Meet greet one direction denmark 2014 gmc

The Dialogue Handbook by DUF AFD - Issuu

meet greet one direction denmark 2014 gmc

· Greeting exercise. Denmark: Workshop with dialogue on an issue. This is a world where we meet each other, want to cooperate – and In , the dialogue ambassadors continue with a new However, as one begins to settle into the role of the traveller, the book is cast aside. Science 30 May Below is a message inviting employees to say “hello” to their new boss as she made an inaugural round of meet and greets earlier this month. “There is no one I've met on either side of the aisle that wouldn't agree on the We go in one direction for a while, then we have an opportunity to go in a. the Eagles? Or for the closest seat possible to scream directly at One Direction on their stadium tour? May 27, pm. Be a VIP . packages are on offer to see Brian May, Adam Lambert and Roger Taylor of

And to the extent possible, they should not be answerable with a yes or a no. It encourages shedding light on the views and their underlying rationale.

It may seem awkward to use these tools in the beginning. However, it is a question of training and of adapting the technique to the situation at hand and the person you are talking to. Does it work at all? We carried out three workshops in Denmark and Egypt and received fabulous feedback.

meet greet one direction denmark 2014 gmc

My golden moment was when it dawned on me that, yes, we really do make a difference. We change something through dialogue. We change something in real life. A successful dialogue workshop both imparts the fundamentals about the nature of dialogue and shows in practice what dialogue is.

Participants gain greater understanding of the potential of dialogue, when they conduct one on an issue, and when they are trained in using hands-on tools of dialogical communication. In order to bring into play exactly what you want, you have to carefully think through how best to put together the workshop.

You need a plan. What is a workshop? A workshop is a planned, structured learning process for a group, which actively involves the participants, and which has a particular purpose. Just like a story, the workshop has a basic structure and moves over time in a process.

The elementary design is composed of three parts: Naturally, a dialogue workshop is always about dialogue. However, how the workshop goes about it is up to you, as long as what happens makes sense to and engages the participants. The workshop has to be coherent. It must be dynamic and captivating.

meet greet one direction denmark 2014 gmc

See note 1; Annex 4: The basic structure serves as a template for planning, in which content and form vary depending on the purpose of the workshop and the needs of its participants. What is a dialogue workshop? Dialogue is a movement where the journey is more important than reaching any particular destination.

Accordingly, it makes sense for the workshop to be not just about dialogue, but also to bring participants into a dialogue with one another. We distinguish between two prototypes of dialogue workshops: Participants learn about the nature of dialogue and, through examples and training, about tools of dialogical communication.

Workshops WITH dialogue, in which the primary purpose is to conduct a dialogue on a particular issue. Consequently, the contract, i. All participants should be clear as to what the workshop is about, how it will work with dialogue in practice, as well as how and to what extent they will be involved in the process. In reality, these two workshop prototypes will tend to overlap.

However, in the planning process it is useful to distinguish so as to optimally choose what the workshop should contain and how it should be managed. A successful workshop At a successful dialogue workshop, you talk about dialogue, conduct a dialogue, and learn through dialogue. By means of shared reflection on what goes on in the dialogue between participants, learning and new insights arise.

Accordingly, reflection is pivotal in the effort to ensure a successful dialogue workshop. Reflection is to pause to consider, enter into a dialogue with yourself or with others, and to verbalise what you experienced and felt in a situa tion, so as to gain new insight and deeper understanding 56 Recipe The basic recipe for a successful workshop contains three main ingredients.

With those in mind, it becomes easier to decide how the workshop is to be structured, and which talks, exercises and games are to be included. The workshop must be tailor-made to its participants on the basis of their needs and the overall purpose of the event. This calls for making up your mind on the following: Where do I want to go with my workshop?

What do the participants need? No activity without reflection, out of reflection comes learning. An activity in terms of an introductory talk, exercise or game does not generate much learning by itself. This only happens in the reflection process, when you put into words the feelings, aha!

meet greet one direction denmark 2014 gmc

Consequently, any activity must be followed up by reflection among participants and by summing up what they have learned. Variation makes for dynamism.

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Accordingly, variation must be at the heart of the planning. Thus, after a talk during which participants have been sitting down and listening, you run a physical activity for them. This can be followed, for example, by reflection in small groups, after which you sum it all up in a plenary session, and so forth. See note 2; Annex 4: Learning springs from disruption: When it comes to dialogue, learning and development are two sides of the same coin. Participants learn and develop by being challenged regarding what they already know and believe.

The disruption should not be so strong that they disengage after being scared off. Nor should it be so weak that it merely affirms what they knew beforehand.

It should both challenge and relate to what participants know.

meet greet one direction denmark 2014 gmc

This is a balancing act, both when planning and implementing the workshop. With all the planning in the world, you never know what will happen until you start to interact with the participants. Or you need to have a Plan B in reserve. This makes it just as important to prepare for the role of being responsible for the workshop as to plan the actual workshop. Read more about unpredicta bility a nd prepara tion in Chapter 4 58 3. The planning must take into account that the workshop has three dimensions: What will the workshop be about?

What is going to happen? How should the process be structured? How is it going to happen? How do you prepare for the dynamics and what is to take place between the participants? To what extent are the participants to be involved and how? Read more about the three dimensions of the workshop in this chapter on p.

There are myriad ways of doing this. The crux of the matter is to strive to produce a tailormade process that is carefully based on the needs of participants. Experience shows that this approach makes for the most relevant and enlightening processes. The simple approach to planning a workshop is to start from the basic recipe and the three basic principles mentioned above.

The basic workshop structure — introduction, action and finalisation — is used as a template for planning, for devising a script and drawing up a programme see below. You choose a fitting headline, as well as the activities and exercises that you find most suitable see Chapter 5. Using these guidelines, in addition to your common sense and perhaps some good colleagues, you can throw yourself into it.

You will be able to design a fine process, the participants will gain greater understanding of the nature of dialogue, and you will reap valuable experiences. Read more about planning in this chapter on p. Regardless of the approach that you choose, there are a few aspects that you must take into account. You need a script to set out a structure, and a programme listing the specific activities to be included. If you are working together with other facilitators on the workshop, this must also be incorporated into the planning design.

You have to consider what form is most apt to underpin the content. And you should make up your mind as to how you will involve participants and manage the process. Lastly, there are some practical matters which will also have to be attended to. Issue The workshop will seem more compelling to participants if, in addition to dialogue, it also features a specific issue. This is phrased like a heading or a question, such as: The issue chosen should depend on what motivates and engages the participants see also Chapter 2.

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They should be able to associate it with their own lives and identify with the dilemmas that it raises. By demarcating an issue rather precisely, it will be possible to go into greater depth. It is fine if you choose an issue that makes you tick and the exercises that you feel most familiar with, as long as it all chimes with the higher purpose of the workshop and the needs of the participants.

It is always advisable to ask yourself one more time if this is really the case. And to be ready to skip whatever might be your passion, if it is not. In a workshop with about 20 young people, there were two men around 50 years of age, who were also to take part. As facilitators we never even imagined they were going to do the exercise.

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Still, we chose to involve them anyway. As it turned out, the two men really thought it was a fun exercise. They took part by laughing heartily with everyone else. Our worries were put to shame and showed us that we, as facilitators, also need to challenge our own prejudices. While writing the script, you think through the process, make a plan, and get to grips with the kind of activities you want to include.

The script does not have to be a fully-fledged and detailed roadmap. It serves more to guide you through your planning, as well as to give you peace of mind and breadth of view when you stand on the floor leading the workshop.

It does not matter much if it is inserted into a detailed table, is on a handwritten sheet of paper, or on shining gold cards with lists of cues. While working on the script, you also assess how much time you expect to spend on each activity. You want to include many activities, and end up allocating too little time for each exercise.

A stressed-out facilitator who is hell-bent on getting through an unrealistic programme helps nobody. In that case, it is better to include fewer elements. This will make it more possible to get immersed into the subject matter.

There must also be plenty of time for participants to take to the stage. There is no learning without reflection, but reflection is also to enter into a process with participants, which is rather unpredictable. It takes time, hence you must also be ready to keep time. You are in charge of the process, not vice-versa. See suggestions for specific scripts in Annex 3. To me good teamwork also means you have made agreements regarding your cooperation and how to communicate when you take to the floor.

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meet greet one direction denmark 2014 gmc

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