|Title||#BPM100 DANCE PROJECT|
|Brand||JAPANESE RED CROSS SOCIETY, BYTEDANCE KK|
|Product / Service||#BPM100 DANCE PROJECT|
|Category||B02. Non-profit / Foundation-led Education & Awareness|
|Entrant||JAPANESE RED CROSS NATIONAL HEADQUARTERS Tokyo, JAPAN|
|Idea Creation||TBWA\HAKUHODO INC. Tokyo, JAPAN|
|Idea Creation 2||BYTEDANCE KK Tokyo, JAPAN|
|Media Placement||BYTEDANCE KK Tokyo, JAPAN|
|PR||TBWA\HAKUHODO INC. Tokyo, JAPAN|
|Production||TBWA\HAKUHODO INC. Tokyo, JAPAN|
|Production 2||DISCO Tokyo, JAPAN|
|Kazoo Sato||TBWA\HAKUHODO||Chief Creative Officer|
|Hirotaka Fukatsu||TBWA\HAKUHODO||Head of Production|
|Nobuhiro Arai||TBWA\HAKUHODO||Creative Director|
|Konosuke Kitta||TBWA\HAKUHODO||Communication Designer|
|Kyo Hakamata||TBWA\HAKUHODO||Planning Director|
|Katsuhiro Simizu||TBWA\HAKUHODO||Art Director|
|Norihito Takahashi||TBWA\HAKUHODO||Music Composer|
|Taisuke Kudo||TBWA\HAKUHODO||Business Producer|
|Kyosuke Hashimoto||TBWA\HAKUHODO||PR Planner|
|Mitsuyoshi Kimura||TBWA\HAKUHODO||PR Planner|
|Kiyotaka Sumiyoshi||TBWA\HAKUHODO||Motion-graphic Designer|
|Genki Fujimura||TBWA\HAKUHODO||Creative Coordinator|
|Seiya Matsumiya||Black Cat White Cat||Music Producer|
|Akira Suzuki||Bytedance KK||Executive Creative Director|
|Takashi Kibe||Bytedance KK||Creative Producer Director|
|Takuya Yamaguchi||Bytedance KK||Head of Public Policy, Japan, Korea and Mongolia|
|Ryunosuke Goto||Bytedance KK||Director of communications,Japan|
|Jing Wang||Bytedance KK||Business Producer|
|Masumi Otaki||Bytedance KK||Business Producer|
|Nan Geng||Bytedance KK||Marketing strategy director|
|Xiaobin Liu||Bytedance KK||Marketing strategy manager|
|Shota Okubo||Bytedance KK||Casting Producer|
|Yoyo Liu||Bytedance KK||Head of Operations|
|Ke Zheng||Bytedance KK||Head of Creator Partnerships|
|Chuwei Qiao||Bytedance KK||Monetize Operation Manager|
|Masumi Kakizawa||Bytedance KK||Monetize Operation Manager|
|Chiaki Tamura||Bytedance KK||Account Director|
|Ayami Wada||Bytedance KK||Advertising Operation Division Director|
|Tan Chin||Bytedance KK||Client Solution Manager|
This idea uses entertainment as a key component to promote learning CPR. We reimagined the rhythm and movement of the one hundred chest compressions per minute of CPR into a dance. This project sought to heighten interest in healthcare and influence behavior by using the power of entertainment.
There are no restrictions regarding promotion of CPR. However, if proper information is not provided, it could affect people’s lives. Which is why, starting with the Red Cross, the project was supervised by professionals with proper CPR licenses. The celebrity dancer who choreographed our dance also completed the CPR training.
The main target is teens and preteens 10~20 years old who feel CPR is too complicated to learn and is uninterested in learning CPR. To earn their interest, we used the entertainment factor of music and dance, and used TikTok to move their heart and bodies.
Each year, drowning and car related tragic accidents are increasing. However, the real issue isn’t the total number or accidents, but the survival rate CPR increases the likelihood of survival three fold, however awareness is low on how to properly perform CPR, especially among younger generations, Our objective was to breathe life back into CPR education in a new way.
BPM100 is an entirely new social edutainment content. The Red Cross collaborated with a nationally recognized celebrity dancer to choreograph CPR into a dance and music and launched it on TikTok; a platform that connects people through music and dance. Anybody could learn the fundamental rhythm and movement of CPR through a fun dance.
[Data Gathering] -There is a large gap between the survival rate around the world. Compared to 60~70% in western countries, in Japan, the percentage is alarmiongly low at only 10%. -Over 60% of young people in Japan do not know CPR or afraid to learn. [Target Audiences] -The main target is young teens and preteens from age 10~20 who feel CPR is too complicated to learn and is uninterested in learning CPR. -They have a social presence online and connected to a digital community that shares experiences online. [Approach] -We sought to use TikTok as a platform that has the most potential to spread dance and rhythm to the world. -This was the first time CPR became viral using dance and music as the approach to reach young people.
-Supervised by a lifesaving technician, the movement of CPR was choreographed into a dance by a celebrity dancer. -We launched the campaign in the summer when the number of drowning accidents are high. -Collaborated with 4 TikTok influencers so the BPM100 will be danced and shared organically. -Collaborated with the Lifesaving Association and other organizations to help spread awareness of the campaign. -Held a press event to share the campaign in the national media. -Held CPR learning events at schools and beaches and expanded promotion outside of the mobile phone.
After launch, the dance immediately went viral. From teens to adults, we succeeded to promote CPR in a way that is fun for all ages. For the first time ever, we made CPR into a national dance movement. -Acknowledged by the government -Many NPOs participated in the movement. -Endorsed by music labels such as Sony Music.. -Earned 1.1billion media impression. -Earned 16 million views *one month after launch. -Planning to launch supplementary CPR training programs. -Using TikTok’s platform, planning to launch regionally in countries around Asia.