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==== Hosting craft ==== | ==== Hosting craft ==== | ||
- | This page is an overview of facilitation and hosting techniques practiced at FoAM for over a decade. | + | This page has an overview of facilitation and hosting techniques practiced at FoAM for over a decade. The page is structured based on the [[lecture notes]] for the participatory Hosting Craft training sessions designed by Maja Kuzmanovic in 2013-2014. As such the page is still in progress... |
//With thanks to Maggie Buxton, Simone Poutnik, Hendrik Tiessinga (and others from The Art of Hosting community), Nick Payne, Ineke Van Mulders, Edel Maex, Christina Stadlbauer, Helga Hartl and many others who have facilitated workshops, held trainings and retreats through which we experienced the practice and the craft of hosting and facilitation.// | //With thanks to Maggie Buxton, Simone Poutnik, Hendrik Tiessinga (and others from The Art of Hosting community), Nick Payne, Ineke Van Mulders, Edel Maex, Christina Stadlbauer, Helga Hartl and many others who have facilitated workshops, held trainings and retreats through which we experienced the practice and the craft of hosting and facilitation.// | ||
+ | |||
+ | |||
+ | |||
+ | ==== Session 1: The Host ==== | ||
+ | |||
+ | |||
+ | Why call sessions about facilitation methods a craft? Because it is a practice, you can only learn it by doing. It is said that by the time you put in 10.000 hours, you can consider yourself to have mastered the basics. It is also artisanal, hand-made, customised for each occasion, never the same. | ||
+ | |||
+ | Facilitation, | ||
+ | |||
+ | === Dinner party === | ||
+ | | ||
+ | |||
+ | < | ||
+ | |||
+ | * How would you describe the host? write their characteristics and actions in a connected ' | ||
+ | |||
+ | * What are the elements of a good dinner party? Make a list of key elements needed for a good dinner party (e.g. people, atmosphere, refreshments, | ||
+ | |||
+ | Visualise a cloud of characteristics and actions of the host and another one of key elements of a dinner party.</ | ||
+ | |||
+ | |||
+ | Hosting workshops or meetings isn't too different from hosting a dinner party. The role of the host in both is to: | ||
+ | |||
+ | * welcome guests | ||
+ | * set the atmosphere | ||
+ | * frame and guide conversations | ||
+ | * make sure everyone is introduced to each other | ||
+ | * encourage networking | ||
+ | * resolve conflicts | ||
+ | * manage flow and timing | ||
+ | * wrap-up | ||
+ | * send people home when it's time | ||
+ | * conclude and follow-up. | ||
+ | |||
+ | A few key things to think about when hosting | ||
+ | |||
+ | * People (host, participants) | ||
+ | * Content, conversation topics | ||
+ | * Flow | ||
+ | * Space/ | ||
+ | * Refreshments | ||
+ | | ||
+ | |||
+ | |||
+ | == The Host == | ||
+ | |||
+ | Every hosting session starts with the host, his/her presence. The host's inner and outer appearance can set the tone of the meeting. The frame of mind of a host can influence how the participants feel as well. If you're stressed or worried, this will carry into their conversations as well. It's important to take time to let your worries and moods go. The host is like a river bed that gives shape to the water (the flow of the conversations) an entity through which everything flows. If your 'river bed' consists of big mental boulders and emotional dams, the flow will be interrupted, | ||
+ | |||
+ | Begin a hosting session by making sure you're comfortable with yourself, the room, the format and the topics chosen. This begins with a good preparation, | ||
+ | |||
+ | < | ||
+ | |||
+ | * a simple 3 minute breathing exercise: begin with asking yourself "what am I demanding from myself and others at this moment?" | ||
+ | |||
+ | * a longer 10-15 minute meditation: start with focusing your attention on your breath, then your whole body, the envelope of your body and its connection to the air, the air in the room, the sounds that the air brings to your ears, (what you can see without looking), the whole room and everything in it, and expand your attention to infinity, that includes the people you're hosting, their mind-states and expectations, | ||
+ | |||
+ | </ | ||
+ | |||
+ | Aside from the inner presence, the outer presence - your appearance is as important. to begin with, your posture: try having a conversation while leaning in, sitting straight and comfortable, | ||
+ | |||
+ | Finally, what might seem frivolous - think about what you are going to wear. The lines of the clothing (angular and strict, flowing and relaxed, messy and playful…) and their colours can have an impact on the mood of the conversation as well. There are colour theories that you can look at, but you can also intuitively check with yourself what colours resonate with you - this will help you at least get in the right frame of mind. | ||
+ | |||
+ | ==== Session 2: The participants ==== | ||
+ | |||
+ | |||
+ | === The participants === | ||
+ | |||
+ | |||
+ | The participants will necessarily have different character traits. They might be outgoing, team-spirits, | ||
+ | |||
+ | If you have a chance to decide who is invited, take this opportunity to " | ||
+ | |||
+ | |||
+ | == Communication == | ||
+ | |||
+ | |||
+ | However, even in a well thought trough invitee list, you still don't know what will happen. It is the hosts' task to observe the group dynamics as it is developing and to steer it gently, or a bit less gently if the conversations are going off-track, or in circles, or if some people dominate the conversations for too long. The words gentle and patient are crucial here. Think about how children react to a calm or an abrupt interruption of something they shouldn' | ||
+ | * how about we pause this conversation for now and return to …, we will continue this thread in our next session/ | ||
+ | * I invite you to… / Let's / (Rather than You now have to…) | ||
+ | * I'd like to suggest to… | ||
+ | |||
+ | Another important aspect of hosting is observation. It is your task to observe if people are engaged. You can see this not only in how they speak, but also in their facial expression, posture, eye movements… Most of us have an intuition that tells us if someone is paying attention to us speaking. | ||
+ | |||
+ | < | ||
+ | |||
+ | * Take turns to tell a story. First person A talks, while person B listens. In the next round, person A continues to talk, but person B stops listening. Reverse roles after this round. Discuss your findings in the larger group. | ||
+ | |||
+ | </ | ||
+ | |||
+ | Having an intuition about people' | ||
+ | |||
+ | A course that can help develop your own communication skills and be more aware of how others communicate: | ||
+ | |||
+ | |||
+ | perspective of the other | ||
+ | | | ||
+ | information ------o------ experience | ||
+ | | | ||
+ | my own perspective | ||
+ | |||
+ | |||
+ | |||
+ | A good conversation is somewhere in the centre of the two axes. If you place yourself too much on either side of the perspective axis, the conversation will become a monologue (sometimes this can happen even if both people are speaking, e.g. in a conflict where both people are convinced that they are ' | ||
+ | |||
+ | < | ||
+ | * a person who is very close to you | ||
+ | * a person with whom you have a problematic relationship. | ||
+ | </ | ||
+ | |||
+ | The horizontal range is a continuum between information and experience. The two are often confused, for example when a person describe their own experience as ' | ||
+ | |||
+ | < | ||
+ | * job description, | ||
+ | * describe how you feel at your work. | ||
+ | |||
+ | Compare notes in the group. How do you talk when you describe facts/ | ||
+ | |||
+ | As a conversation host, you can be the compass for the group and pay attention where the conversation is going, paying attention to people' | ||
+ | |||
+ | In most participatory meetings the conversations should be dialogues, rather than debates. Edel Maex describes this as: | ||
+ | |||
+ | * dialogue: who are you, who am I, what are our views, and what is the vision that surpasses (or builds on) our distinct views | ||
+ | * debate: this is me and this is you, this is my view and this is yours. in a debate people come out as winners or losers, or through a compromise where everyone supposedly wins, but the vision is lost (aka belgisch compromis / poldermodel). | ||
+ | |||
+ | When designing your meeting/ | ||
+ | |||
+ | < | ||
+ | |||
+ | Throughout the session you're hosting, you should observe how the communication unfolds, look for signs of loss of attention, skewed perspectives, | ||
+ | |||
+ | |||
+ | === Icebreaking === | ||
+ | |||
+ | |||
+ | Whoever comes through the door, has come from somewhere else, and this somewhere else has necessarily an impact on how they will participate in the conversations. It needs to be acknowledged that just by walking into a space people haven' | ||
+ | |||
+ | The moment of gathering the group together is always a bit awkward. You can use a clear sound signal (a bell, a gong, a tea spoon on a glass…), or just project your voice and invite people to come to the space where your session will take place and pause their conversations. | ||
+ | |||
+ | To begin, it's good to have a short " | ||
+ | |||
+ | * "How are you?" | ||
+ | * "Shake off your worries and expectations" | ||
+ | * " | ||
+ | * Sociometry exercises - "How old are you", "Where do you come from", "Touch the person you've known the longest" | ||
+ | * " | ||
+ | * "Pick a plant and describe why" | ||
+ | * " | ||
+ | * "Pick an animal that resonates with your character and describe it" | ||
+ | * "Pick a word that describes what you're passionate about" | ||
+ | * ... | ||
+ | |||
+ | < | ||
+ | </ | ||
+ | |||
+ | ==== Session 3: The Framing ==== | ||
+ | |||
+ | |||
+ | By now we should have all the participants in the room, they arrived and introduced themselves to each other, and there is a nice buzz of anticipation. At a dinner party, people have had their aperitifs, have sat down in anticipation and you might now bring out the menu and an amuse bouche. In gatherings that we're talking about this moment is called " | ||
+ | |||
+ | |||
+ | === Thematic framing and powerful questions === | ||
+ | |||
+ | |||
+ | Aside from defining the boundaries, framing can tickle people' | ||
+ | |||
+ | Questions for group conversations are the ones that can't be answered with a simple yes or no, this or that. Otherwise the discussion will be very short. For example, a question "will we survive the next winter" | ||
+ | * how will we live next winter? | ||
+ | * what will our next winter be like? | ||
+ | * why are we afraid of the winter? | ||
+ | * what will we do to survive (and thrive) next winter? | ||
+ | |||
+ | What (if), how and why questions usually have sufficiently juicy answers to allow for interesting conversations and multiple perspectives. Why questions can be seen as patronising, | ||
+ | |||
+ | < | ||
+ | |||
+ | Paraphrasing from The art of powerful questions: a powerful question is a three-dimensional one. The three dimensions are: construction, | ||
+ | |||
+ | Before the gathering design several questions and check with someone you trust to see which one resonates better and is seen as more ' | ||
+ | |||
+ | < | ||
+ | |||
+ | Context: A bureaucrat from the Flemish Authorities asks you to host a workshop about the " | ||
+ | |||
+ | Challenge: Design a question and frame it in a way to make the invitees excited to participate. | ||
+ | |||
+ | Result: Each person presents their framing and the question. We discuss the questions and experiences in the group. Which characteristics of powerful questions can we distill?</ | ||
+ | |||
+ | (From our exercise on 20131031) A powerful question: | ||
+ | * invites you personally, not you as a group to engage with the topic (you can't hide behind the group) | ||
+ | * is phrased in a positive and stimulating way | ||
+ | * calls out for creativity | ||
+ | * connects to the participants through intuition and feeling (this might not work in all groups, the framing of the question should pad it in enough intellectual substance to speak to the more fact- and perception oriented people) | ||
+ | * has the ability to take you elsewhere and allow you to leave the burden behind | ||
+ | * works inclusively, | ||
+ | * speaks to imagination, | ||
+ | * makes the participant think: "i want to be a part of this" | ||
+ | * uses speculation and imagination to stimulate forward thinking | ||
+ | * encourages playfulness and flights of fancy (can be even seen as ' | ||
+ | * can be delivered with a joy and excitement in the voice or with calmness, softness and earnestness, | ||
+ | * reminds people of the importance of the topic (waardering, | ||
+ | |||
+ | |||
+ | === Framing the flow and participation === | ||
+ | |||
+ | |||
+ | The flow is the ' | ||
+ | |||
+ | You can start by framing the goal of the session (even if it is something like " | ||
+ | |||
+ | With the goal and the flow people will have a picture of what will happen, but still need guidelines to know how they' | ||
+ | * please chose to talk to people you don't know (so well) | ||
+ | * observe, then interact | ||
+ | * people with blue tags join breakout group in the blue corner | ||
+ | |||
+ | There can also be instructions to avoid disruptive behaviours (" | ||
+ | * allow others to finish their sentences | ||
+ | * please switch your mobile phones | ||
+ | * try to use " | ||
+ | * ... | ||
+ | |||
+ | These instructions should be short, clear and memorable. Specific instructions what to do for each session can be given in the beginning of a session. | ||
+ | |||
+ | |||
+ | //next session: 20131216 12-16h: hosting conversations// | ||
+ | |||
+ | |||
+ | ==== Session 4: The conversations ==== | ||
+ | |||
+ | After receiving the people, framing a question and setting guidelines, we finally come to the core of the hosting craft: the conversation. The central question for every host is //how to host a group conversation, | ||
+ | |||
+ | Before getting into the myriad of known formats, there are a few basic forms that anyone can host without too many rules: | ||
+ | |||
+ | === Personal - solo === | ||
+ | |||
+ | A few minutes of individual contemplation is important when the topics discussed are complex, or emotionally charged. It allows people to explore both their thoughts and their gut-feelings and come up with considered, honest answers. Posing a question and allowing a few minutes for thinking about the question, taking notes and composing one's thoughts can substantially deepen the group conversation. This type of ' | ||
+ | |||
+ | < | ||
+ | |||
+ | Participants' | ||
+ | * It brings you closer to yourself | ||
+ | * The clustering of individual responses connects the group | ||
+ | * The question from the exercise is quite existential, | ||
+ | * Knowing that there would be a reporting to the group focused the ' | ||
+ | |||
+ | === Intimate - duo === | ||
+ | |||
+ | A dialogue in a pair can be experienced as the most intimate, but also demanding type of conversation. Both participants have to be active (either speaking or listening), so no ' | ||
+ | * an interview (one person speaks, the other only asks questions, then exchange roles). The value of this kind of conversation is that there is enough space for both people to speak, without the other person stepping in too much, except to ask questions - which can be perceived as encouragement and engagement. Because both participants take turns, they are aware of both roles (speaker/ | ||
+ | * a monologue (one person speaks, the other one listens, then exchange roles), allows a lot of space, but can be experienced as quite confronting. It is important for the listener to give appropriate non-verbal signs to show his/her attention or engagement. This form might work better with participants who know each other well. | ||
+ | * free flow (the common form when we talk with friends). This is the most informal form and it is comfortable for most people. The danger is that one of the people might be dominant and talking most of the time. In this case the facilitator might have to discretely step in to allow some space to the other person. | ||
+ | When reporting to the larger group, it's interesting to let one person report what the other person has said. If the participants know this in advance, they might pay closer attention to what each other are saying. | ||
+ | |||
+ | < | ||
+ | * Think of a time when you felt inspired and energised (at work). Describe the situation. | ||
+ | * How did you feel? | ||
+ | * What did you do? | ||
+ | * What made this situation possible? | ||
+ | At the end, the person who took notes reports in a few words the feelings, actions and resources that make inspiring situations possible. The facilitator (or a volunteer) summarises the key points. </ | ||
+ | |||
+ | Comments from participants: | ||
+ | * There isn't much time to reflect: listening and processing has to happen at the same time, so it's difficult to ask the ' | ||
+ | * Having to speak while someone else is intently listening causes a ' | ||
+ | * Important to share with the group, the person listening can convey non verbal communication as well, which helps with getting a deeper understanding of the other | ||
+ | * AI - it feels good to talk about 'good times' | ||
+ | * The feeling of being self-conscious and vulnerable is helped as both people have to assume the same role | ||
+ | * you end up helping each other and encouraging openness | ||
+ | * the person who listens has to sense what the other needs | ||
+ | * it helps to be honest about your own insecurity, then allowing each other to be uncertain | ||
+ | * fear needs to be acknowledged from the beginning | ||
+ | * time pressure is difficult to get into a deep conversation. | ||
+ | |||
+ | === Active - trio === | ||
+ | |||
+ | Talking between three people makes for an active conversation. The introduction of a third person in a dialogue creates a new dynamics, that is less intimate, but can be more energised. Again, many forms are possible: | ||
+ | * one person talks, the other two ask questions | ||
+ | * one person talks, one asks questions, the third one takes notes and reports (everyone should have a chance to inhabit every role) | ||
+ | * everyone talks when they want, they share the same piece of paper to make notes… | ||
+ | |||
+ | < | ||
+ | |||
+ | |||
+ | === Diverse - break-out groups === | ||
+ | |||
+ | This is a very common way to split large groups into smaller ones (4-7 people), in order to allow everyone to have a chance to speak and to have a conversation with new people. The challenge or breakout groups is to find a quick way for people to move into the groups without using time and attention. If the choice of breakout groups isn't free, there needs to be a quick and easy way to mix people who don't know each other (colours, symbols, numbers, rows, pre-assigned randomised groups…). You have to be clear and concise in your instructions, | ||
+ | * //in the next exercise we will break out into smaller groups. We will take 20 minutes to explore the question " | ||
+ | In a break-out group it helps to have one or two people to moderate the conversation, | ||
+ | * pre-assigned. You and/or the organisers of the event can decide beforehand who should moderate and/or report from each breakout group. You can brief them before hand about the topic and some basic moderation principles, so they in a way become your ' | ||
+ | * emerging spontaneously on the spot. This allows for more ' | ||
+ | |||
+ | The breakout-moderators' | ||
+ | |||
+ | < | ||
+ | |||
+ | Comments from participants: | ||
+ | * difficult to find volunteers to moderate and/or report back (possible solutions - having someone from the hosting team act as a ' | ||
+ | * there has to be sufficient clarity of instructions, | ||
+ | * breakouts over several days can become like a supportive ' | ||
+ | * breakouts help with sharing a ' | ||
+ | * shy people feel more comfortable speaking in breakouts | ||
+ | * danger: the moderator imposing where the conversations should go. Good to separate the roles of moderator and reporter to avoid this. | ||
+ | |||
+ | |||
+ | === Unifying - whole group === | ||
+ | |||
+ | Usually done in a circle, or semi-circle, | ||
+ | * a listening circle: going around clock-wise or counter clock-wise, where one person speaks, the others listen and do not ask questions or add anything until the circle is completed; | ||
+ | * ' | ||
+ | * people picking up a talking piece from the middle of the circle when they are ready to speak | ||
+ | * the speaker offers the talking piece to the person they want to hear next) | ||
+ | * facilitator or a volunteer pick names out of a hat… | ||
+ | |||
+ | < | ||
+ | |||
+ | Comments from participants: | ||
+ | * It feels calmer when the ordering is set and you know your turn. Listening becomes easy, because you don't have to think of the order, on the other hand some participants then keep thinking of what they' | ||
+ | * Listening is best when you don't know when your turn is, but the reflection is shallower | ||
+ | * Choosing feels most comfortable. If there is a choice, some people want to go last (out of politeness), | ||
+ | * Choosing which circle form to use depends on circumstance and topic. | ||
+ | |||
+ | |||
+ | === Conclusion === | ||
+ | |||
+ | In all of the conversation forms above, the role of the host is the same: | ||
+ | * Explaining the exercise and what is expected (framing flow and topic) | ||
+ | * Moderating/ | ||
+ | * Steering conversations to the topic/ | ||
+ | * Keeping watch over group dynamics and people' | ||
+ | * Including everyone in the conversation | ||
+ | * Reminding people of instructions and house rules (discretely) | ||
+ | * Time keeping and announcing (think about what would be an appropriate prop - bells, cymbals, alarm, gong, wine glass, soft-> | ||
+ | * Summarising, | ||
+ | * Note taking (or harvesting, can be delegated if there is someone else available). | ||
+ | |||
+ | |||
+ | Using a combination of solo, duo, trio, break-outs and circles, you can design many different flows and formats. When combining different conversation forms together, think about what kind of conversation is most appropriate for the topic and the goals. Some need more contemplation or intimate sharing, others more active and unifying conversations, | ||
+ | |||
+ | |||
+ | Next time (April 2014): ' | ||
+ | |||
+ | ==== Session 5: Listening and summarising ==== | ||
+ | |||
+ | While the participants are ' | ||
+ | |||
+ | === Listening === | ||
+ | |||
+ | A few notes on [[https:// | ||
+ | |||
+ | == Comprehension == | ||
+ | * understanding what the other person is saying. | ||
+ | * shared meaning, language, jargon issues | ||
+ | |||
+ | == Retaining == | ||
+ | * memory: related to making meaning (memory fills in the blanks - ' | ||
+ | * different memories, different meanings attached to the same statement | ||
+ | |||
+ | We can’t retain everything we hear, several reasons: | ||
+ | |||
+ | * cramming: a lot of info at the same time stored in short term memory, then purged | ||
+ | * not paying attention to what is being said | ||
+ | * not finding something important - looses meaning | ||
+ | * lack motivation to better remember what is being said: using info immediately after it was received increases our ability to retain information | ||
+ | |||
+ | == Responding == | ||
+ | |||
+ | * if in an interaction (conversation rather than lecture), you’re required to respond, it makes your listening more active | ||
+ | * mindless listening <-> mindful (active) listening | ||
+ | |||
+ | == Active listening == | ||
+ | |||
+ | * both words and non-verbal signals (body language) | ||
+ | * hearing, then restating/ | ||
+ | |||
+ | Barriers: | ||
+ | * distractions (physical - sounds, visual…) | ||
+ | * trigger words | ||
+ | * vocabulary | ||
+ | * limited attention span | ||
+ | * making assumptions based on our own experience, rather than really listening | ||
+ | * conversational narcissism, shift response - listen to what someone says, then turning the conversation to you without showing interest whether the others are listening, or whether what you’re saying is continuing/ | ||
+ | * support response - opposite of shift response: focus conversational attention to the other person, encourages cooperation (remember compass) - not me-oriented but we-oriented | ||
+ | |||
+ | What to do: | ||
+ | * put personal emotions aside | ||
+ | * ask clarifying questions | ||
+ | * paraphrase and repeat to make sure you understand | ||
+ | * try to overcome all environmental distractions | ||
+ | * not judging or arguing prematurely (holding onto a personal opinion) | ||
+ | * eye contact (in most EU cultures) and appropriate body language (mirroring, or middle position) | ||
+ | * empathise, try to listen from within the others’ shoes | ||
+ | * intonation and stressing particular words can keep listeners from being distracted | ||
+ | |||
+ | |||
+ | < | ||
+ | |||
+ | |||
+ | |||
+ | === Summarising === | ||
+ | |||
+ | i.e. Restating main ideas of a conversation in as few words as possible. Summary is like a quilt that pulls together very different pieces of fabric | ||
+ | |||
+ | In a summary the host takes what everyone has said into account, distills essential points in a concise and clear language. It's important to pay attention to what kind of information you’re summarising (is it describing the context, is it a call for action, opinions, answers to questions), especially if there are 'next steps' to be done. Always end by asking if people agree with your summary, if they have something to add, if something is unclear or if you misunderstood something - "did I get it right, did i get it all?" By the end of the summary, people should have a sense of closure, that the discussion is rounded up and there isn’t more to be said. | ||
+ | |||
+ | A good summary: | ||
+ | * uses the words of the speaker so they maintain ownership of what is said | ||
+ | * enables an overview of the discussion/ | ||
+ | * finds the essence in the jungle of words and opinions | ||
+ | * no advice, opinion or re-interpretation | ||
+ | * it doesn’t have to be perfect - it allows the group to reflect on whether you understood correctly - and if not, maybe others didn’t either… | ||
+ | * it gives the speakers a chance to 'hear themselves' | ||
+ | * sees things as a whole, when all the details, distractions, | ||
+ | * ensures clear communication | ||
+ | |||
+ | |||
+ | == How to structure summaries == | ||
+ | |||
+ | Be short and to the point, keep in mind what the topic or the question of the conversation is and find a words to pull together possible answers/ | ||
+ | |||
+ | |||
+ | Begin with a statement that shows that you’re summarising: | ||
+ | * let me see if i understand so far… | ||
+ | * here’s what i’ve heard, let me know if i’m missing something | ||
+ | * let me see if i have all of this… | ||
+ | * we’re coming to a close and i’d like to try to pull together what we said, to see where we are and where we’re going… | ||
+ | |||
+ | If there are different opinions or options, make sure to include them all | ||
+ | * on the one hand… while on the other… | ||
+ | * at the same time… | ||
+ | * and… | ||
+ | |||
+ | End with an open question: | ||
+ | * what else? | ||
+ | * what other points are there to consider? | ||
+ | |||
+ | When to summarise? | ||
+ | * at transition points | ||
+ | * in between sessions | ||
+ | * when changing topics | ||
+ | * to wrap up a session | ||
+ | * in the beginning and/or end of the day | ||
+ | |||
+ | |||
+ | |||
+ | < | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | === Impromptu public speaking === | ||
+ | |||
+ | When summarising, | ||
+ | |||
+ | |||
+ | A speech has 3 elements, and so does a summary: | ||
+ | * logos (content and structure) | ||
+ | * pathos (emotional impact) | ||
+ | * ethos (personal credibility and likeability) | ||
+ | (all three depend on the audience’s sensitivity) | ||
+ | |||
+ | |||
+ | Logos: | ||
+ | * keep it simple and easy to remember | ||
+ | * establish common ground | ||
+ | * think about what might be objections and counter arguments | ||
+ | |||
+ | Pathos: | ||
+ | * acknowledge your audience’s values and feelings | ||
+ | * share your own feelings and reactions | ||
+ | * use striking facts and contrasts | ||
+ | * be personal and visual | ||
+ | |||
+ | Ethos: | ||
+ | * show that you care | ||
+ | * acknowledge the colour of your lens | ||
+ | * use examples | ||
+ | * refer to people | ||
+ | * be real and interactive | ||
+ | |||
+ | < | ||
+ | |||
+ | * how does your life change with your children on school holidays | ||
+ | * what does climate chaos and unpredictable weather conditions impact your life? | ||
+ | * how do you deal with exhaustion? | ||
+ | * what could we work on together? | ||
+ | * etc. | ||
+ | |||
+ | Each host-in-training should have a chance to listen and summarise, so you should have as many rounds as hosts. Make the conversations 5-10 minutes long, then have the host summarise. Discuss the delivery and content of the summary together (did the host capture the gist of the conversation? | ||
+ | |||
+ | |||
+ | Next session (20140612 at 2PM): Graphic Harvesting/ | ||
+ | |||
+ | |||
+ | ==== Session 6: Graphic harvesting ==== | ||
+ | |||
+ | Many thanks to Nik Payne for much of the information in this session comes from him... | ||
+ | |||
+ | === What is graphic harvesting/ | ||
+ | |||
+ | * Not just about pretty pictures! It is much more about listening, digesting, synthesizing, | ||
+ | |||
+ | * When the budget is tight, the facilitator can be the graphic harvester as well, but if possible it’s better to have a facilitator focusing on hosting and the recorder on harvesting. The relationship between the host and the recorder is a very important one to cultivate - you’re there to support each other… | ||
+ | |||
+ | == Why do it? == | ||
+ | |||
+ | * It helps to keep your and other participants’ attention on the subject, to see patterns and key insights from the forest of words and discussions. It isn’t just about the result itself, but about the participants seeing the whole grow throughout the session: they can SEE the process evolve and remember more and make sense of what is happening. | ||
+ | |||
+ | * Engaging multiple senses - not just audio and text, but also visuals (engaging other senses is another story). Our brain can process much more information when multiple senses are involved - illuminated manuscripts, | ||
+ | |||
+ | |||
+ | == What do you need for graphic harvesting? == | ||
+ | * People and conversations | ||
+ | * Room with one or more big flat surfaces (walls, windows) and enough space to move (step back to see the big picture) | ||
+ | * Paper (or blackboards / whiteboards) | ||
+ | * Pens/ | ||
+ | * Masking tape (or other tape that is strong enough, but won’t damage the walls) | ||
+ | * Knife (to cut the paper) | ||
+ | * (big) sticky address labels (for covering up mistakes) | ||
+ | * pastels to create blocks of colour | ||
+ | |||
+ | === What is the process of graphic harvesting? === | ||
+ | |||
+ | == Preparation == | ||
+ | |||
+ | Questions to ask: | ||
+ | * What is the need | ||
+ | * Who are the people | ||
+ | * What is the purpose | ||
+ | * What is the outcome desired | ||
+ | * What is the process (and hosting) | ||
+ | |||
+ | What is the desired format (images, video, graphics, quotes…) | ||
+ | * depends on purpose and outcome | ||
+ | * depends on who it is intended for: | ||
+ | * individual - notes | ||
+ | * collective - graphic | ||
+ | * others who were not a part of the process - graphic for others | ||
+ | |||
+ | To prepare yourself: | ||
+ | * what do I know about the context and the subject? What I don’t know, can I find out? | ||
+ | * What is the nature of the discussion, is there a structure? | ||
+ | * What are the sought outcomes, how can I make sure to capture and visualise them? | ||
+ | * Be aware that in the moment things might go differently, | ||
+ | |||
+ | |||
+ | == Capture == | ||
+ | |||
+ | Important to remember that it doesn’t matter what you (the harvester) think. See yourself as a surface (e.g. surface of a lake) - when your mind is still, you can reflect things as they are, when it’s disturbed/ | ||
+ | |||
+ | The first task is to gather data. Find flow and meaning in the words… | ||
+ | |||
+ | The second (and most important task) is to distill and process data (what is the essence that can inform the outcome): | ||
+ | * Highlight meaning and recurring insight - what is this conversation really about? find keywords (even if they are not said), patterns, name them… Capture things that made the room react, things that they repeat.. | ||
+ | * Relationships and connections (e.g. network maps, clusters, mind maps…) | ||
+ | * Capacities, resources and methods (that can help the group achieve the outcomes) | ||
+ | * Actions (things people mention in passing that already points to 'next steps' | ||
+ | |||
+ | The final task is to create imagery (if there is time). | ||
+ | |||
+ | == Feedback/ | ||
+ | |||
+ | * Feeding back and feeding forward: using harvesting to make meaning of what happened and to inform the group towards next steps | ||
+ | * Try to get the opportunity to explain what you have done and to ask for feedback (what have I missed?) | ||
+ | |||
+ | |||
+ | === Harvesting tools === | ||
+ | |||
+ | * **Letters** (speed vs legibility): | ||
+ | * **Spacing and structuring of space** (frame, flow - e.g. inside-> | ||
+ | * **Lines**: grouping, connection, separation, emphasis | ||
+ | * **Shapes**: enforcing separation and grouping (different shapes have different associations: | ||
+ | * **Symbols**: | ||
+ | * **Visual conventions**: | ||
+ | * **Colours**: | ||
+ | * **Insignia**: | ||
+ | * **Life**: people and things | ||
+ | * **Icons**: use to visualise - steal, or build your own iconography. | ||
+ | |||
+ | |||
+ | === Exercises === | ||
+ | |||
+ | < | ||
+ | |||
+ | * Write the alphabet as quickly and legibly as possible, in a straight line (or lines). | ||
+ | |||
+ | * Have someone read a magazine article out to you and try to: | ||
+ | * a) write it all down as quickly as possible not worrying about where on the paper you place the text | ||
+ | * b) take another article and write it out spatially. think about what is talked about and decide where to place the text. (left-right, | ||
+ | |||
+ | * Write down 3-4 words with sufficient space between them. Then draw different lines: | ||
+ | * one line to group two or more words | ||
+ | * one line to connect two or more words | ||
+ | * one line to separate two or more words | ||
+ | * one line to emphasize one or more words | ||
+ | * try to make a story based on what you see | ||
+ | |||
+ | * Write the same word four times. Then draw a circle around the first word, a square around the next one, a star around or next the following word, a cloud around the final one. Then look at the different words and reflect on the meaning the different shapes add to the written words | ||
+ | |||
+ | * Divide the paper into four parts. Write two words in the first, three in the second, four in the third and five in the fourth. | ||
+ | * In the first part create a [[https:// | ||
+ | * In the second create an [[http:// | ||
+ | * In the third create a [[http:// | ||
+ | * In the fourth connect the five words in a [[https:// | ||
+ | |||
+ | * Divide your paper into two columns and ~10 rows. In the left column write a word, in the right draw a symbol. The facilitator says words one by one, the participants write and draw: Eg. music, restaurant, toilet, money, love, death, religion, go left, no parking, Belgium, Michelin, Apple... | ||
+ | |||
+ | * The facilitator says words describing emotional states and actions, the participants draw them (using visual conventions, | ||
+ | |||
+ | * The facilitator shows one coloured card at the time, the participants free associate. What does this colour bring out in you (emotion, action, mood...) | ||
+ | |||
+ | * The facilitator shows different ways of drawing people (star people, balloon people, stick figures, squiggles...) and invites participants to create a scene using different kinds of ' | ||
+ | |||
+ | * Play a short video (5-10 minutes) of a public speech (politicians, | ||
+ | |||
+ | </ | ||
+ | |||
+ | See also other explanations of graphic recording: | ||
+ | * http:// | ||
+ | * http:// | ||
+ | |||
+ | Next session: Flow, or how to design long form sessions that are composed of different types of conversations and exercises. This session is planned for the 18th December 2014. | ||
+ | |||
+ | ==== Session 7: Flow ==== | ||
+ | |||
+ | |||
+ | This session is co-created and hosted by Maja Kuzmanovic and Simone Tiesinga-Poutnik | ||
+ | |||
+ | |||
+ | Designing a flow in participatory processes concerns the design of the process as a whole and the connections and relationships between different elements (sessions, participants, | ||
+ | |||
+ | < | ||
+ | |||
+ | * programme | ||
+ | * schedule | ||
+ | * ark | ||
+ | * flow | ||
+ | </ | ||
+ | |||
+ | === Flow across fields === | ||
+ | |||
+ | == Flow in spiritual practices == | ||
+ | |||
+ | It won’t surprise you that flow is often associated with fluidity & spontaneity. This connotation is embedded in our language. Flow is one of those holistic terms that is applicable across disciplines and cultures. For example, in taoism, flow is related to the notion of [[https:// | ||
+ | |||
+ | One of the important taoist lessons is that to achieve flow it’s important to let go of struggle, to stop fighting against the current to make things happen. It doesn’t mean that we should become apathetic and allow anything to happen, but that it’s important to observe what’s happening and act from an awareness of the situation, rather than holding on to goals that might not be realistic in a given situation. It also teaches us to embrace uncertainty, | ||
+ | |||
+ | A similar concept is found in hinduism and tantric buddhism, something called Sahaja - ' | ||
+ | |||
+ | "The tree grows according to Sahaja, natural and spontaneous in complete conformity with the Natural Law of the Universe. Nobody tells it what to do or how to grow. It has no swadharma or rules, duties and obligations incurred by birth. It has only its own inborn self or essence - to guide it. Sahaja is that nature which, when established in oneself, brings the state of absolute freedom and peace." | ||
+ | https:// | ||
+ | |||
+ | |||
+ | == Flow in ecology and permaculture == | ||
+ | |||
+ | In the science of ecology flow is about the [[https:// | ||
+ | |flow of energy]] in self-organising systems, a way of maintaining a dynamic balance. For example, we talk about energy flows in the food chain: solar energy fixed by plants, moving to primary consumers, herbivores who eat the plants, then to secondary consumers, carnivores and predators who eat the herbivores and finally the decomposers the fungi, maggots and insects who eat all that decays. | ||
+ | |||
+ | |||
+ | In permaculture it is important to harness the [[ | ||
+ | http:// | ||
+ | |||
+ | |||
+ | |||
+ | == Crowd dynamics == | ||
+ | |||
+ | [[http:// | ||
+ | |||
+ | Crowd is non-linear, time dependent and has a particular type of intelligence of its own, that is different to the sum of intelligencies of each individual in the crowd. It can be related to [[https:// | ||
+ | |||
+ | |||
+ | == Traditional medicine == | ||
+ | |||
+ | Within our bodies, according to ancient healing systems like [[https:// | ||
+ | |||
+ | In TCM, the Flow of Qi or life energy happens through a network of meridians that criss-cross our bodies. We use acupuncture to stimulate the flow in the meridians. In TAM illness is caused by blockages in the flow of fluids and energy through the body that can only be cleared using a holistic approach - massage, diet, meditation, movement and environmental stimuli. The physical and energetic flows are inextricably connected - something that contemporary reductionist and disciplinary approaches to medicine are lacking. [[https:// | ||
+ | |||
+ | |||
+ | === Human flow experiences === | ||
+ | |||
+ | Our mental flows influence the way we interact with the world. Particular activities make us feel as if things flow from inside us to the outside and back again - we say we feel ' | ||
+ | |||
+ | < | ||
+ | |||
+ | List characteristics in terms of emotions, actions, resources. | ||
+ | |||
+ | </ | ||
+ | |||
+ | In our exercise the answers were the following: | ||
+ | * an intrinsic goal, the activity is the goal itself | ||
+ | * a pleasant relationship with time, joyful | ||
+ | * intense focus without distractions, | ||
+ | * concentrated energy | ||
+ | * disappearance/ | ||
+ | * crossing the treshold, a point of no return | ||
+ | * a dance with pleasure and pain | ||
+ | * spontaneity and serendipity | ||
+ | |||
+ | |||
+ | === Flow in Psychology === | ||
+ | |||
+ | Flow (aka Zone) in psychology, according to Mihály Csíkszentmihályi, | ||
+ | |||
+ | According to the flow theory three conditions that have to be met in order to reach 'the zone': | ||
+ | |||
+ | * involvement in an activity with clear goals and progress | ||
+ | * clear feedback must exist between your action and its effect on the task (so you can adjust what you’re doing to remain in the flow state) | ||
+ | * a good balance between perceived challenges and your own perceived skills - you must be confident that you are able to complete the task at hand. | ||
+ | |||
+ | |||
+ | < | ||
+ | //Flow model// | ||
+ | |||
+ | |||
+ | When deliberately designing for flow experiences it’s good to keep these conditions and their effects in mind. It is therefore important to know beforehand who the people are, what is their skill level and what they’re interested in. | ||
+ | |||
+ | [[http:// | ||
+ | |||
+ | < | ||
+ | |||
+ | In Schaffer’s model several conditions must be met: | ||
+ | * Knowing what to do | ||
+ | * Knowing how to do it | ||
+ | * Knowing how well you are doing | ||
+ | * Knowing where to go (if navigation is involved) | ||
+ | * High perceived challenges | ||
+ | * High perceived skills | ||
+ | * Freedom from distractions | ||
+ | |||
+ | Something similar is often used in game design: | ||
+ | |||
+ | |||
+ | < | ||
+ | |||
+ | === Group flow === | ||
+ | |||
+ | So far we talked about individual flow experiences, | ||
+ | |||
+ | There are some characteristics of groups that psychologists suggest we should think about: | ||
+ | |||
+ | * Creative spatial arrangements: | ||
+ | * Playground design: Charts for information inputs, flow graphs, project summary, craziness (here also craziness has a place), safe place (here all may say what is otherwise only thought), result wall, open topics | ||
+ | * Parallel, organized working | ||
+ | * Target group focus | ||
+ | * Prototyping and visualising, | ||
+ | * Using differences among participants as an opportunity, | ||
+ | |||
+ | See more about [[https:// | ||
+ | |Flow Psychology on Wikipedia]] | ||
+ | |||
+ | |||
+ | Spatial Flow: How will people move in space, what is there to guide them, how do you steer movement, is there enough personal space? | ||
+ | |||
+ | Useful metaphors | ||
+ | * different forms of water - raindrops, brook, river, waterfall, lake, puddle, ocean… | ||
+ | * swarms, flocks - group made of individual particles | ||
+ | |||
+ | |||
+ | Temporal flow: How will the group move towards its purpose while staying engaged and energised? | ||
+ | |||
+ | Useful metaphors | ||
+ | * ebb & flow | ||
+ | * breathing, pulsing | ||
+ | * birth, growth, decay, death | ||
+ | * day, season, year, decade… | ||
+ | * cycles within cycles | ||
+ | * bodily rhythms - different processes occurring simultaneously… think about flows for individuals (different shades of introverts and extroverts), | ||
+ | |||
+ | |||
+ | === Designing group flows === | ||
+ | |||
+ | We tend to rely on a combination of intuition (which comes through practice - our craft) and on proven techniques (either developed by ourselves or others). Intuition cant be taught. It comes from an iterative practice of designing a flow beforehand then running through it in your minds eye and check what your gut feeling says, then adjust accordingly. It also helps to run through the flow with someone you trust - whether they are co-facilitating with you or not - as if you’re crowdsourcing your intuition. | ||
+ | |||
+ | Both intuition and known techniques can give us enough grounding to include more experimental methods, which we always do - otherwise the sessions can become stale and routine. Most participatory processes are akin to the creative process which consists of phases of divergence and convergence, | ||
+ | |||
+ | {{ :: | ||
+ | // | ||
+ | |||
+ | It’s good to prepare the flow (in quite a bit of detail) beforehand, then adjust on the spot if something doesn’t feel right. No predesigned flow is ever perfect. It’s like a canal vs. a river. A canal cuts through a landscape according to a plan, a river carves its way through a landscape on its lowest points, where there is least resistance. To recognise the resistance the hosts rely on their keen perception and observation: | ||
+ | |||
+ | Designing a flow must be an iterative process. It’s like breathing - there is a progress but it develops through different cycles (e.g agreeing on purpose, action, reflection). In the Art of Hosting one of the approaches to designing the flow is a process called [[http:// | ||
+ | |||
+ | < | ||
+ | |||
+ | - The Call: the caller formulates the question and creates commitment in the team (with hosts help) | ||
+ | - Clarify: clarifying the purpose and context, agree on the core team and people’s roles | ||
+ | - Invite: "the art of invitation" | ||
+ | - Design: create the ' | ||
+ | - Meet: before starting, check-in with the team and make sure you’re all present and grounded… It’s good to have someone to do 'space hosting' | ||
+ | - Harvest: reflection: a good framework to use is the so called [[http:// | ||
+ | - Act: communication, | ||
+ | - Reflection: breathe, celebrate, connect back to the purpose and the call | ||
+ | |||
+ | === Hosting as Art and Craft === | ||
+ | |||
+ | In designing flows we have to remember that it isn’t all about methodologies and formats - the stakes are much higher than that. Focusing on the techniques alone cannot produce life-changing experiences. [[http:// | ||
+ | |||
+ | |||
+ | {{ : | ||
+ | The image above by Simone Tiesinga-Poutnik describes a holistic approach to hosting. Grounded in our own source of life, we must pay attention to the world-views - our own and those present in the group (e.g. relational, mechanistic…), | ||
+ | |||
+ | === Participatory techniques === | ||
+ | |||
+ | Here are a few links to (compilations of) existing techniques: | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[https:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * [[http:// | ||
+ | |||
+ | * (see also the reference links at the bottom of this page) | ||
+ | |||
+ | === Flow exercise === | ||
+ | |||
+ | As our hosting craft session was close to the winter solstice, our flow exercise was to collectively design a solstice ritual. | ||
+ | |||
+ | < | ||
+ | |||
+ | Exercise: Design a ritual | ||
+ | |||
+ | The Call\\ | ||
+ | hat is the purpose of the ritual? One or more people can succinctly describe the call, which can be discussed until everyone agrees on the purpose. | ||
+ | |||
+ | The Ingredients\\ | ||
+ | Brainstorm (first individually, | ||
+ | |||
+ | The Flow\\ | ||
+ | Combine the components into the flow of the ritual. How does it begin, where does it end? What are the inputs and outputs of each component? What is missing? Do we need additional/ | ||
+ | |||
+ | The Production\\ | ||
+ | Once you are satisfied with the flow, work on the details - the practicalities and logistics. Decide on the roles - who is doing what? Do they know what their role entails? Do they need anything from others? Think about the resources needed - materials, media, scents, foods or any other physical elements that might need to be made or procured. | ||
+ | |||
+ | The Rehearsal\\ | ||
+ | Run through the ritual with everyone. First talk through the flow, then actually do it, by briefly walking through the spaces you’ll be using, inviting the people responsible for different components to explain what will be happening. | ||
+ | |||
+ | The Ritual\\ | ||
+ | Set the intention to go through the ritual and fulfil its purpose. Check-in with the team and do a short grounding/ | ||
+ | |||
+ | The Reflection\\ | ||
+ | After a short break have a brief reflection on what people experienced (possibly using the "what? so what? then what?" framework. | ||
+ | |||
+ | The Celebration\\ | ||
+ | End the session in a celebration of your choosing. It can be as simple as toasting to each other, or as elaborate as a whole party. It’s up to you, you are - after all - the host! | ||
+ | |||
+ | </ | ||
+ | |||
+ | === The end === | ||
+ | |||
+ | With the flow and the ritual, we come to the end of the Hosting Craft training. It was an inspiring learning journey. From now on we will transform into a community of practice, sharing experiences and supporting each other’s facilitation effort. | ||
+ | |||
+ | My warm thanks to Simone Tiesinga-Poutnik who much enriched the last session on flow. But most of all I’d like to thank the gracious host-trainees: | ||
+ | |||
+ | ==== References ==== | ||
+ | |||
Line 10: | Line 877: | ||
* Overview of 'art of hosting' | * Overview of 'art of hosting' | ||
* http:// | * http:// | ||
+ | * Conversation circle: http:// | ||
* Proaction Cafe | * Proaction Cafe | ||
* https:// | * https:// | ||
Line 32: | Line 900: | ||
* http:// | * http:// | ||
* http:// | * http:// | ||
+ | * Improv games (for ice-breakers, | ||
* Lego Serious Play (a bit too proprietary for my taste) | * Lego Serious Play (a bit too proprietary for my taste) | ||
* https:// | * https:// | ||
Line 40: | Line 909: | ||
* Chaordic Design | * Chaordic Design | ||
* http:// | * http:// | ||
+ | * Ideo method cards | ||
+ | * http:// | ||
A few experiments that we at FoAM scavenged and adapted from various methods | A few experiments that we at FoAM scavenged and adapted from various methods | ||
Line 45: | Line 916: | ||
* A series of exercises for a research course at KABK lasting 6 weeks: http:// | * A series of exercises for a research course at KABK lasting 6 weeks: http:// | ||
* FoAM's experimental methodology to create embodied future scenarios: http:// | * FoAM's experimental methodology to create embodied future scenarios: http:// | ||
+ | * Variations on the prehearsal pocket guide can be found through Future Fabulators [[:/ | ||
* Luminous Green workshops and retreats (the pages include briefings, questions, framings, harvesting etc.): | * Luminous Green workshops and retreats (the pages include briefings, questions, framings, harvesting etc.): | ||
* http:// | * http:// | ||
* http:// | * http:// | ||
* http:// | * http:// | ||
+ | * http:// | ||