12 - 23.06.2015, Borzont, Romania
romania
T
his multimedia book is a resource for camp organizers, camp counsellors, camp instructors and teambuilding facilitators for adults and youth .This multimedia book was created with the materials gathered and created during the ZOOM Outdoor for healthy lives training, funded by Erasmus Plus Program.
This book will support the needs in effectively leading teambuilding programs and camp activities for youth. However, it is not exhaustive. Nor is it possible to read these pages and watch the photos and videos and expect to become an expert in leading teambuilding programs and camp activities. We are all lifelong learners and continue to add to our methods and styles as we learn new thoughts, ideas and concepts. In that regard, please use this multimedia book as a guide as you experiment with your particular leadership and facilitation style in different activities and programs.
Special Thanks to our partner organiza ons: Mladinska Asocijacija IMKA Bitola- Macedonia YMCA na Slovensku- Slovakia Centrul pentru Cooperarea Tinerilor- Moldova Jeugd en Maatschappij – Netherlands Ognisko Zwiazku Mlodziezy Chrzescijanskiej Polska YMCA w Kurnedzu – Poland
And to all par cipants: Marko Tomoski, Natasha Dimitrievska, Rushid Mahmud, Aleksandar Alabakovski, Solange Pelicano, Mar na Nevidanska, Michal Cernansky, Simon Lipovsky, Mar na Gagova, Alexandru Bivol, Veaceslav Tatar, Corina Verdes, Raisa Tofan, Marloes Verdel, Wessel Boot, Anne Fleur Keij, Hannah Overduin, Alexandra Cânța, Stefan Poznan, Tamaș Pandi, Lucre u Pop, Vlad Stoenescu, Călin Cânța, Alina Pop.
ZOOM Outdoor for Healthy Lives was a 10 day training course designed to train 24 young leaders from 6 European countries, into crea ng and managing camp programs for youngsters. The main ac vi es took place between the 12th-23rd of June 2015 in Romania, near the city Gheorgheni, in the rural area Borzont. This project was created as a response to a current problem: lack of sufficient youth workers trained in managing camp or outdoor programs for youngsters. These camp programs usually take place during school brakes and aim at developing the social, emo onal and physical competences of children, adolescents and young adults, through non-formal educa on methods. They are an efficient alterna ve to tradi onal formal educa on which o en fails to cover at least one category of these competences. It is a well known fact that the transi on from
childhood to adulthood can be troublous due to the new social challenges the youngster has to face and to the numerous and different means of spending the leisure me. We strongly believe that by offering these camps or outdoor programs as an alterna ve, we can help par cipants avoid ac vi es and contexts that can lead to unhealthy and/or risk behaviours, help them develop skills that contribute to their well-being, forming qualita ve rela onships and entrepreneurial ini a ves. However, in order for these camps to reach their intended purpose, organiza ons must have leaders trained in using non-formal techniques that combine fun, recrea on and learning. These leaders should be able to manage a camp program or outdoor programs, to promote it in order to a ract par cipants and to deliver it, and in order for them to complete these tasks they must have a certain set of skills and competences well handled.
The main objec ve of this project was to develop or improve these skills among the par cipants, in order for them to manage camps more professionally. We believe that these leaders are the business card of each organiza on and their skills, competences and prepara on reflect directly on the services the organiza on offers. Our project suggested a new and unique combina on of methods and tools, which aims to develop physical, emo onal, social, promo onal and ar s c/crea onal skills for its par cipants, equipping them, in the same me, with prac cal knowledge, informa on and tools for improving their work. The novelty-innova on of this project is that it uses two major and different working methods-outdoor and mediaand combines them harmoniously into a 10 day training course, with clear objec ves, with an interes ng and challenging metable, with completely different and various techniques but which work together very nicely and efficiently in this context. The secondary and broader objec ve of this project targets the beneficiaries of our partners camp programs; children and adolescents coming from all environments, all cultures, social-economical statuses, religions, genders and backgrounds, which need to benefit from healthy, educa ve and produc ve leisure me ac vi es. The problem with modern socie es is that families get busier and busier, in their a empt to provide for the younger genera ons, leaving them o en ignorant or neglec ul to the developmental needs of their children. This phenomenon results is poor skills development among future genera ons and engagement in risk and unhealthy behaviours, due to unstructured and unsupervised leisure me. All partners organiza ons are well aware of these facts and therefore have been offering programs and camps that help youth find desirable alterna ves for spending their me, for a few years.
Specific objec ves of Erasmus Plus Program - Youth aimed: Ü
Ü Ü
improvement of skills and key competences of young people, including those with less opportuni es , intercultural dialogue, social inclusion through learning mobility of those ac vely involved in youth work and youth organiza ons through strengthened links between youth field and labour market; fosters quality improvements in youth work through enhanced coopera on between youth organiza on and other stakeholders; enhance the interna onal dimension of youth ac vi es and the role of youth workers and organiza ons as support structures in complementarity with EU`s external ac on, in par cular through the promo on of mobility and coopera on between organiza ons from Programme countries and Partner countries and interna onal organiza ons and through targeted capacity building in Partner countries.
Program Priori es set: Ü developing basic and transversals skills, such as Ü promo ng young people`s social inclusion and
well being; Ü promo ng healthy behaviours, through the promo on of outdoor ac vi es and healthy lifestyles to foster social inclusion and ac ve par cipa on of young people;
entrepreneurship , digital skills and mul lingualism in the field of youth using innova ve and learner centred approaches; Ü enhancing ITC uptake in youth work and non formal learning;
The project was designed to cover two major working methods: outdoor and media. The outdoor component offered par cipants content and tools for developing their own programs in the partner organiza ons. By understanding and prac sing the achievement of these physical, emo onal and social skills, par cipants were able to bring more quality, structure and diversity to their regular recrea onal camp programs or events, other projects that involve outdoor ac vi es. By enhancing these skills our par cipants learnt how to use open space exercises and processes in order to build physical and mental strength, learnt how to manage their energy and emo ons, how to overcome their limits, fears and inhibi ons, how to be more structured, organized and disciplined. Nonetheless, a very important aspect of this component is the values it promotes and teaches the par cipants: honesty, equality of rights and chances, inclusion, fair play, compassion, empathy, care, tolerance and respect. It is well known that nature has a calming and relaxing effect on people, and it is also recommended to read and learn in open spaces as it helps maintain focus longer and interiorize more informa on. For this fact we encouraged the development of non-formal learning events in outdoor contexts and we made sure that our par cipants understood this as well. The designed ac vi es, the experience of the trainers, the quality of the training content and the open space context of the project offered the par cipants a set of healthy behaviours, a tudes and values to apply in the daily lives. The outdoor component developed the following three categories of skills and competences: Ÿ Physical: by prac sing sports and physical ac vi es in open spaces, understanding the importance of oxygen circuit
through the body and learning to challenge muscle groups in a correct and healthy way. Ÿ Emo onal: by understanding that physical prac ce sets a series of chemical substances in our body, making us feel happy, sa sfied, energized and more focussed. By learning to use these posi ve emo ons created through exercising, youngsters would become more and more mo vated to engage into physical ac vity in order to feel be er, be healthier and more produc ve. Ÿ Social: by improving communica on and expression, empathy, leadership skills, team-player roles, responsibility, respect, the sense of fair compe on.
The media component developed the following skills and competences: Ü Ü
Ü
Technical skills: using specialized photo and video equipment, so ware for filming, cu ng, edi ng and effects; Promo ng and adver sing skills such as: learning to use social media as a tool for promo ng projects, programs and events, learning to use blogging portals and online mood boards in order to reach more poten al beneficiaries and to increase the organiza ons visibility, learning to create promo onal contents like posters, flyers, le ers and spots; Crea vity by challenging the par cipants to use their imagina on and ar s c sense/skills together with the technical skills men oned above in order to create media contents. They improved their knowledge about colours, lights, shapes and propor ons;
The media component focussed more on developing prac cal skills that will be useful both for the partner organiza on and for each par cipant individually: È
the partner organiza on will benefit from trained leaders who will be able to promote their projects and programs in a more professional way, crea ng more impact among local communi es and expanding their visibility. These leaders will also be equipped with training and coaching skills that will help them pass on the informa on and tools to the rest of the organiza ons members and to the par cipants they have in camps and other programs;
È
the par cipants will benefit from developing new skills that can help them develop professionally. The media tools and techniques used in this training are so various that is it very probable for each par cipant to iden fy something they really enjoy doing and which they can use in developing a personal por olio, CV or even set the base for their own start-up project. We always advise our volunteers, members and par cipants to take the informa on and know-how that we provide and use it in all the suitable life areas, and we expect that the skills we focus on in this sec on to be of use in many areas not covered by this project.
Camp Leader/Facilitator Guidelines The leader's role is to be a facilitator. Facilita on comes from the French word facile, meaning “easy.” Your role as a facilitator is to make the learning process easier for your par cipants. You guide your par cipants through carefully planned ac vi es, crea ng metaphors, and understanding the feelings and needs of par cipants. One of the most important things for a facilitator to remember is that facilita ng a group is different from instruc ng them. Even if you have li le or no background with formally teaching a group of people, falling into an “instructor mode” during an ac vity can be easy. As you watch your group, you will no ce things that are obvious to you about why the group is - or is not - successful. Resist the tempta on to tell the group what you observed. Your role is to lead the group into its own explora on of itself. In fact, you may find that the issues you felt were obvious and important don't come up at all. That's okay, as long as the group is gaining insight through its own experience. The following are some thoughts on what makes a good leader: ● Although you challenge people, your primary goal is to help people grow in a suppor ve environment - help them “win”. ● Everything you do should lead to an enhanced sense of self-respect and team respect; if a “mistake” or difficulty occurs, your job is to frame it as an opportunity to learn and improve.
Prerequisites ● Good physical and mental health; ● Completed a facilitator training session from an extension educator or volunteer;
Skills ● A basic understanding of the benefits and objec ves of teambuilding; ● Ability to introduce the rules, consequences, and safety considera ons for teambuilding ac vi es; ● An understanding of the objec ves and a knowledge of the teambuilding ac vi es; ● An understanding of the concepts of debriefing; ● Ability to demonstrate proper spo ng and safety techniques;
These guidelines are suggested skills and competencies. Each person has a unique set of skills and experiences and may have different facilitation training needs.
Competencies ● Solid verbal communica on skills; ● Ability to work with a wide variety of people in challenging situa ons; ● Common sense and good judgment; ● Flexibility in handling mul ple demands of program; ● An open mind and willingness to learn; ● Ability to remain calm in stressful situa ons; ● Empathy (caring) for others; ● Willingness to play and share a sense of adventure with; par cipants; ● Good sense of humour;
Teambuilding Overview Teambuilding ac vi es are exercises that help teams build cohesion and work through common group issues. They are used as educa onal tools for a variety of individuals, groups, and organiza ons. In addi on, teambuilding ac vi es provide opportuni es for par cipants to combine individual talents and abili es with an awareness of the need to develop coopera on and trust within the group. Teambuilding also provides par cipants with opportuni es for self explora on and growth. As individuals push themselves beyond their comfort zones, they are able to grow and learn about themselves. Because everyone has a different level of comfort regarding emo onal and physical challenges, each person is encouraged throughout the program to set their own challenge goals. At the end of each ac vity, par cipants are given the opportunity to reflect on their experiences and relate them to daily life. This reflec on transforms the one- me experience of teambuilding into a method for bringing about long-term, posi ve changes.
Teambuilding Objec ves ● Increase each par cipant's sense of confidence and create a feeling of accomplishment; ● Increase par cipants' understanding of themselves and one another; ● Develop the ini a ve and responsibili es necessary to accomplish a task through group planning and teamwork, brainstorming, and problem solving; ● Help facilitate group growth, ease a group through a difficult period or process, and develop cohesiveness among group members; ● Develop respect and acceptance for the abili es and limita ons of each individual; ● Use effec ve communica on skills in group interac ons. ● Develop the skills necessary for group interac on; ● Develop leadership skills; ● Clarify the way par cipants behave in various situa ons and what effects these behaviours have on the group.
Program Planning and Sequencing All teambuilding programs should be designed to meet the needs and objec ves of the group. An assessment should be done in advance so that the facilitator knows what to expect in regard to the needs and quali es of the group. As a facilitator, choosing the ac vi es that you feel will best meet the group's goals is an important first step in developing a teambuilding program.
Group Size
Program Length The program length and amount of me available will vary depending on your group.
One facilitator per 12 par cipants(occasionally one facilitator per 15 par cipants) is the ideal group size.
Choosing Ac vi es A er gaining an understanding of the group you will be working with, begin to plan the program. Keep the following general informa on in mind as you select ac vi es: ● Ages 8–12. You may want to choose ac vi es that require physical ac vity to keep them interested. Experien al debriefs will work best. ● Ages 12–16. You may need to plan more ac vi es for this age, as they will spend less me on debriefing than older students and adults. ● College-aged and older. Alternate physical and cogni ve challenges. ● Adults. - They like to spend me processing each ac vity.
Sequencing Ac vi es A er you have chosen the ac vi es that you feel will help the group meet its goals and objec ves, arrange them in a sequence that will be comfortable for the group.
Adjus ng the Plan Deciding whether to make adjustments to the ac vi es you plan is a skill that takes prac ce. As a facilitator or camp counsellor, watch how the group works together and be prepared to subs tute ac vi es that will help them to be er meet their objec ves. The following are some general ques ons that may be helpful as you make your decision to readjust: ● Are there any resistant members? ● Are they comfortable with physical contact needed for some ac vi es? ● Are they being sufficiently challenged? ● Do they plan and listen to one another? ● Do you have a par cipant that is injured or unable to par cipate in your original plan of ac vi es? ● How's the weather? You may need to adjust your plan from outside to inside. For example, if one or two members are resistant, you may not want to begin with ac vi es that require a high degree of support and trust. If the par cipants are not comfortable with physical contact, you may need to move gradually into ac vi es that require them to physically support others. If they seem to be disinterested, increase the challenge of an ac vity to spark their enthusiasm. If you find that they are not planning or listening, you might try some introductory communica on exercises.
Briefing the Ac vi es Before you let a group begin an ac vity, you should give them introduc ons. This briefing provides the group members with the informa on they need in order to proceed with an ac vity. A good briefing sets the stage for a posi ve experience. Whatever the scenario, the briefing should include the following: ● Objec ve This explana on should be as clear and concise as possible. ● Guidelines The rules that govern what the group may and may not do, including an explana on of what resources are available, what the consequences are if the group doesn't remain within the guidelines, and any addi onal parameters. Depending on the group members and the ac vity, you can allow them to set their own consequences and even to adjust the guidelines slightly to enhance their levels of par cipa on in the process. ● Safety Issues Let the group know what the safety parameters are and charge them with keeping themselves and one another as safe as possible is important. This por on of the briefing may include specific instruc ons on spo ng, li ing, catching, and so forth. ● Clarifica on Be sure to ask for any ques ons so that everyone understands the guidelines and consequences.
Leading the Ac vi es A er you provide the group with the objec ve, guidelines, and safety considera ons, your primary role becomes that of an observer. This can be one of the most challenging parts of facilita on because it requires you to watch for the safety of the par cipants, ensure that they are working within the established guidelines, hold them to the consequences, and observe their interac ons. In some ac vi es, you can be physically involved; in others you will stand apart from the group. Some mes stopping the ac on in an ac vity becomes necessary. The most common reason to stop an ac vity is if the group has made or is trying a sugges on. In some cases, you may want to step in when the process itself is breaking down, or if the group repeatedly tries a solu on that doesn't work well for them. In these cases, ask the group to stand in a circle away from the ac vity and process what they have been doing. What is working and what is not? Ask them to brainstorm some other considera ons and to try the ac vity again. Do not try to solve it for them.
Facilita ng the Debrief A er group members experience an ac vity, they usually need some me to reflect on what they learned and how it can be made relevant to their lives. This is o en called debriefing or processing. The debrief can be a safe me where the group members consider the ac vi es they have accomplished and the process that brought them to their accomplishment. The facilitator's confidence in the importance of the debriefing helps the process become a meaningful experience for the group. The skill is like any other and must be prac ced and honored by both the facilitator and group. Remember the following as you conduct the debrief: ● Don't be surprised by resistance. ● Connect the discussion to the group problem-solving ac vi es. ● Train yourself to listen and observe what's happening during an ac vity, and use examples from the ac vity during the debrief. ● Sequence the debrief so that it starts easy and leads up to more difficult issues that the group faced.
O en you can turn an“ instruc onal ”comment into a “facilita ve” comment by asking it as a ques on. Create openended ques ons rather than ones that can be answered with a simple “yes” or “no.” For example, ask for specific examples of behaviors that led to the success of an ac vity. Par cipants become aware of how their specific ac ons affect the success of the team. Allow each person to share their own ideas and thoughts. Just as a group needs to par cipate in icebreakers or warmup ac vi es before ge ng started with more difficult challenges, the debriefing ac vity has a sequence to the types of ques ons you should use. Usually the debrief has three parts: What, So What, and Now What. What - allows the group members to review what happened So what - helps them to see its relevance Now what - allows them to think about ways they can relate the insights back to their lives.
These stages correspond to the reflec on, processing and applica on phases of the Experien al Learning Cycle
The Experien al Learning Cycle can be simplified to What, So What, Now What. The What are the experiences that the par cipants just had: ● What dynamics did the group observe in the ac vity? ● What things did the par cipants do well? ● What things do they s ll need or want to work on? ● What roles did the par cipants take? So What can the group learn from this experience? How can we connect what we just did in our teambuilding ac vity to the work that we do together as a group? Examples of other “So What” ques ons: ● Was your role in this ac vity a typical role for you? ● In this ac vity, you said you felt _________. Do you ever feel that way at work/school/home? How do you deal with those feelings there? ● What strengths did you bring to this group ac vity? ● What was something you needed from the group in this ac vity? The Now What addresses what the par cipants will do with their new knowledge. Examples: ● How can you use this learning at home/work/school? What are some obstacles to implemen ng what you have learned? How can you overcome these obstacles? ● What helped you accomplish your goals? What will you need from others to implement your plan elsewhere? ● If you were to develop a toolbox for school/home/work, what would be in there? ● Now that you have tackled challenges in ac vi es, what issues will you tackle at home/work/school?
Examples of Experien al Debriefing Teambuilding supports the no on that by actually experiencing communica on, trust, support, and problem solving, people learn be er than by simply discussing these issues. The same can be true during the debrief of an ac vity.
Thumbs-Up Upon the comple on of an ac vity, ask the group a specific ques on such as: ● Do you feel that the group worked together as a team? ● Do you feel that the group communicated well during this ac vity? ● Did you feel like you were a part of the planning process? Or ask ques ons that specifically relate to the group. A er you ask this ques on, the par cipants should answer with a thumbs-up, thumbs-to-the-side, or thumbsdown in rela on to how true they feel the answer is to them individually. A discussion may take place regarding the different thumb posi ons—simply ask why they answered that way.
Postcard Debrief
Drawing the Experience
The facilitator needs to gather postcards with various pictures conveying: leadership, communica on, surprise, happiness, discomfort, joy, risk taking, peer pressure, friendship, compe on, sexism, and so on. Upon the comple on of an ac vity, lay the postcards out for all the group members to see.
Ask each person to draw a picture that represents some aspect of his/ her experience. Encourage crea vity rather than ar s c ability. Suggest that they keep the pictures simple and use symbols from the natural world to represent their experiences.
Next, ask the par cipants to pick a postcard that they feel represents something that happened with the group during the previous ac vity or during the day. Conduct a “go around,” asking each member to tell the group why they picked up that specific card. OR Have the group come to a consensus and choose one or two cards that best describe what happened during the ac vity. This should bring about a lot of discussion.
Ask each person to find a partner and sit so that they can communicate but not see one another's papers. Have them describe their pictures to their partners without showing them the picture. The goal is for the other person to try to exactly duplicate their partner's picture. Have them switch roles and then discuss how close they came. This ac vity can help people “feel” someone else's experience through drawing what they felt. This exercise stresses the need for clear communica on.
Object Representa on
Dyads Processing
Le er Wri ng
If the project or ac vity involves physically building or crea ng something, ask each person to pick some part of the project with which they iden fy.
At the end of the ac vity, ask each person to find a partner with whom they did not work during the ac vity. Ask them to share two or three specific observa ons about the ac vity with one another. You can do this as you move from one ac vity loca on to another.
Give each person a piece of paper and an envelope and ask them to write a le er to themselves explaining what they gained from the experience. Have them address the envelope and seal it.
Perhaps the color, size, or object itself may represent some par cular obstacle that the person encountered. Ask them to describe obstacles and how they overcame them using the objects as their guides.
Upon arriving at your des na on, ask them to share the similari es and differences about their discussions with the larger group.
Collect the le ers and then mail them in a few months as a reminder of the experience.
Line Con nuum Mark two points in the ground or on the floor about 30 feet apart (or mark a line connec ng two points). Each end point represents opposite ends of the con nuum. Group members should place themselves on the con nuum depending on how they felt regarding individual or group characteris cs of: ● Leader versus Follower ● Talker versus Listener ● Giver versus Taker ● Planned More versus Planned Less ● Safe versus Unsafe Select any combina ons that are appropriate, or make up your own. Once group members are in a straight line and, you might ask if anyone disagrees with this order. Let any group member who wants to change the order do so. This allows par cipants to rate themselves and see how others perceive them. You can also ask group members to reposi on themselves according to where they would like to be on the con nuum. Possible ques ons: How did you feel about the spot you chose for yourself? What were your feelings in lining up? How did you feel when someone moved you (if this happened)? Are there other 10 mes you feel this way? Why did you put yourself where you did? How far apart were your posi ons for where you are and where you'd like to be? How do you think you could work toward ge ng to where you'd like to be? Keep things focused in a posi ve manner! Ask group members if they see any pa erns in their posi ons.
Bull's-Eye
Group Poem
Place an object, cone, or a ball in the center of the circle. Ask the group members to place themselves close to or far away from the bull's eye, depending on how they feel about an issue rela ng to the ac vity.
Ask each person in the group to come up with one word that described the group's process of comple ng the ac vity.
For example: Did you take an ac ve leadership role in this ac vity? If you were to answer yes, you would stand very close to the bull's-eye. If not, you might stand a bit back from the center.
Organize everyone's words into a list and then ask each person to write a poem or story that includes all of the words. Ask for volunteers to share their stories or poems.
Forced Choice This ac vity allows people to look at their roles or preferences with regard to one or more situa ons. In order to do the ac vity, first draw or make a straight line on the ground. Tell the group that you will be asking them a ques on (or more than one). For each ques on, they will need to make a choice. One side of the line will represent one op on, while the other side will represent the second op on. Be sure to tell that there are no right or wrong answers. This ac vity simply provides an opportunity to see how others felt and how they see themselves. Possible ques ons: ● Do you tend to be a follower or a leader? ● In the last ac vity, were you a talker or a listener? ● Is it harder for you to ask for physical support or emo onal support? You can then use these choices as a springboard for further discussion.
Trust Statements
Picture Postcard
You can do this ac vity as one large group or in smaller groups (2–6 people). Give each group member a pencil and piece of paper, and ask them to complete the following sentence:
At the end of a day together, circle up and find a comfortable place to sit down. Ask each person to r e fl e c t o n t h e ex p e r i e n c e y o u a l l s h a r e d together—you might want to do a verbal run-through of the day so the par cipants can replay the images in their heads as you are talking.
“In order for me to trust a person or group, I need them to ______________.”
Then, ask them to create mental postcards. What picture would you put on the card—a picture from the experience? Then turn the card over.
A er everyone is finished, have all members place their pieces of paper in the center of the group, and then ask each person to pick up one of them and read it aloud to the group. A er all of the pieces of paper have been read, allow the group to discuss any or all of the ideas wri en down.
Realizing the limited space available, to whom would you send the card and what would you write in the space available?
This is a great way for people to share their true concerns without having to speak up in front of the whole group.
A er giving them a minute to create the postcard, go around the circle and share (what picture, to whom it would go, and what you would tell them).
During the training course ZOOM outdoor for healthy lives the par cipants created 8 tutorials for some of the teambuilding ac vi es: The magic carpet / The human bridge / Parachute / Blind squares / Birds on wire / Painters / Spiderweb / Low ropes( Holy Herma).
In the media component, there were two aspects highlighted: Ü Ü
Photography Composi on Rules Shoo ng Be er Videos
The 3 Stages of Video Produc on The produc on process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media produc on including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of produc on are: Pre - produc on: Planning, scrip ng & storyboarding, etc. Produc on: The actual shoo ng/recording. Post-produc on: Everything between produc on and crea ng the final master copy. Other stages include: Ü Ü Ü
Financing: This happens before pre-produc on, and involves budget forecas ng, finding investors, etc. Screenplay: This can be considered also as separate stage before pre-produc on.( depends of situa ons) Distribu on: A er post-produc on, delivering the content to the audience (e.g. film prints, CD/DVD, etc). The Pre - produc on Stage
First, you'll want to think about what the video world refers to as “Pre-Produc on.” This is the planning stage. You'll want to think about the video and what resources you will need for it. This is by far the most important stage – many mes a great video can be foiled by rushing too quickly into filming before having gathered all the tools you need to execute the film! Being able to know exactly what you'll need is a skill that you'll strengthen over me, but ini ally you can cover these basics: Ü Think about if you are adding any music or sounds to the video and what these will be Ü Do you need a script or are you filming without one? Ü How long will the video be and how many shots/loca ons will you need? Ü Will you need any extra ligh ng or sound equipment? Ü What kind of camera are you using? Ü Define your audience Ü Define your message Ü Define your budget Ü Write and revise a script Ü Determine your ideal video length Ü Take your me storyboarding Ü Make a shot list
Create a produc on schedule, also called a shoo ng schedule, this is the document you need to have in order to make any kind of judgment call on whether your video project is going according to plan and to manage the me expecta ons of stakeholders. It's important to always keep track of the following: loca on, scene/shot, equipment, people needed, contact info date and me, determine your equipment needs, hiring and preparing the crew: director, actors, different experts/assistans, , selec ng wardrobe/costumes
The Produc on Stage: All scenes planned out in pre-produc on are filmed at the relevant loca ons. Each scene is filmed as many mes as the director deems fit, to ensure the best quality scenes will be used to construct the film. This is where the strength of the pre-produc on work is put to the test. Great care must be taken to make sure that all the filming is done correctly and all necessary shots are taken, as it is some mes difficult or impossible to go back and repeat certain events if the filming is incomplete when it comes to the post-produc on stage. During the produc on process you will work out the ligh ng requirements, framing and composi on.
Post-Produc on The post produc on process begins a er all the footage has been captured. This is the stage in which the film is assembled by the editor. The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual "takes" (shots). The purpose of the rough cut is to select and order the best shots. The next step is to create a fine cut by ge ng all the shots to flow smoothly in a seamless story. Trimming - the process of shortening scenes by a few minutes, seconds, or even frames - is done during this phase. As well as the edi ng of footage, all music, graphics, menus etc are added in this stage. A er the fine cut has been screened and approved by the director and producer, the picture is "locked," meaning no further changes are made. Graphics can be added along with images, music, colour correc on and special effects. If you are producing your own video content, there will be a bit of a learning curve at first, but it will be really rewarding. Post-produc on is like pu ng the last coat of paint on in a room and it will be well worth the me to learn the basics. This is where your video project will really come to life.
The par cipants, a er picking from the hat their tle of the short movie, prepared the pre produc on phaze, pitched the producers and... these are the ďŹ nal video and photo products.
How to make a Ciurgau
Team “Zacusca”
Team “Ciorba”
romania
Communica on, Public Rela ons and Adver sing Communica on The term “communica on” may be defined as a process by which senders and receivers of messages, and they do this through different symbols. (Michael Kunczik) Communica on is the act of making an individual I, located in an era in a certain place, to acquire experience on data and events ambience from another individual or system E, using knowledge elements common to them. (Moles)
Public rela ons (PR) Public rela ons are a method of communica on between an organiza on and its publics; helps managers know public a tudes so they can take the right decisions; Also, helps the public to understand the specificity of organiza on and have confidence in it. Public rela ons are a management func on that establishes and maintains mutually beneficial rela onships between an organiza on and its public . Public rela ons are the management of communica on between an organiza on and its public. The public can be internal or external: external- other organiza ons, a customer etc. Internal- members, the organiza on `s groups etc.
Adver sing Adver sing it is the science, business or profession of growth and dissemina on of messages (commercials), a social ins tu on that affects every day the lives every individual, a force that shapes the mass culture, a component of marke ng ac vity or a source of informa on about products, services events, individuals or organiza ons.
Most important func ons of adver sing: - Func on of Informa on (informa on on specific products) - Func on of mo va on (mo va on to purchase products) - Social func on (consumer prepara on for the market offers) Most important func ons of Public Rela ons -Func on of management (analysis, interpreta on and public an cipa on, organiza on management, counselling, study, ongoing evalua on of programs, of ac on and communica on, planning and implementa on of the organiza on's ac ons on influencing public policy change, etc)
Dierences and similari es between Public Rela ons and Adver sing Advertising
Public Relations
Communication model
Unilateral acts, most often asymmetric; except the BTL advertising, marketing, or direct communication
It uses a complex model, which usually include a certain proportion of each model of communication.
Communication objective
Supporting the sales function, consensus function and conflict management
Promotes understanding and integration in the external environment and sometimes also internal.
Timescale
Short term
Medium and long term
Communication object
Products/services/organizations Organization, public persons, stars
Recipients
Extenal public
Internal and external public
Organisational issues
Connected to sales and marketing department
Function of management – PR department- directly reports directly to manager
Costs
Higher than PR
Less than advertisement
Example
Types of Adver sing
Types / approaches of Public Rela ons (PR)
Dierences between Marke ng, PR, Adver sing and Branding
Example - INVITATIONS During the training course, using the media and communica on & adver sing knowledge the par cipants created special invita on for the villagers to a end the public event (in Hungarian-Borzont being a 100%Hungarian minority community).
"FIGYELEM,FIGYELEM: kicsi zöld Borzontonkivüliek lepték el a települést! Megkülönböztető jegyeik: Fiatalok, folyton boldogok, barátságosak, és fúrcsa nyelvet beszélnek. Szakértőink összegyűjtik és bemutatják szokásaikat Június 20-án a Borzonti kultúrházban.Részvétel kötelező kúlturismereti okokból!! Szeretettel várjuk apraja-naggyát 17 orátol. Szlovákia, Lengyelország, Macedónia, Moldova, Hollandia, Románia.” “Hear ye, hear ye: little green people from outside Borzont invaded the village! Distinguishing signs: young people, always happy, friendly and speak a strange language. Our team of experts gathered them in order to present their traditions on June 20, at the Culture House of Borzont. Due to cultural knowledge reasons, your presence is mandatory !!!! We welcome everybody – young and old- at 5 pm. Slovakia, Poland, Macedonia, Moldova, The Netherlands, Romania.”
Promo onal videos for Borzont created by par cipants
Interac on with local community The International dimension of the impact consists of the multicultural learning environment provided by this project. The fact that both participants and team members come from such different cultures and work with such different beneficiaries, offers everyone the opportunity to learn to be flexible in their work, to understand diversity, to overcome stereotypes, to have new insights, to develop new skills. To this created interculturality provided by the project was added the environment of the hosting place: a Hungarian minority community, an added value for the project. Interaction with the local community was one of our objectives. Due to media assignments, other tasks, outdoor teambuilding activities the project and the participants were in the centre of atention, leaning to communicate with the locals, understanding their culture, their lives, were given sweets and traditional snacks. After promoting the public event - intercultural evening - the participants prepared the whole show: presentation, logistics, food, media, welcoming the guests. The event took place in the Culture House of Borzont. During this afternoon, they have shared specific details of their cultures and traditions, shown local people how similar they all are even if they come from such different environments. In the introduction of this event we presented our project, our organizations and the Erasmus Plus Program.
Examples of crea ve non formal ways to interact with local communi es: 1. 2. 3. 4. 5. 6. 7.
DANCE WITH 3 LOCAL PEOPLE AND BRING PROOF WASH ONE CAR AND BRING PROOF MILK A COW AND BRING PROOF TEACH A GROUP OF PPL A SIMPLE SONG FROM YOUR COUNTRIES FIND THE OLDEST PERSON FROM THE VILLAGE AND TAKE A PICTURE WITH HIM/HER PLAY FOOTBALL WITH 10 LOCAL GUYS AND BRING PROOF LEARN TO SING A SONG IN HUNGARIAN AND BRING PROOF
1. FIND AN OLD LADY AND CARRY HER SHOPPING BAGS . BRING PROOF 2. HUG A SHEEP AND BRING PROOF 3. TEACH 5 COUPLES TO SAY I LOVE YOU IN ALL YOUR LANGUAGES AND BRING PROOF 4. DRESS UP IN TRADITIONAL HUNGARIAN COSTUME AND BRING PROOF 5. GET A JAR OF A HOMEMADE JAM 6. CREATE A SYMBOL OF YOUR TEAM AND POST IT IN FRONT OF THE CULTURE HOUSE. BRING PROOF 7. RIDE A HORSE AND BRING PROOF 8. WASH AT LEAST 3 WINDOWS AND BRING PROOF 9. MAKE A GIFT FOR ONE OF THE VILLAGERS AND BRING PROOF 10. FIND OUT THE HISTORY OF ONE FAMILY IN THE VILLAGE YOU ARE IN. BRING PROOF 11. CONVINCE SOMEBODY FROM THE VILLAGE TO DO 15 MINUTES VOLUNTARY WORK WITH YOU AND BRING PROOF 12. FIND 5 MUSTACHE MEN AND TAKE A SELFIE WITH THEM 13. KISS A STRANGER AND BRING PROOF 14. DRIVE A TRACTOR AND BRING PROOF 15. DRINK COFFEE WITH A FAMILY AND BRING PROOF 16. GO AND TALK WITH A PERSON WHO HAS A BUSINESS IN THE VILLAGE AND FIND OUT HIS STORY. BRING PROOF 17. MAKE A SELFIE WITH AN UNICORN 18. FIND VOLUNTARY WORK IN THE VILLAGE. BRING PROOF 19. BE ON A LOCAL NEWSPAPER. 20. PLAY WITH THE CHILDREN FROM THE VILLAGE A NEW GAME FOR THEM AND BRING PROOF 21. PROMOTE AND INVITE THE VILLAGERS TO THE INTERCULTURAL EVENT. BRING PROOF 22. HAVE FUN AND BRING PROOF 23. SMILE TO THE SUN AND THANK EACH OTHER FOR THIS DAY. BRING PROOF.
How to use social media to promote our organiza ons/ a camp/ac vi es/ Social media are computer mediated tools that allow people to create, share or exchange informa on, ideas, and pictures/videos in virtual communi es and networks. Social media depend on mobile and web-based technologies to create highly interac ve pla orms through which individuals and communi es share, co-create, discuss, and modify user-generated content. They introduce substan al and pervasive changes to communica on between businesses, organiza ons, communi es, and individuals. Social media technologies take on many different forms including blogs, business networks, enterprise social networks, forums, microblogs, photosharing, product/services review, social bookmarking, social gaming, social networks, video sharing and virtual worlds. Some social media sites have greater virality - defined as a greater likelihood that users will reshare content posted (by another user) to their social network. Many social media sites provide specific func onality to help users reshare content - for example, Twi er's retweet bu on, Pinerast pin or Tumblr's reblog func on. Businesses may have a par cular interest in viral marke ng; non profit organiza ons and ac vists may have similar interests in virality.
Mobile social media refers to the combina on of mobile devices and social media. This is a group of mobile marke ng applica ons that allow the crea on and exchange of user-generated content. Due to the fact that mobile social media run on mobile devices, they differ from tradi onal social media by incorpora ng new factors such as the current loca on of the user (loca on-sensi vity) or the me delay between sending and receiving messages ( me-sensi vity). According to Andreas Kaplan (professor of marke ng at the ESCP Europe Business School, specialized in the areas of social media and viral marke ng) mobile social media applica ons can be differen ated among four types: 1. Space- mers (loca on and me sensi ve): Exchange of messages with relevance for one specific loca on at one specific point in me (e.g. Facebook Places; Foursquare) 2. Space-locators (only loca on sensi ve): Exchange of messages, with relevance for one specific loca on, which are tagged to a certain place and read later by others (e.g. Yelp; Qype) 3. Quick- mers (only me sensi ve): Transfer of tradi onal social media applica ons to mobile devices to increase immediacy (e.g. pos ng Twi er messages or Facebook status updates) 4. Slow- mers (neither loca on, nor me sensi ve): Transfer of tradi onal social media applica ons to mobile devices (e.g. watching a YouTube video or reading a Wikipedia entry) More and more the non-profits understand that using social media can help them reach and engage their audience, create momentum and build community. However, there's uncertainty around how to create a sustainable social media campaign, although the tools are plen ful and o en free.
Tips to leverage social media
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Use a blog to tell your story Make sure your stories are shareable Make it easy to subscribe to your stories Use video to tell your story Create a Facebook/Twi er/Pinboard page for your non-profit Get into the Facebook news feed Post photos or videos, and “tag” volunteers Create a Facebook Group for your cause Use Facebook ads to raise awareness Use Facebook Events and LinkedIn Events to spread the word Use Foursquare or Facebook Places to promote your events Go local with Twi er's advanced search Start conversa ons around hashtags Ask for the retweet Create a banner that stakeholders can add to their avatars Use Eventbrite to handle event registra on and money collec on Find poten al board members on LinkedIn Improve conversa ons and collabora on with a wiki Put your presenta ons online with SlideShare Get more out of your photos with Flickr for Good Use Google Grants to drive traffic to your website, blog and other social media presences
Organizing your summer camp Where to start? • Iden fying your camps purpose and outcomes; • Developing your plan; • Defining a meline; • Determining your curriculum; a. Where to start: define mission, vision and values of your organiza on or your camp; b. High Quality, Transforma ve, Sustainable, and Fun Youth Camps; Purpose and Outcomes – Monitoring and Outcomes (M & E) • Camps should be planned for a reason! • Determine the reason for your camp • Begin with the ending in mind • What is your camp focus? • What is your plan to determine your success? • How will you determine your success? (monitoring & evalua on) Partnerships • • •
Key to sustainability; Most effec ve when planned and implemented with partners, their staff members and community members; Partners are included in every step, including the assessment, design, implementa on, and evalua on of the camp process;
Planning and Logis cs • • • • • • •
Systems and structures in place; Adequate resources; Roles and responsibili es outlined; Adequate planning me; Thinking through logis cs in advance; Making sure everyone is safe; Everyone is able to have fun;
Health and Safety • • • • •
FIRST and FOREMOST; Environment is safe; Emergencies planned for ; Protocols are in place; Training of all staff and campers;
Caring and Competent Staff Iden fied, trained, and supported; Empowered to create a safe environment for campers; Capable facilitators of a posi ve learning experiences; Ÿ Work together as a high func oning, suppor ve team; • • •
Camp planning Timeline - a 12 month process 9-12 Months – Program Priori es – Partners (Commi ee) – Resources In this period of me it is recommended to have: the poten al partners, create the planning commi ee, determine camp goals, determine funding.
One Week
6-8 Months – Camper Profile – Where – When – Staffing needs In this period of me it is recommended to select campsite, determine date, staffing needs, have a detailed budget.
First Day of Camp – Greet campers, – Label mee ngs space – Setup check-in – Have fun
– – – – –
Meet w/counselors Purchase all supplies Reconfirm speakers, food, transporta on Confirm all paperwork is complete Check site arrangements
During Camp • Follow the schedule • Take pictures/videotape. • Hold daily check-in mee ngs • Troubleshoot
4-5 Months – Applica on – Evalua on Plan – Camp Schedule – Health & Safety Plan In this period of me it is recommended to start the applica on process, complete staff recruitment, determine camp schedule, develop health & safety plan, seek in-kind dona ons.
A er Camp • Tabulate camp evalua ons • Send thank-you notes • Complete any grant reports Evaluate the camp
2-3 Months – – – – –
Finalize schedule Marke ng Camper selec on Camper guidelines Finalized risk management
One Month – – – –
Confirm speakers/guests Finalize evalua on process Develop back-up plans Hold orienta on mee ngs
Ÿ Plan Every Hour of Every Day
• • • • • • • •
Wake- up Line-ups Breakfast, lunch, dinner Educa onal classes Ac vi es Team me Free me Lights out
Children and teenagers par cipate in a variety of ac vi es each day. The ac vi es can be camp wide ac vi es, personally selected ac vi es, and unit ac vi es. Each camp can offer a different set of ac vity choices designed to op mize the child's camp experience. The Specialty camps and Sports camps will have a half-day specialty/sport format and a half-day tradi onal camp format. Trip and Outdoor camps will offer ac vi es depending on the loca on of the trip. In general, the camp day is arranged as follows (specific schedules will be posted at each camp site): • • • • • • •
7:30-9:00am AM Extended Hours (if applicable) 9:00-10:30am Camp Ac vi es 10:30-10:45am AM Snack 10:45-12:00noon Camp Ac vi es 12:00-12:30pm Lunch 12:30-3:00pm Camp Ac vi es 3:00-3:15pm PM Snack
• • • • •
3:15-4:00pm All Camp Ac vity 4:00-7:00 pm PM Extended Hours (if applicable)Camp Ac vi es and free me 7:00-8:30 pm dinner break 8:30-9:30 camp ac vi es 10 pm lights out
romania
12 - 23.06.2015, Borzont, Romania