PRESENTATIONS SKILLS ACWAPOWER September 2018
The Facilitation Rainbow AMOUNT OF INTERACTION WITH PARTICIPANTS
HIGH
SOCRATIC DIRECTION How to decide which Facilitraining style/strategy to use
FACILITATING DISCUSSION Plenty
BRAINSTORMING
TEACHING Very Little
TIME AVAILABLE High
Low PARTICIPANTS' PRESENT LEVEL OF KNOWLEDGE
High (Attitude Change)
DEMONSTRATING
(Knowledge Acquisition) Low
OWNERSHIP OF OUTCOME NEEDED
PROCESS MONITORING
Many Options
Only One Option CERTAINTY OF 'ONE BEST WAY'
To discuss
To be consulted
To be told
PRESENTING
CULTURAL EXPECTATIONS Low
High YOUR SKILL AS A FACILITATOR
LOW
HIGH © John Townsend and Paul Donovan 1997
7 Facilitraining styles/strategies RED Presenting (Low Interaction / High Contribution) The classical and often necessary style to put across information. However, as competition from the multimedia environment grows, trainers need to perform at an increasingly professional pitch in order not to be ‘zapped’ by participants! ORANGE Demonstrating (Medium to Low Interaction / High Contribution) Not as ‘one-way’ as lecturing, demonstrating involves interaction with participants in as much as they are asked to try out in some way what has been presented. YELLOW Teaching (Medium to High Interaction / Medium to High Contribution) When in the classic teaching mode, the trainer provides structured learning experiences and guides participants towards pre-determined learning objectives. He or she nevertheless allows some latitude for interpretation at an individual level. GREEN Socratic Direction (High Interaction / Low to High Contribution) This is the ‘maieutic’ method pioneered by Socrates whereby the facilitrainer asks questions and then reformulates the answers as necessary to lead participants to a desired learning outcome. The rainbow provides for a wide range of leading strategies from relatively open to relatively closed. The common element in all Socratic strategies is the high amount of interaction. It is based on the premise that people don’t argue with their own data, even when it is massaged and channelled towards a ‘hidden’ learning outcome - as long as the ‘facipulation’ is done professionally and sincerely. BLUE Facilitating Discussion (Medium to High Interaction Low to Medium Contribution) When using this style, the facilitator interacts quite often with participants to invite opinions, control the process and give own opinions (if only to provoke more discussion) INDIGO Brainstorming (Low to Medium Interaction / Low Contribution) Here the facilitator ‘conducts’ a classic brainstorming session - interacting with participants only to encourage them to give their ideas but hardly ever evaluating or adding ideas. VIOLET Process Monitoring (Low Interaction / Low Contribution) As the ‘guardian of the process’, the facilitator makes no personal contribution to the content of the discussion but occasionally regulates the flow of participants’ contributions according to a previously agreed set of process rules.
PRESENTATION PREPARATION Preparation The
3 Ws
Why? Ask 7 times why & then call to action
Theme Mnemonic Analogy
©
WHAT?
How to tell the story (Vehicle)
What? Your Key Message(s) - Less is more Who? WIFT, 'What's in it for them?' What do they hope for?
Problem Solution Action
Structure
B ang! I ntro K ey Points E xamples R ecap B ang!
Past
ent Pres
re
Futu
Mascot Cartoons
Logos
Notes & Timing
Start with attention-getting hook Give route map, introduce ‘vehicle’ Present 1-5 points. WIFT? Give one per key point Summarise ‘take-aways’ End with linked closing hook
BANG!
1) Use A6 cards, not A4 sheets 2) Use images on your notes for easy recall 3) When practicing only use 50% of your allocated time 4) Flag timed points to help know whether you are on time or not 5) If worried about timing get out side help by getting them to indicated, discreetly, Eg Red card running late, green ok.
B I K E R B
• TASK = Help others • Objective 4 ways to help = My task : Tech, Att Skills & Knowledge • Techniques = Internet, Excel, Word • Attitudes = Company Mission Clinics • Skills = Presentation Skills Workshop • Knowledge = Safety Procedures • Our Task = Help you with your task
WIF
T!
• Vital to company success and …. PP-01
STARTING WITH A BANG! 1. The Classical Bang 2. The ‘Imagine’ Bang
• Introduce yourself and your subject with one or two “punchy” details
• Appeal to a common memory (‘You all remember when...’) • Evoke a hypothetical situation (‘Just imagine that...’) • Create a metaphor/analogy for your message (‘It’s a bit like...’)
AN ATTENTION-GETTING HOOK
• Tell a relevant parable (‘Once upon a time there was...’)
3. The Mystery Bang 4. The Participation Bang
©
• Disguise your opening with 2-3 ambiguous clues before announcing it with good delivery and timing
• Ask the audience a question and use the answers as a bridge to introduce the topic • Conduct an icebreaker exercise • Give the participants some kind of a test • Ask for a volunteer to do something • Ask a participant to tell an anecdote or a story
5. The Dramatic Bang
• Use a gimmick/accessory of some kind • Act out a sketch with a colleague
• Use a surprise audio/visual device • Make a provocative statement
• Tell a humorous story related to the topic (N.B. Avoid ‘jokes’. If it doesn’t offend someone, it probably isn’t funny!) 40b - 15 BANG
DELIVERY SKILLS
©
Using Your Voice P r oj e ct io n A r t ic u l atio n M od u l a t io n P r onu nc i atio n E nu nc ia tio n R e p e t it io n S pe e d
• Speak louder than usual. Throw your voice to the back of the room • Don’t swallow words. Beware of “tics”. Space out words • Vary tone and pitch. Be dramatic, confidential etc • Watch tonic accents. Beware of “malapropisms” • Over emphasise. Accentuate syllables • Repeat key phrases with different vocal emphasis • Use your delivery speed to “colour” your messages (speed up for exciting messages; slow down for dramatic ones)
Eye Contact BE A LIGHTHOUSE! Keep the group alert by using eye contact like a lighthouse. Sweep round the group slowly staying an average of 2 seconds on each participant. This graph shows the average for MUTUAL eye contact so, when talking to one participant, look away often so as not to intimidate
Body Language • • • • • •
Prepare (breathing, centering, grounding) Keep body open at all times Exaggerate all gestures Hold notes/markers in one hand only Empty pockets, check hair, clothing Don’t sit on the furniture!
Length of mutal eye contact
2 Seconds
% of People in Study
NERVES
• Keep water handy • Play “success film” in your head before starting • Throw the monkey in first 30 seconds 98 - 06 DS
PRINCIPLES OF COMMUNICATION
©
BRAINS AND MEMORY
©
Brains
NEURON
• 100 billion neurons • Countless synaptic connections • Limitless capacity Axon Visualising Words
Dendrites Synapses
Hearing Words
Feeling and Speaking Words
Visual, Hearing and Feeling data are stored in different parts of the brain
• • • • • •
Numbers Logic Words Speech Analysis Lists
• • • • • •
Space Images Colour Dreams Intuition Music
Memory
It’s possible that we keep in our brains 100% of everything we have ever experienced. Proof? • Hypnosis • Near Death Experience • Sensory Anchors (Déja Vu, Smell, Tastes etc.) • Electrodes in Brain • Memory Experts • Capacity
RECALL
We retrieve information best which was, at the time of learning:
F ir st in a series of events (bang, gap, outline etc.) R e vie wed (recapped by the trainer or revised) O ut sta n d in g unusual or striking L inke d together (mnemonics etc.) L a st (recap, action plan, bang)
Recall
Ebbinghaus 1870!
75%
25%
Time 1 Day 21a - 12 BM
MIND SET
©
Mind Set Our belief system is vital to our survival but acts as a filter for all new information (“Who the hell wants to hear actors talk?” Warner 1927)
TYPICAL PARTICIPANT MIND SETS
Cambridge
• “I should be out selling – not listening to this old stuff” • “What can she tell me about this subject, she’s just a trainer!” • “Training is just theory – I live in a PRACTICAL world!” Plan a specific strategy to overcome participants’ negative mind sets during the GUNAR phase of your course (see Training Intervention Design)
Glasgow
How we deal with mind set COGNITIVE DISSONANCE
When we are confronted with information which contradicts a deeply held view, we suffer “cognitive dissonance”. We have two ways of dealing with this dissonance:
1) CHANGE OUR OPINION 2) SELF JUSTIFY NE IN W FO
• Discredit the source of the information (the trainer!) • Distort the meaning of the information to fit our present view • Seek alternative evidence to support our present view 26a - 07 MS
DONKEY BRIDGES
©
Mnemonics FLAC: First Letter Acronym FLEP: First Letter Phrase SOUNDS:
• KISS
• FROLL
• B. Gunar Edeg RAF (B)
• Richard of York gave battle in vain • Every good boy deserves favour
• Signature tunes • Themes • Song snippets • Sound effects (moo, crash, whistle, bells, bangs)
RHYMES & SLOGANS: • “30 days hath September…” • “People don’t argue with their own data” • “We keep your promises” • ‘Guinness is good for you!’ • ‘Your country needs you!’ LIMA: Logos and Image Association • Swiss Flag/Pharmacy • Lottery • Froll
Famous donkey-bridge builder Marcel Proust allegedly used tea and cakes as an instant memory device to recall happy times. In his famous work “A la Recherche du Temps Perdu”, Proust reports how he first discovered the power of taste as an ‘anchor’ to past experiences. “Overwhelmed by the dull, dreary day and the thought of a sad tomorrow, I sipped listlessly at a spoonful of tea mixed with a piece of ‘madeleine’ cake. As soon as it touched my palate I jumped with surprise. Something extraordinary was happening – a delicious but isolated pleasure was invading my very being. I could not tell where it was coming from…. Something was moving, trying to surface like an anchor you pull from a great depth. It was coming up slowly. I felt the resistance and heard the murmurs of distant memories. And suddenly the past appeared. The taste was that of the piece of madeleine which my aunt Leonie would dip into her tea and give to me every morning at Cambray when I went to say ‘bonjour’. The sight of the cake alone had reminded me of nothing. But as soon as I tasted it...” (Esquisse XIV: Unfinished) 25a - 08 DB
INTERACTIVE LISTENING
©
VISTIPS Designing Visuals
F RAME L ETTERS I MAGES C OLOUR KISS
©
Images and Frames
• Use a standard frame for all visuals • Create a logo or numbering system • • • •
Use LARGE, LEGIBLE LETTERS WORDS ARE NOT VISUALS Text 30-50 pts Titles 70-100 pts
KEYWORDS • Use at least one IMAGE / LOGO or GRAPH on every visual
• Use at least one colour more than black on every visual
• • • •
Keep it short and simple! 1topic. Bullet points and key words Six lines MAX Six words per line MAX
Flip Tips
“Invisible” notes (use fine-point pencil) INVISIBLE NOTES
INVISIBLE OUTLINE
WITHO U GUIDEL T INES
WITH GUIDELINES
27a - 09 VT
SOUND IDEAS Creating Moods
is unication nal comm ducing sound professio tually all opriate mood – in professional! vir s, ay appr be a Nowad tional to nied by an accompa then again, its op t track. Bu Examples (play only instrumentals)
Music
Calm/Relaxed
• • • • •
Barber: Adagio for strings • Pachabel: Canon Albinoni: Adagio • Rick Wakemen: “Airs” Jean Michel Jarre: En Attendant Cousteau Terry Oldfield: Cascade • Enya: All albums Phil Coulter: Any album • Any “larghetto” or “adagio” concerto movement • Most “new age” music
Wake-up
• Jazz Rock • Piano Jazz Trios (Keith Jarret, Bill Evans etc) • Big Band (Glen Miller etc) • Jean Michel Jarre / Vangelis Instrumental hits
Specific
• Ethnic music • Film soundtracks (Star Wars, Western Themes, 2001, Chariots of Fire etc) • TV signature tunes • Anthems
Providing Background
©
Before the start, during coffee breaks, at the end
Any “easy listening” music which is appropriate and acceptable for the participant group (not what you like!)
Starting with a Bang/Illustrating Messages Giving musical illustrations of your messages (instead of a slide) will provide an OUTSTANDING LINK for participants memory. The message will be stored in both sides of the brain. Record 10-15 seconds (max) of • song snippets • musical “jokes” etc. Examples: Tina Turner “You’re the best”, Queen “We are the champions” for a motivation seminar or conference. Beatles “No reply/you won’t see me” or Simon and Garfunkel “Keep the customer satisfied” for customer care course.
Building Donkey Bridges Using the same music before each session/day will provide an “auditory mnemonic” or anchor. This will trigger participants back into the same learning mood each time.
Improving Learning
Dr G. Lozanov discovered that learning can be accelerated and recall improved when certain pieces of Baroque classical music are played during the session. Any “Largo” movement with about 60 beats per minute will cause participants heart rate to slow, blood pressure to drop and alpha waves to increase as relaxation creates receptivity. EXAMPLES: Bach Correlli Vivaldi Haendel
• • • • • •
Largo from Concerto in G minor for Flute & Strings Largo from Harpsichord Concerto in F minor Any Largo movement from 12 Concerto Grossi, Op.6 Largo from “Winter” (4 seasons) Largo from Concerto in D minor for Guitar and Strings Largo from “Fireworks” • Concerto 1 in B flat minor
Sound Effects Record 10-15 seconds of sound effects for bangs or mood creation. Examples: • Car crash • aircraft noise • cuckoo clocks • trains • applause etc. Use gadgets for “live” sound effects • moo • whistle • crash hammer • bag of laughs • bells • buzzers • screams • game show noises.
Natural Sounds Record long passages of OCEAN WAVES, RAINFOREST/WOODLAND SOUNDS, WHALE/BIRDSONGS etc for use during practical exercises. Don Gibson’s “Solitudes” CD series combines natural sounds with gentle music
Voices Record 10-30 second messages from: FAMOUS PEOPLE Politicians (example: Reagan), sports personalities, comedians ABSENT COLLEAGUES/BOSSES Supportive comments and pep talks TEACH YOURSELF RECORDINGS Example: Roger Ayles (TV is our competition) RECORDED BOOKS Well known passages/quotations 31a - 10 SI
THE “F” CHANNEL Feelings
Touch Our tactile memory reinforces learning. We can mentally feel sand paper, touch silk, stroke a cat. Wherever possible, pass round objects or products / arrange “hands-on” exercises. Examples:
About 40% of people say their memory favours the “F” channel. When tested, the same people remember nearly 80% of facts given in this channel the previous day
• Swiss Army Knife • Koala • Whistles and Yellow Cards etc
Taste/Smell
Anecdotes
True stories give “live” examples of what is being presented and help participants remember the message. For instance: • I recall we had one manager who ….” • Someone was working with this software last week and ……” • I’m sorry but I’m going to make a long speech this morning because I didn’t have time to prepare a short one!” (Winston Churchill)
Metaphors
Comparisons and similes which illustrate what is being presented provide a second version of the message which is stored in the right brain. They start with: “It’s a bit like.....” Examples: • Analogy of ships’ sonar for the role of controller • The “AIDS Robber” (to illustrate how the AIDS virus operates)
Parables - third person persuasion
Exercises
Practical exercises create memorable feelings by getting participants personally involved • Icebreaker • Case Studies Parables persuade! They take away the • Games • Simulations defensive reaction provoked by being TOLD to • Role Plays • Group change. They create “safe” feelings about third Discussions parties which are then projected onto oneself. This allows self-initiated change to take place. Examples: • Green Donkey (People get used to novelty) • Ayles’ “Judy Garland” parable (being a “vulnerable” communicator)
©
Recall is better when learning and revision are accompanied by a trigger taste or smell (Eucalyptus Koala, Peppermint Memokit!). Examples from Aromatherapy of atmospheres created by aromas: • Eucalyptus: Truth
• Orange: Playfulness
• Peppermint: Mental stimulation
• Pine / Cedarwood: Calm
• Basil: Equilibrium
• Sandalwood: Anti-depression
• Lemon: Openness, sharing
• Lily of Valley: Joy, happiness
• Lavender: Peace
• Cloves: Aphrodisiac, memory
Cross-Sensing Stories and descriptions which evoke the whole range of senses can put participants into a semitrance - like a like a walk in a Redwood forest. • Tall majestic trunks like collums • Slanting shafts of sunlight • Silence - no bird song • Soft pine-needles underfoot • Cathedral smell • Religious feeling • Peace and tranquillity 34b - 11 FC
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Presentation Skills Feedback FOR:
VEHICLE
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V H F
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Voice Eyes Body Feedback Score
Why
Voice Eyes
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Body
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