganizing the subject/object nexus, that are not linear, cumulative and progressive? The January 2019 seminar discusses how media technologies reorganize the senses and how accounts of the history of technology remain largely within the framework of the teleological narratives of progress underpinning colonial modernity. How is the reorganized relationship between body and technology symbolized within a technology?

Using Ken Jacobs’ cinematic renderings of stereoscopic photographs of 19th century cotton plantations as a starting point, we look at examples of how the historical paradigms associated with technologies of production and representation becomes both embodied, enacted and reflexively thematic in specific works of art. What concepts of time and productivity are contemplated and exposed in such reflections, what image of history is thus projected? And how do we account for the relation between the technological and capitalist-colonial reorganization of this "SO-nexus" in relation to the fields and institutions of modern culture and art? What are the continuities of colonial frontiers operating within media technologies today, in relation to abstraction, measurement and quantification? What in the Western world is referred to as the postwar era marks a period in which these questions were both confronted and deferred in the realm of art.

We will discuss the central position that overcoming the subject-object dichotomy has held in aesthetic debates of postwar “ high” modernism, specifically referring to Juliane Rebentisch’s Aesthetics of Installation Art, and her critique of what she calls the objectivist misunderstanding of autonomous art in high modernism, and her defense of a concept of aesthetic autonomy that upholds an aesthetic difference while accommodating for the transgressive and “impure” medialities produced by installation art. We will survey the stakes at play in assessing the ideological and exploitative subject-object asymmetries in High Modernist-debates on theatricality, the critique of the commodity form, of voyerism, reification and spectacle, of alienation, empathy and ethical response, of the false collapse and appropriate distance between subjects and objects and subjects and subjects.

Rebentisch’s attempt at a normative description of aesthetic autonomy and aesthetic difference as being grounded instead in an event between subject and object, and her account of the doubling into thing and sign as inherent to every encounter with an artwork  - and the political potential of that doubling -  ends up suggesting that the major function of works of art today is to progressively render the material conditions and social conventions, implicit interpretative schemes and background assumptions applied by viewers to works of art, reflexively thematic - a process that she qualifies as an "aesthetic destabilization of the subject’s hermeneutic access to the aesthetic object.”

But at what point does her - Eurocentric - account of the discursive currency and institutional status of such destabilization and progressive explication of the previously implicit undermine its own viability, because that which ought to become thematic as scheme and assumption - the ontological, disciplinary divides of capitalist modernity - undermines the possibility of upholding a normative, stabilizing distinction between the (arguably historically recent) institutionalization of art - and of aesthetic autonomy - and its others/outside?

Seminar 2 December

Seminar 2 will then leap forward into the present, and engage with theories of aesthetic experience in relation to installation art. Juliane Rebentisch’s reconfiguration of autonomy in relation to aesthetic experience, and her account of how the problem of the subject-object distinction has informed postwar art history will provide a useful counterpoint to the material dealt with in Seminar 1. Seminar 3 will then introduce anthropological theories of art, mimesis and mediality.

Rebentisch, Juliane. Aesthetics of Installation Art. Berlin: Sternberg Press, 2003.

Seminar 1 November

S/O Function and “Medialgebiet”

The beginning of the twentieth century ushered in a sustained, widespread crisis of ideas concerning representation, identity, and perception which were founded on a dualistic conception of subject and object. Time and space became dynamized and fragmented, reality was increasingly experienced as relational, processual, and unrepresentable. The triggers for this transformation included the theory of relativity, quantum physics, the mathematical formalizations of logic, and the development of an electromagnetic transmission culture. Presaged by the “impossible” mathematical operations with imaginary numbers, a new understanding of radically autonomous signs and symbolic functions—beyond meaning, interpretability, and perception—emerged. The downfall of the order of representation, however, did not simply result in an “anti-mimetic” character of modernist avant-garde works, as mainstream theories and histories of art often assert. In this seminar, we attempt to unearth a counter-narrative, focussing on mimesis and mediality as anthropological faculties rather than mere artistic techniques, as embodied processes rather than as copy or imitation. The colonial encounter, and the questions raised by ethnology, in which mimetic, non-dualist (and hence “irrational”) approaches to the world were foregrounded, had an impact that was comparable and at least complementary to those of the natural sciences. Focussing on an anthropological understanding of mimesis furthermore helps shed light on an often neglected dimension of what was at stake in the notorious “primitivism” of the avant-gardes: the primal mediality of being, our originary conditioning by our milieus, the non-dualistic dimension that emerges when the orientation toward substance, thing, or genus, which organize being in discrete entities, is suspended. This dimension enforces a “cosmotechnological” reconceptualization of participation, agency, and subjectivity and that we will discuss in the seminar under the rubric of a “general mimesis”. For this reconceptualization, which is crucial to our contemporary understanding of the cultural transformations and precarious subjectivations in the digital era, the relationship between autonomous signs, meaning and the mimetic, between symbolic functions and the non-dualist approaches to the world found in ritual, myth and magic needs to be examined.

The first seminar is starting with a discussion of the “S/O Function,” a cryptic formula from art historian and critic Carl Einstein from the 1930s; and the notion of the “Medialgebiet” (medial area) by Paul Klee, found in the Pedagogical Notebooks of the 1920s. Their sketchiness and idiosyncracy notwithstanding, they are also representative and symptomatic of attempts at overcoming dualistic, and especially idealistic conceptions within the arts in the first half of the 20th century. They will serve us henceforth as a backdrop against which we want to test contemporary theoretical projects and tendencies in the arts and beyond, from theories of aesthetic experience to anthropologies of modernity and technology. Not only because it appears that the critique of the dualisms of European standard metaphysics and the ontological subject-object distinction is, despite changing circumstances, as pertinent today as it was during the foundational crisis of modernity/modernism a century ago. The question of the mediation of subject and object in the arts is arguably also a central topic of modern aesthetics. In this seminar, we will explore the relation between anthropological and aesthetic theories: Einstein’s and Klee’s concepts will allow us to move between the macro- and micro-scales corresponding to anthropology and aesthetics respectively, in order to test the formal and immanent properties of images with and against the backdrop of theoretical abstractions. The seminar’s recourse to “classical modernism” and the foundational crisis of all knowledge systems at the early 20th century will prove useful for a deeper and nuanced understanding of the status and relation between theory and art today.

What makes both Klee’s and Einstein’s concepts worthwhile is that their answer to the problem of the subject-object distinction is not an equally reductive monism which seeks to dissolve the matter/spirit and mind/body distinction into either direction - objectivism or subjectivism, etc. Rather, both concepts understand the elements of the dichotomy no longer as antecedent to relations; instead they are now understood as their (always temporary) effects. They thus undermine a fixed understanding of the subject/object split through a dynamic understanding of their relation conceived from the point of their co-constitution and practical mediation - as if from the middle. Instead of relegating the dimension of mediality into an imaginary “before” - a deep time of the primitive both in history and individual development - these concepts are insisting on its dialectic relationship to modernity. In the lens of the “S/O Function,” (subject/object function, also subobjective function), subject and object do not exist as pre-existent and fixed entities or substance, but rather are functionally related - wherein “function” is to be understood akin to the mathematical expression of a relation. For Carl Einstein, art is the trigger and catalyst of such a “functional”, that is, dynamic process mediating the real - reality is both transformed by being opened up towards metamorphic processes and temporarily fixated in works of art. This dynamic, metamorphic realm of the “subobjective” wherein the experiential encounter with works of art for Einstein takes place, is analysed in his writings on art in terms of the (mytho-)poetic, the hallucinatory, and conditions of trance - in each instance a clear division between an inner and outer reality is transgressed. Einstein’s theory of the “S/O Function,” is thus closely related, but also deviant from orthodox surrealism, wherein hallucination figured as motif of inspiriation and mediumship, the exteriorization of the unconscious and possession by external forces.

Paul Klee’s “medial area” appears in a diagram that seeks to illustrate the realm in-between “active” and “passive” formal elements  - such as the bounding or debordering function of lines and surfaces in the formal structuring of the pictorial plane. It is thus not directly applicable to the subject-object distinction or its overcoming. Yet these formal considerations related to laws of visual composition were for Klee indeed also considerations on the laws and principles of cosmogony, of world-building and primordial symbolizations - and as such they are invested in a radical opening up and de-hierachization of the ontology based on the subject-object distinction. Hence his conception lends itself to a deeper understanding of the role of images in cosmographic terms, and particularily, to an interrogation of the nexus between the active and the passive, making and being-made - the “medial area” where poeisis and pathos interact in ways whose articulation is systematically foreclosed by the epistemological assumptions of dualism. Both Klee and Einstein have deviced tools that are capable to liberate art from its isolation as “autonomous” object of merely aesthetic contemplation, and open it towards anthropological speculations. Their concepts are vital for an understanding of the relation between theoretical attempts at surmounting metaphysical dualism and the shifting ontology of art throughout the 20th century.

Holert, Tom and Anselm Franke (ed.). Neolithic Childhood. Art in a False Present ca. 1930. Zürich/Berlin: Diaphanes/HKW, 2018. READ: The short glossary entries: “Formalism” by Jenny Nachtigall (p. 117) and “Function” by Tom Holert (p. 125).

Klee, Paul. Pedagocial Sketchbook. München: Albert Langen Verlag, 1925.

Quigley, David and Carl Einstein. A Defense of the Real. Wien: Schlebrügge, 2007. READ: Chapter “Hallucination, Sensation and Revolution Now,” p. 129-183.

Zeidler, Sebastian. Form as Revolt: Carl Einstein and the Ground of Modern Art. Ithaca, NY: Cornell, 2017. READ: Especially chapter 3, “Cubism’s Passion,” p. 91-157.

Hörl, Erich. “Variations on Klee's Cosmographic Method.” In Grain, Vapor, Ray. Edited by Katrin Klingan, Ashkan Sepahvand, Christoph Rosol, and Bernd M. Scherer. Cambridge/Berlin: MIT Press/HKW, 2014.

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216 poisonous frogs found abandoned inside airport toilet

The animals had been packed inside film canisters.

Colombian Police found 216 live poisonous frogs hidden in a bathroom at Bogota Airport, the District’s Environment Authority said on Wednesday.
The animals had been packed inside film canisters.
They were meant to be smuggled to Germany to be sold to collectors, the daily El Espectador reported.
The smugglers may have got frightened of being caught and abandoned the animals, according to the daily.
The frogs could have been sold for about $400,000 on the black market, according to the environment authority.
They are believed to have come from Colombia’s Pacific region and are from three species: the red-banded poison frog, classified as critically endangered, and the harlequin poison frog and Oophaga sylvatica frog, which are threatened by habitat loss.


All in Press Freedom

The Media Project's 2018 Coaching & Leadership Fellows

TMP’s flagship Coaching & Leadership Fellowship program just wrapped up in St. Petersburg, Fla., where we hosted a week-long workshop Oct. 7-13 at the Poynter Institute. Fellows participated in a series of interactive sessions on leadership principles they can use in their newsrooms. strategic thinking, global fact-checking, social media, coaching writers, using feedback, resolving conflict, and improving newsroom collaboration.

Journalists feel the heat as Kenya ramps up fight against corruption, President Kenyatta seeks divine intervention

The Kenyan media is fighting back against politicians who are determined to restrict them from exposing corrupt deals. This comes after President Uhuru Kenyatta approached the church seeking divine intervention and comfort after he lost friends who were unhappy with his stance against theft of public land.

The Archbishop of Delhi's Call for Prayer

Why has a letter by the Archbishop of Delhi to all the Parish priests and religious institutions in the Archdiocese of Delhi with the subject ‘Prayer for our nation’ created a firestorm in India? The media suddenly is abuzz after several different voices across the political spectrum cry foul that the letter is meant to divide the nation on communal lines. Notably, the right wing Hindu organization’s ideologue called it a "direct attack on secularism and democracy."

The State of Journalism in Argentina

Since the beginning of the Internet, traditional media has tried to adapt to new technologies and business models. Newspaper sales are declining and online media adds pressure as they compete for reader’s attention. Journalism in Argentina is now facing economic crisis. Our biggest newspapers, La Nación and Clarín, are reducing their staff while others close their doors. This is not only a newspaper problem, it is known that radio & TV stations are firing journalists, as well.

Ten Ethics Lessons from the #MeToo Movement in Media -- and Beyond

It is a time of reckoning in the media industry. Breakthrough reporting revealed that newsroom sexual misconduct is both pervasive and protected. That truth became the catalyst for the #MeToo moment, which opened eyes by opening old -- and not-so-old wounds for all to witness. How did it happen here? How did our systems and values harbor harassment and discrimination?

ANC to punish 'irresponsible reporting'

FROM AL JAZEERA. JOHANNESBURG - South Africa's ruling African National Congress has called for the establishment of a media appeals tribunal in a bid to punish what it calls irresponsible news reporting.

The ANC's media panel met behind closed doors this week at the party's National General Council meeting to work out details of the plan.


The joys and the challenges of merging two competing organisations

  • 2min.

The Chairman of a Supervisory Board for National educational institution asked us to support him in merging two departments.

The boards of both departments needed to integrate, work together and embrace a common set values and a shared vision. To make it more complicated: these two departments had been competitors for many years.

How do you change from a spirit of “I am better than you” to “We are who we are, but, together we are stronger.”

Creating something new from something old

Our Approach

We worked with The Leadership Culture Survey to help the Board Members see what their current culture and systems look liked and how it compared with the culture people desired. In effect, we too a Culture Inventory to find the common values and way of working between, historically, two opposing teams,

Identify the share purpose and ambition for the two Boards

The insights that were created reflected the inner assumptions of each of the individual leaders, towards both themselves and their other team members. The Leadership Circle 360 bridged the gap between culture and leadership and helped to identify perceived and actual behaviours amongst the key leaders and Board members. Off the back of the survey we ran one-on-one debrief and insight sessions to fully understand the dynamic for each of the leaders. It was clear from the results that the Board had their work cut out and there was a significant difference in how leadership was acting and how they were talking.

In short – the merger as it stood, would not work. Had they continued it would have failed for the simple reason that the leadership was not doing what they talked about and that is not a culture worthy of trust.

This insight was a massive eyer-opener and shifted leaders out of the reactive behaviour to start a journey of embracing the competencies and transparency necessary. They bravely chose for a purpose driven leadership that was rooted in honesty, complete transparency and a clear vision for their merged future,

How to change your own behaviour?

  1. Twice a month we held sessions locally to train teams in new, agile ways of working
  2. Together we created a common language and supported them to be role models of this new language in their local teams
  3. We supported them to break old patterns and habits
  4. We coached the senior leader of both departments on an individual basis. What role models are needed? What is holding you back from being truly present and delivering? How to shift as a leader between being the visionary at the front to the supporter at the back?

  • Team members who truly trusted their leadership, who could see them walk the talk and acting in a transparent way
  • Successfully transition from two competitors to one team
  • Developing new skills to ensure the journey continued long after our work had finished
  • Learning how to practice change, lead with agility, support each other, work together with a shared purpose, be accountable for the behaviour and open to that accountability

For more information on the specifics or to find out how you can create successful mergers, contact Yvonne, she’d love to talk.