History of TIE (2.1)

Agenda

History of TIE

Recap

Theatre forms: Kabuki, puppetry, Commedia dell'arte

• Theatre forms are dependant on various factors in society (what is happening in society). 
• The role of education is evolving.

- Why do people need to go to school?

1970s - go to school to learn skills to contribute to factor

NOW- ?

The world in the 1960s (US) which is similar to the UK. 

(Not the exact video)

The 1960s time - A LOT OF CHANGES

• The woman role changed GREATLY. They able to take contraceptive, able to control how many children they would like to have.

Their role in society will not just be to bear children and to not just serve their 'master' who is their husband. Now they can decide how many children to have, able to negotiate with their husband.
They have the woman;'s movement.

• Music and Film

Great songs and bands. Eg. The Beatles, Elvis and the twist

• Advancement in the Science and Technology

Going to the moon, medical science

• War (Vietnam)
• Rights 

Woman rights in equalities, rights of the blacks of equalities

• Great leaders being killed (Kennedy, Martin Luther King)
• HEATHCOTE WAS BORN
• FIRST TIE PROGRAMME WAS BORN IN 1965
• SINGAPORE (LEE KUAN YEW) WAS BORN
• THE ARTS COUNCIL STARED TO BELIEVE IN THE VALUE OF ART IN CHILDREN AND IN SCHOOLS.

*** READING IS HIGHLY RECOMMENDED!

Summary
Before this, theatre was just theatre. Theatre was meant for people to go watch, clap and then go. In this exciting time. The new assistant director went to ("BELVIC"?) theatre when he was a geography teacher, he had a background of a teacher. He started work in "BELVIC" Theatre as a assistant director, he knew a little about education, a little about theatre. He wondered why nobody had tried to merge this two and he tried to do that. Within the BELVIC theatre company which performs main season Theatre (perform for people to buy tickets and get revenue), they form another separate group specifically for TIE. For 20 years they did good work. For the first time this term "actor-teacher" was heard. In the past it never heard, you are either an actor or a teacher, you cannot be actor-teacher. They created it, they feel it is the best combination ever, you teach through teacher, you teach with theatre and so they toured school. This is different from Educational Drama. Educational Drama happens when a teacher is in class, weaving a story weaving the story together with the students. This people create performances and with the performances, they will try to teach something or explore something.

Confluence of factors

• Art Council (Their) = more money
• LEA (Local Education Units)

Because England is so BIG, such establishment had their own (educational authority) spending power.

• "BELVIC" Theatre
• School and teachers are very accepting of ideas like this.

GOOD TIMES! All these factos made TIE very possible and lucrative. They could earn money from the education ministry, arts council are willing to give money. Schools are open to it. 

QNS: WHAT ABOUT SINGAPORE? (USE ACSR/M)                                

- 1960 Arts Council 

They believed AT THAT TIME that there should be theatre specifically for children and young people. They set up a community to make sure that the young people had theatre. Good times for arts educator. 

They see the value work of young people including TIE and the paramount need to subside it (see it as important)!

- Performance did not stand alone. (Did not just perform and then go) 

It was part of a bigger package. 

PRE - PERFORMANCE

There will be a preview and a discussion with the teacher. Meaning, before the theatre company even go to the school, a month before the company will talk to the teachers. There will be a discussion. 

Eg. We are going to do bullying, what do you think about this? What are the occurrence here? If we do this, what do you think? Should we do a little rehearse with you beforehand to see if it will work? 

QNS: RIGHT NOW IN 2015 IS THIS POSSIBLE?

- It's possible to have a chat, a meeting. But is it possible to have a preview? 

There will be pre-work in the classroom. Before the programme company will go and see their participants. Play games with them, do work with them in relation to the topic. (It's not the performance yet) It's just to find out about them.  There was much research and devising. The company will make more than 1 visit. 

There was classroom work in between performances. While the company make their visit, the classroom will have contact with them. After the company, there will still be follow up work (able to come back for workshops).  VERY MEANINGFUL, VERY PROGRESSIVE

PROCESS

PRE- PERFORMANCE , PERFORMANCE, POST PERFORMANCE

1970S

• Gradual increase in interest

So much so, Local Education Authorities set up a TIE unit! (Education board even had their own TIE unit)(Like MOE set up a TIE unit) 

The company  did programmes which are better are more creative (form wise as it is theatre) each time. They are still discussing the importance of environmental issue.

 " THIS " is the key reason why TIE company wants to be there. It is very idealistic (sounds noble) but they really believe in it. 

1. Believe in good change
2. Believe in debate (Get students to talk/ disagree about things, regardless whether it will solving the issue or not)  

The 1980s (A bleak period)

• The stock market crashed. Many lost their jobs 

• Margaret Thatcher was Lee Kuan Yew's good friend. They admire each other in terms of leadership. 

She changed the education system and Lee Kuan Yew followed her (Similar education system on skills, numeracy, literacy) . The main aim was to provide for the industry. 

Her idea

- What you think doesn't matter.

- What for debate?

The UK had ...

• Standardization like standardized test, national curriculum and exams/test (like PSLE, O levels, A levels) 

• Offstats (similar to quality control) (like school ranking) 

• Common curriculum 

• 3 core foundation (subject) which they think is necessary. 

Once the national curriculum came in, teachers have to follow the same scheme of work. (Like Singapore) 

Previous, Golden Age 1960s
Teacher have the freedom to create curriculum that is specific to each class. 

>> Equal across Singapore (country) cause who are so small. It better to have equal or standardize learning.

Points

• If you categories someone at a young age, it would be easier to manage. 

The  school leaders are given a certain budget (limited), student have national curriculum to study. They probably won't want to spend money on TIE programme. Let's focus on education and test to raise themselves from the rank tables. 

** Singapore might be going back to this concept of skills and knowledge (Skill Future programme)

Skill future is a plan by MOE to tell Singaporeans that they need not all go to the university, because as long as you have the skills, you need not have the degree. The skill is more important. (BELIEVE PART OF IT, THE REST ... NOT QUITE SURE.)

QNS: If all of you are a TIE company and you still want to survive, you saw the golden age of 1960s. The school principal has given a limited amount of money, you won't be able to do what you did in 1960s but we still want you in. What will you do? What wil you cut?

• Cut pre-post
• Reduce manpower
• Less devising work
• A SHIFT (to your secondary school performance)

Everyone pack in the hall, TIE group perform, token participation, Interaction by asking some questions ("Who thinks that this character should ..." students raise hands), final (You know, you should not steal). 

It is not intimate, in the classroom, let's talk and meet the characters. (NO MORE) 

They still perform cause they believe in theatre. Hopefully, the audience can get the message.

TIE actors, who are actors after-all when back to mainstream performance as they are no work for them. 

The next best thing was to create the resource pack, cause no time to talk to class anymore. The teacher has the resource pack.  

The 1990s - Times are getting a little bit better.

The government now look beyond the education sector. (Who can we work with) Education in the larger sense of the word, not only in school but educate the general audience (like health). 

Structure

• Pre

Conducting some workshops with you

• Performance
• Post

Some more workshop

Less Distinct: It can merge' can do performance first and within that performance, there is a workshop element, site specific.

DEVISE 9000

ACSM Week 3.1 Different Departments in NAC

Agenda 

- Read Strategic direction 2

- Grants

Purpose of ACSM module 

- Grants Application

- Proposal for funds

Why are we using the ACSR?

When you write a proposal to the funder, you don't just talk about how wonderful your project is going to be, how it will benefit the group of people you are going to work with.  You must identify what larger need does your project feed into the country. This is the document for the entire countries plan!

NAC - Strategic direction 2
"Build capabilities and achieve excellence"
- What is capability?
- Who is a capability that they are investing in?
- What kind of excellent do they want to achieve?


Activity
Class will be divided into 4 different department (Staffs from NAC)
- Sector Development (pg 60 - 73)
1) Develop sector: not just people but also the space. Looks at talents that are more in performing art
Eg. Build new theatre, requires sector development's consult. --> How big will it be? How much money should be invested? 
(Types of people sector development funds)
- Arts & Youth (below 35) (pg 74 - 83)
1) Focus on arts programme for the youth. 
Eg. They will fund the project because the intended beneficiary is the youths. 
Eg. AEP (Arts Enrichment Programme) which is target at school who want to start a new type of arts programme.
-Arts & Community (pg 74 - 83)
1) Outside of schools. Work with Youth as a community.  You can work the elderly, working adult, children as a community. The programmes you sponsor could be for youth, elderly or anyone.  But there must be a clear distinction why you are sponsoring a programme for the Youth. (Needs to justify why they are the new audience for strategic direction 1) You have to meet some kind of national need. 
- Capability Development (pg 84 - end doc)
1) It looks more at education. 
Eg. NAC scholarship after Diploma.
Eg. Geese theatre in London is known for their Prison-Theatre programme. They hold training twice a year. Your payback to Singapore is that you are gong to start a Prison-Theatre programme in the prison They might sponsor you. 
Eg. Residency programme where you can in countries months - 1 year not to study but to be under the tutelage of an Arts company (theatre company). 

(*Apply for scholarship or proposal)
NAC scholarship for Degree programmes is very popular 
CDAC scholarship, work with the community using the arts.  Able to articulate clearly what their plans are after their studies and how they will contribute back to the (Chinese) community.
(Why should they invest in you?) Come back and serve the country with what you have learnt. 
Eg. Organise platform to share in public forum (NCSS)
>> KHOO FOUNDATION, LEE FOUNDATION, LIEN FOUNDATION, NGEE ANN KONG SI!
 (NAC Overseas studies up to $100,000)

1) Find out what your department does
2) How does your department envision the ACSR strategic direction 2?
3) Why does your department need the money?
The goal of this 4 departments is to ...  (taken from the ACSR)
-  Cultural institutions companies and offering (different types of programmes)
- Invest in talents, support professional aspirations
- Work with partners to achieve new heights.


Grant Homework (Presentation)

2) Who is the target recipients of this grant?
- What kind of projects?

Performing, Visual, Literary or Multi-Disciplinary art-forms:

• Performances, exhibitions
• Art form publications
• Music EPs
• Process-driven / co-creative projects with members of the public (projects supported have an emphasis on engaging the community through collaborative art-making to express the community's unique identity)
• Conferences / festivals

3) What is the necessary document you need to have?
- Are there documents you need to prepare?
email submission
4) What does the applicant need to do?
Please complete your Self-Evaluation Report and submit it within 2 months of project completion, along with other supporting documents.
chrome-extension://bpmcpldpdmajfigpchkicefoigmkfalc/views/app.html
- Do you need to attend an interview?
- Do you need to do a presentation?
- Do you have to show them clips of your work?

** Apply for Matchbox fund by NAC.

How to write your proposal ...

1) Why your project is worth the funding?

2) Why the target participants are worth the finding?

3) What need in the country will your project meet?

- What does "new audience", "galvanising a national movement"  mean?

You have to come up with your own response to it.

ACSM Evaluation CA10
1) Project Design
- Notes you have come up with
- Reason why you have design it this way
2) Execution of project
- What happened in the project
3) Feedback
- Surveys
- Interviews
- (Data collection methods)
Eg. Week 16 ITI Practical, you are also collecting data
*Take photos of rehearsals in progress, set ...  do QC select what is needed for journal, research documentation and evaluation. 
(Research methods->  You have to justify why these are the best methods. Why did you use those methods?)


Visiting AG homes
- Photos
(Research documentations - how does it fit into your ITI script design)
(ITI Journal - reflect and think about visiting the community means to you.)
(ACSM Evaluation - tells funder your process of creating this project)
- Notes
(Research documentations - how does it fit into your ITI script design)
(ITI Journal - reflect and think about visiting the community means to you.)
(ACSM Evaluation - tells funder your process of creating this project)

Note!
IDEA turkey (Once every 4 years)

First Solo Trip to Batam Indonesia!

Here are some of my reflection/tips.
1. The transport system is not as accessible as other countries. There are only 2 forms of transport; the Angkot (pink, blue and purple van) or the Taxi. The Angkot is very confusing so it is recommended to just take a Taxi or get a local to drive you around.
2. Do bring your insect repellent because "The Sting Is REAL"! Hahaha!
3. Malays and Chinese are the 2 main race in Indonesia. Thus the main form of communication is Mandarin and Bahasa. Their understanding of English is really poor.
4. The street food is cheap and delicious however you might encounter some tummy ache so bring your own medication.
5. I'm not too sure whether it is because of the haze, the air isn't very clean.

I hope this helps if you're planning to visit Indonesia. :)

Improv A & D Week 4

Warm Up - Breathing 1400

                - Tongue Twister 2130

                - Stuck in the Mud/ Ice and Water (Game) 3020

Activity: Improvisation 4345 

Meaning: Have a conversation with someone about something because it is set up. 

Instructions: 

1. Find a partner and sit with a partner.

2. Have a conversation with your partner

Instructions:

1. Find another partner. 

2. Each of you think about a friend that you have (someone you know). Think about a topic that they like. 

Eg. Maybe their favourite football team.

3. Have a conversation with your partner but try to weave in some of the stuff or this topic that your friend really like.

4. Think about how your friends talks about this topic and what they say, what kind of things would they say. 

Don't impersonate your friend, you don't need to put on the accent or voice.

Instructions:

1. Switch partners.

2. With your partner, come up with a location. Where you guys are, set that up.

Are you in a park? Are you walking in the supermarket?

3. (Same thing) Both of you will have a conversation about somebody you know, talking about the topic.

- Same like before except now, you have a location.

Aim: Pretending to be someone else. Talking to someone which you may not have met.

Object Improv 

Instructions: 

1. Stand up and get into a circle.

2. There is a chair in front of us. We are going to take turn and go up to the chair and use it in a different way than what it actually is. 

But you are not going to talk unless it adds to our understanding of what it is.

3. And then you return to the circle.

4. You can go up as many times as you want. 

5. You can stand there as long as you need to get the message across. 

Instructions

1. With 2 volunteers, person A will sit on the chair.

2. You (person B) need to try to get your person A to get off of the chair. (Aim)

3. You (person B) can employ any tactics you like.

4. You (person A) need to be realistic, if person B says something that will generally make you get out of your chair, then get off the chair.

5. But as much as possible, you don't want to get off that chair.

Observation:  

Pair 1: UNSUCCESSFUL 

Person B tries but Person A keeps rebutting. 

-That was less interesting for us. 

- It wasn't going anywhere, it was stuck.

- We were watching the same tactic over and over again

- We are not seeing anything grow or change.

Pair 2: SUCCESSFUL

- We were engaged. 

- The scene was interesting! WHY?

1.  Different tactics was being used. (Poke face, touch face, chin, nose and chest but NOTHING WORKS!)

However, person A gives a small response. 

Eg. Can you hear me? *Nods*

That kept us intrigued because he is responding but kept his eyes close

2. The crazy lady who was like HELLOOOO!!

3. Then all of the sudden "boom" He just gets up and walks out. 

- If the other actor is also giving something, whether it is a small gesture like nodding or shaking the head.

- They both listening to each other, paying attention to each other, they can move forward and intemperate that into what they are doing. 

Instructions:

1. Stand up and find a space in the room on your own and listen to my instructions

2. All the instructions and story that I tell you to think about, make it as real as possible. 

Everything I say, see it as it is happening in front of you. 

3. Weight the stuff as you are walking or moving, actually feel it really happening.

4. Commit to your it (actions). 

5. Everybody is going to do the same thing at the same time. So commit to what you are doing. 

6. Ignore everyone else and just focus on yourself. Make everything true.

- You are walking home (Go!)

- You are walking home after a long day either at school or from a job.

- It like 6:30pm, you're tired, you had a long day. 

- Maybe think about your walk home.

You walk home from the MRT or the Bus Stop.

Questions:

What is it that you are going past?

Do you look up or do you look down?

How fast are you walking?

- You are caught in the sticky horrible day, where the whole day you just felt sweaty and gross and you can't wait to get home and get clean. 

- You get to your lift lobby or your front gate, before you get to your door.

- Now, head towards your front door.

- Take out your key 

- Unlock the front door and open the door.

Questions

Think about who is at home.

Where do you put your stuff?

What is the first thing you do when you get home?

-Whatever you are doing, you also switch on the TV.

Whether you are going to take a shower or eating, you must also switch on your TV to play as the background. 

- And then you notice the show comes on, it is like a show for regular become to pretend to be like celebrities like American idol but not. 

- And you hear your friend's name called. 

Is that your friend pretending to be Britney Spears?

- You go over to double check.

- Then you do whatever it is that you do when friend pretends to be Britney Spears on TV.

-Really see your friend pretending to be Britney Spears.

Question

Is he a boy or it she a girl?

Is she/he doing good?

What song is she singing?

Who are you telling? Are you telling anyone?

- She/He is about to finish the song and you decide to flip channels because nothing can get better than that right now.

-So you switch. switch and look.

- Suddenly, you see the 4D draw. They are doing it live tonight for some reason and they have never done live before. You are watching this.

- And they are puling out the numbers. 

- And this week you decide to buy 4D and the first number to come out is 24. Which is the first number you bought.

Don't have the ticket with you just yet. You are just watching because you didn't expect to win.

- 19! 

You always by 19. 19 is your mum's birthday. You are pretty sure you bought 19! Better find that ticket just in case. Where did you put it?

Question?

In your wallet? Schoolbag? 

Is it inside a book for safe keeping?

-24, 19 next number is 7!

Urgh! 3/4 numbers are out, this is worth a million dollars! Better find that ticket!

- 24, 19 and 7. 

You just need one number, you just need 11. That is the last number that you need. Surely, surely 11 is not going to come out. 

-But you wait, they are dragging this out. They repeat 24, 19, 7 and the last number is ... waiting ... this feels like eternity ... 11! 

(Participant's reaction)

-You have won 1 million dollars! You won out of all the people who bought the 4 digit.

- "Don't look at me! Hello I'm just narrating the story!" What do you do? What happens now?

- It is 8 O'clock at night!

PAUSE!

- Don't tell me what you are doing, SHOW ME realistically if you have won 1 million dollars what would you do.

Eg. If you want to quit school you would realistically phrase it in a nicer way.

- Think what you would actually do and genuinely do that!

-If you are doing something think about ... at what point does it become more than that?

E.g. O... M... G... I just lost 1 million dollars ...

Let's break this down ...

Instructions:

1. Let's into 2 groups - A and B

2. A will stand on stage and B will sit and watch as audience first. 

3. A, you are going in a doctor's waiting room. 

The key word that we are going for here is BEING REAL, BEING TRUE AND COMMITTED. 

You can get a chair if you need them. That's all I want you to do, to be in the doctor's waiting room.

4. (During the activity) Ding Dong ... next number is not your number.

5. Pasue

(Ask Bs) Questions

-How many of you can see this happening in real life?

-Is anything here you see that you didn't quite believe?

- Who would you be? (Can relate to?)

Feedback: At some point ... are they going to start some drama?

Aim: Get you to not act because it is so easy to prevent without any basis in the real world. And when you just pretend, it becomes a shallow performance. You don't always have to be funny, you don't always have to be dramatic.

6. Switch over, Bs goes up.

7. You are queue for the tickets to the latest hit movies. Let's say the AVENGERS.

8. It is a long queue. 

I must be able to see you all.

9. Don't think just do!

10. Move forward but there are still no counter free...

11. One counter lady gets up and leave.

12. 3 more people go (name) you are now up front. You are right at the front queue, almost there.

13 Another counter lady gets up and leaves.

14. Counter lady stood up and walked out of the counter. 

15. One counter opens, it is an extra counter, an extra line.

Okay ... PASUE

(Asks As) Questions

- How do you feel watching that? 

Feedback: 

-It is difficult to be in the moment and not want to create Drama and to not what to start something. 

- I am thinking (quote example) is this going to become a thing?

Situation Improv

Instructions

1. You are strangers waiting to take an exam.

2. Take whatever props you need.

3. You are not allowed to discuss

4. Listen to each other.

Questions to actors

- What did you find difficult? 

Feedback: 

The audience did not know where it was until the actor's establish the scene (indirectly) through words or actions.

What was good was that the actors were working together. And accepting and incorporating each other ideas. (To be able to go with unexpected change)

Eg. A says it was an History exam but B initially thought was English exam but accepts that it was a History exam and he had studied the wrong subject. 

- Interesting dynamic due to interesting characters from different spectrum. 

NEXT PAIR

5. You are strangers ... in a cafe 

Questions to audience

-Were you drawn into that?

NEXT PAIR

6. You are strangers sheltering from the rain.

7. When I clap, then you may speak.

-You may be drench or wet.

NEXT PAIR

8. (Same thing) You are strangers on the bus, only speak when I clap. 

NEXT PAIR

9. You are strangers sunbathing! 

NEXT PAIR

10. Strangers at a funeral. 

IHP Chapter 2 Week 3 Lesson 2

CA1:

STRESS AND ADHERENCE 700
Physical stress - run 50km then feel stressed out.
Psychological stress - 1 shot give you 10 CAs due next week then stress

Adherence - how you stick to particular treatment/medication/treatment process
eg. Some people receive medicine from doc but don't eat it, only interested in MC.
One shot take 3 and get it down for the day instead of following doctor's order.
Non adherence - never go for weekly therapy.
Selective adherence - sometimes go, sometimes don't go.

STRESS AND HEALTH - How does stress affect your health? 700
When you are stress, you neglect your health.

ADHERENCE AND HEALTH - How does adherence affect your health? 700
When you stick to your medication, your health will be better.

*Use what you have learnt in first few lesson eg. The health psychologist in Singapore.


CA2 : 1814

Lesson 1
Current world suffering Chronic illnesses - eg. top 2 cancer and heart disease (respiratory)
**Part 2 &3 In SG - MOH, HPB, SINGSAT, WHO (World Health Org)

Chronic illness - long lasting
2 different time points -  3 months(Conservative) & 6 months(Liberal)
eg. Heart disease, cancer, stroke

Factor on whether people live or die or contribute on how people go about dying and stuff.
Age - X older but higher chances of catching chronic illnesses (target at age 18 -20, 40 plus)
Race - Asian Americans struggle to make a name for themselves cause they are minority.
         - Most Asian has a cancer gene that can be trigger through stress.
         - Chinese likely to get cancer
         - Malay likely to get diabetes
         - Indians likely to get Heart diseases or stroke

Income level
Poor people - likely to die faster, unable to afford medical treatment and nutritious food.
Education affects mortality - learn more and better able to prevent issues
                                        - better job, better income can afford better health care

Vaccination - half dead virus.
once the immune system fights it, it will remember it.

Video: Measles 5000

Healthy Living? Safer drinking water
Medical Care - subsidise

Biological model - Bio, psych, social
 

Lifestyle base

Psych - stress I go and eat out then it affects the heart (Bio)

          - so manage stress better, don't eat so much then won't affect the heart (bio)

Social - want to cut back on fat intake but friend ask you eat at FC 5 eat KFC, it affects heart (bio).
          - have healthy friends who eat KFC but throw skin away then it won't affect heart (bio) as much.


Health - (WHO definition) Bio, Psych, Social
           - have disease but manage it is still considered

Health Psychological

Video 6440 - ischemic heart disease

Psycho Factors that increase placebo effect - bigger the better, colour pill better than plain pills, With brand better than brand-less, physicians effect (more motivated want to help, patient likely physicians and want to get better)

Physical Factors affect placebo effect - neurotransmitter, dopamine , hormones activated. (Bodily reaction)

Testing people using double blind procedure - both participants and researcher are aren't aware.
Why - reduce bias involve in experiment
Drawback - hard to conduct.

How health psych make their research more claim that his research has an effect on something?

• Read a lot of available work (is it in line with what it is found)
• Control experiments (Increase control to have casualty) - people (use probability sampling)
• Independent variables
• Don't let personal bias go into your findings.
• Replicable

10232 correlation studies 11331

E.D PRETEXT Week 3 Lesson 3

Pretext - Stimuli
            - (What it is in E.D) The hint/clues of going to another drama world
It will hint to the participant what kind of world we are going into.

(WORDS IN RED) The pretext is always incomplete, it suggests a lot of things. That is the beauty of process drama because of this ambiguity and possibility of time place role and possibility of tension.

The pretext could frame the participants so that they know what they are in for.
The pretext will also give some task, it may be asking the participants to do something in a role.
Examples ... from the book "Structure and Spontaneity"
It will hint will hint something from the previous event or something will happen after. (Give unclear clues)
Can be recalled and repeated and could generate a narrative which could move in many directions.

Many people know text as the written word. It need not be but can be.

Introduce text that can be in a form of a written word.
- blog, diary, Facebook, twitter, myth and legends, poems, literary works, advertisement, notices
- Written by you (create your own)
- local bogs for pretext will result in a law suit.
Eg. taking a blog from a girl who is suicidal and use in your workshop. The safe space will not exist anymore. Please be careful of who your target audience is.
Do have a think through again if the workshop plan is relevant, useful and easy to identify.
Solutions: Adapt the blog.

Pretext - generate questions
Eg. What is this girl like? How does she dress?
The ranting teenager (blog name) - person is angry, bias
What can be explored - teacher, teacher's response, sexual harassment, what kind of school
Cecily O'Neill example from "Structure and Spontaneity".
Start workshop: $100 offered to anyone to spend the night at a DARK WOOD house.
-Why would someone offer $100 to spend the night there?
There is a lot of open possibilities.

Pretext - portrait, images, drawing, new clips, documentary clips that you watch, objects (can be compiled by you as facilitator), introduce context by being in the role.
-Photographs are always open to an invitation! (What is your story given to this photograph)
- (repeated) Pretext can be a before or after. (Pretext is the current situation. Explore before and after)

Today's focus - B & C

Workshop
Have you guys read the news about ... 2949

The structure of workshop.
Episode 1:  Discuss possible conflicts that could happen on the bus (20 mins)
- This 2 picture of a crowded bus.
Participants are in the picture.
Participants are prepared for the dramatic world.
Context
Role: we are all passengers except one who was the driver
Frame (of mind): What is going to happen (practitioner makes you wonder - stop participant there and brief them about what is going to happen next and then they stop there)
- Meeting police representative: Practitioner giving participants the information.
WHY? To build context and a sense of student's view of the situation (Who do they think was at fault?)
What did you do? Participants were the broadcast journalist. Practitioner takes on police role and takes on questions. Participants produce a video of how it might have happened. (They gave practitioner their version) And instead of going through a discussion, participants are places as a journalist (different frame).
Possible neutral frame: Journalist (participants) tells facts.
Bias frame: Journalist (participants) decide who is at fault.

Episode 2: What is our view of right and wrong? What are our sources of biasses
Question: What is justice to you. Sometimes our own concept of justice is very different from the rest. We think we are very justice but sometimes we are very mean. We need to be aware of that.

Framing: Letting the participant do something in the role.
- Participants had to make a decision.
- The driver had to write a letter to the kid. (Aim: see emotions)
-

A & D Week 3 Lesson 3

Activity: Stretching
Find a space on the floor. Lie down on the floor and make sure there is enough room for you.
Stretch your whole body, try to put some sounds as you stretch different parts of your body.
Stretch your back, your bum, everything.

Yoga position
Aim: Breath in and out.
Get into a circle and get down on your hands and knees. Put your knees shoulder width apart. Feet on the floor, don't lean on your toes.
Instructions:
1) Start with out head facing down. Arch our backs (3rd position).
2) Breath out we are going to push our backs down. (2nd position).



Breath out and an hmm.
hmmm ... ooo ...
           ... rrr ...
          ... aaa ...
         ... ahah ...
          ... eee ...
          ... uuu ...
          ... or ...
          ... eh ...

Lift your head and drop your head.
Don't strain your back, just go all the way as much as you can.

(Activity) Shake your body ...
-Individual
- 2 or more parts of the body continuously.

(Activity) Tongue Twisters

1.
A big black bug
Bites a big black bear
Made the big black bear
bleed black blue blood

2.
She sells sea shells on the seashore.

3.
Eunice, you know you need unique New Yolk
But does unique New Yolk need you?

4.
Red Lorry Yellow Lorry
Red Lolli Yellow Lorry Lolli

5.
Which wristwatches are Swiss wristwatches?

6.
Peter Piper picked a peck of pickled peppers.
Did Peter Piper pick a peck of pickled peppers?
If Peter Piper Picked a peck of pickled peppers,
Where's the peck of pickled peppers Peter Piper picked?

7.
She sells seashells by the seashore.
The shells she sells are surely seashells.
So if she sells shells on the seashore,
I'm sure she sells seashore shells.

8.
Please Press flush

9.
Tom threw Tim
Three Thumb Tacks

10.
How much wood would a woodchuck chuck
If a woodchuck could chuck wood?
He would chuck, he would, as much as he could,
And chuck as much as a woodchuck would
If a woodchuck could chuck wood.

Games - TV Tag
Instructions:
Like a normal tag. (Someone goes around and tags others)
To save yourself, you have to duck on the floor and say a name of a TV show.
However, you cannot that is in English.
With the same catcher, you cannot repeat the TV shows.

What were the objectives? (For both runner and catcher)
What are some of the obstacles that you face?
What are some of the tactics you use to achieve your objectives?

Activity
1) Walk around the space
2) Without speaking, as you walk pass someone look them in the eye.
3) When you walk pass them, you see them acknowledge them.
4) Pick someone in the room who you are going to avoid.
They have the potential to explode anytime. And you don't want to be around them. Don't let them know just in case they explode. Stay as far to them as possible without letting them know.
5) You are going to pick someone else as your shield.
You need to keep your shield in between you and your exploding person all the time. Without letting them know that they are your shield.
6) Stop!

(Question)
Who is your exploding person?
Who is your shield?

Activity
Instructions
1) Pretend that these chairs are alls in the supermarket.
2) You are going to go shopping in the super market altogether in one whole group.
3) When you go shopping in the supermarket, I want you to imagine that you really are in the super market like Giant and etc.
4) And everything you pick up, I want you to think about what is it that you're picking up.
Eg. (Questions to ask during activity) Are you taking a can out of the shelf?
Are you taking the vegetables from the vegetable racks?
Do you have a list? Are you someone who shops with a list or is everything in your head? Or are you shopping to shop?
Are you tight on budget, can you afford what the items in your trolley?
Are you carrying a basket? How heavy does this basket get?
Are you tall enough to reach the top shelf?

Tips
Actually, see what you are picking up or looking at.
You are all strangers, you don't know each other.
Think about the weight that you are carrying. If it is heavy, how do you move?
If you are carrying a basket, do you ever put it down and look at things?

Make it as realistic as possible through details.

5) At first, don't speak to each other.
You know that the everyone's existence.
6) I will give you the instructions and you shall follow it accordingly.
If you have to start talking, be as real and be yourself. Don't be a character but really be in the supermarket shopping.
7) You can now talk to people. But talk to them as much as you would in a real supermarket. So if you won't speak to anyone in the supermarket shopping then don't.
8) There is someone in the supermarket who you are about to see and you don't want to.
You need to decide ...
Who is this person in your life? Eg. Ex boyfriend ...
You need to avoid this person but you must still continue shopping. You must shop in a realistic manner. This is real. This person must be someone here. You must create a reason why you don't want to meet them. (Put that in your head.)
So you must decide if you are avoiding this person, how to do you avoid them but carry on shopping?
Your main objectives are to shop.
How do you react when you see them shopping at the same ale.
9) Now there is somebody in the supermarket that you really want to get to know. You really want to get to know them, that doesn't mean yo break out of the norm and just approach them. You need to think at what point is it a good time to start speaking to them.
-What would you say?
- How would you approach them in the first place?
You still have the person you are trying to avoid. You are still shopping.

Purpose:
OBJECTIVES
Main objectives- To shop (SURTEXT)
Subtext - To avoid someone and to find someone out to date.

What Happened?
The relationship became the main focus. So you stop shopping.

What are some of the obstacles that stood out when you were asking the person out on a date?
-You don't know how to start a conversation.
-The person you want to talk to is busy.
-The person you were trying to avoid can't stop following you
-The person you want to avoid and the person you fancy are always together.

What are the tactics that you employed
- Hitting on someone you didn't fancy
- Try to be smooth

Lesson 1 - Beyond Therapy (Script)
What are they doing?
-They are going on a blind date.
How did they meet or how did they end up in the restaurant?
-Through a personal ad in the newspaper - including your age, hobbies
(like OkCupid (Dating app) without photos.)
What do we know about there therapy situations?
What is the main objective or both the characters?
-(They are both on a date) To get to know each other better.
What is the subtext behind all of this?
-Bruce wants to have sex with Pruden.
-Pruden wants to get to know Bruce. (Find out what he is like)
What are some of the obstacles standing in the way of getting what they want?
-Main obstacle - The waiter never comes (they never had dinner)
What kind of tactics did they employ to try to overcome these obstacles?
-Foot on the table?
-Start a fight (water)
-He cries

Pair activity
You are going to ...
- Answer a list of question.
Don't play it up.
1) Who am I? (Character Profile)
- Name, age, address, relatives, likes, dislikes, hobbies, career.
2) What time is the scene?
What time of the year is it? What day of the week is it?
3) Where am I?
Where is the restaurant located? What is the restaurant like?
4) What surrounds me?
What is the surrounding area? Is the restaurant full? Where is this waiter who never shows up?
5) What are the given circumstances?
6) What is my relationship?
With my Bruce? What is my relationship with other characters in my life at the moment? What is my relationship with my therapist? What is my relationship with things? What is my relationship to this restaurant?
7) What do I want? (What is my character's objectives?)
Find one big objectives and many small objectives. in each section of the scene.
8) What are the obstacles in my way?
9) What do I do to get what I want? (What are the tactics I employ to get what I want?)

Remarks/ Notes
QNS: What did they do well? What needs improvement?
Comment on - Voice Projection, They way they sat (move), Body Language (in the beginning)
The pace of the piece.
It is really important to work out the objectives.
They are having 2 separate conversations. What changes are you deliver this lines?
What happens? Are you listening to each other or not? It changes they way you deliver the lines.
 8 JULY NO LESSON!

CTPP Week 2 Lesson

Activity 1: Question each other
Give you a topic, come out and say a dialogue. The other partner will do the same too (come out and say a dialogue). But the dialogue or sentence said must end with a question mark.
Theme: At Jem or Shopping Centre or swimming complex or death and mute
Variation:  Pace
Activity 2: Other than a question
Both partners come up and say a sentence. But this sentence must not be a question.
Activity 3: Question and answer
One partner asks a question, the other answers without a question.
Activity 4: One answer and a question
One partner says something other than a question, the other answers ask a question.
Activity 5: Question answer, question answer
The first person will ask the question the second person. The second person will answer and then questions the first person back. The first person will then answer the second person's question.

Lesson 1: One Director and one actor
Task: Monologue
Topic: (Open)
Each actor must perform a 3-minute monologue.
Student Director directs the performance.
- 5 Minute discussion time
- Performance
- Director's feedback

QLRM Lesson 2 Week 2 Lit Review

OUTLINE

"Measure" in Qualitative Research Method
Eg. Whether I can engage my students
      Whether I can encourage creative/critical thinking
- What does engagement/creative thinking/ creativity mean to you? (Define)

Tools
- Set up camera (Observe)
- Take noted (Observe)
- Interview people (1-3 people)
- Survey (Mass)

Data used to exam relationships. (Find areas for improvement)
(Link) What does it say about my (topics) then?
-Evaluate yourself and my understanding of ... which then translates to how I can engage you in (topic).

Pointers/ Challenges

- Quantify the validity of research
- Children's development at that age - perception of things?
Eg. Children between age ... they are more inclined towards ... If you teach them through that they will learn quickly.
That age where everything is fun.
- Define (Topic) - How they define and what is it?
- Come with an own way of accessing or examining or studying whether the children are (Topic).

- Practical questions/logistic issues
Enough time to create form piece, rehearse, find audience and execute it
- Forum Theatre
Confident to devise form performance, Joker
- If awareness and self-esteem are all very negative, they don't get it.
Then how do you attribute whether it is the form, the problem (story), the Joker or the audience that is the problem? (How do you find out? - Many variables)
Past work - script in placed (Borrowed AWARE), the joker is trained, Keyran and other have been heavily involving and has experience.
Consider the expertise in the group.
- TIE a better opinion?
Focus: TIE, Self-esteem and adolescence


- Junior's schedule
- Same people to reduce difference in opinion- what they look out for, different bias in perceptions
- Understand lecturer effects
How do you account for preference in lecturers? (Cannot eradicate all differences)
How do you then scope your research to account for this?
-Why (Topic) and (Measurements)?
- (Engage in Other art forms) Adolescence and Adolescence in Drama club
Does the fact that being engages in other art forms have an effect on why ...
My relationship with an art form (TIE), does it affect what I ... / does it influence what ...


Literature Review
Examine
1) Psychology
2) Art (forms)) - understand the art and its impact

Purpose: Find a common trend

• What is article about
• How useful is it?
• How relevant is it to your research?

• Do the article have gaps and missing information going to help you in your research?
• What does it inform you?
• Does it help you to shape eg. understand what engagement/creativity/self-esteem (tools) means?
• Must relate to the main point of your research.

Notes for group

• What sort of self-esteem - holistic wellness?
• Positive or negative esteem? - Both have a distinct outcome

EAD The Helping Mindset (Week 2 - lesson 2)

[Article] The practice of citizenship
Qns: What are the main points?

In the Applied Drama field, you don't go somewhere to "HELP"! You need to have this idea in your head.

(Recap last weeks lesson) -Voluntourism
Qns: Why do volunteers volunteer?

• Goodness out of my own heart - Make a difference
• Feel good about them.

Eg. Community involvement project (CIP) 

WHAT IS THE POINT?

Teenagers nowadays have priorities which are self-centred. (Eg. MY studies/ MY job/ MY enjoyment/ MY life). We are caught in our own self-absorbed world.

Cip is to help us see more than we have special needs school/ old folk homes who are less fortunate than us. 

It is not to bring out school's name!

THE PROBLEM - CIP being COMPULSORY

If it is forced down their throats, the students do see beyond themselves but they will have an unhappy experience. Ideally it should be self initiated just like volunteerism. 

Students now are currently doing CIP for the wrong reason. BUT!! How do you want to volunteer if you don't know what is around? Students are caught in their own life and their own world because they DON'T KNOW!

This is a VICIOUS CYCLE!
If you don't raise awareness then you won't get people who are aware and volunteer.

If you don't force people to see they won't volunteer next time. 

If people don't volunteer next time, the more we need people to see.

So we have to force them first.

INTENTION

1) Altruism (Pg 30, 1 para) 

Definition: Anyone ...  rescue ... intending to help. ... Motivation of altruism than the effect of recipient ... may or may not be welcome.
You can give something but it may not be what the community needs. Research helps identify what the community needs.

GIFT GIVER ANALOGY
QNS: Have you thought about the recipients?
          What if the recipients don't want our help?
- The giver feels good
- The recipients have to pretend to like it and say "Thank you".
          Is research done to support the idea?
          How sustainable is the idea?

Things that you need to think about before helping! - Plan and prepare

When there is a problem: A community in need of help
Eg. When you are ill, you trust the doctor to help you get better. The doctor would have been trained before they are permitted to help others.

Qns: Why do we not train the helpers going in to help? (No ethical training present)
        WHY SHOULD THAT BE DIFFERENT?
You will not let an untrained doctor treat you but disaster relief we allow anyone to go in. (Unethical)

2) Other ideas (Pg 28 - 29)
- People may not be as accepting.
Don't assume that you know all that answer or whatever you are going to do is going to help.
Don't go in thinking that "I'm Here to HELP YOU" or "You may not know but I KNOW".
-Altruism VS Egoism 
QNS: Why are you being altruistic?
          Are you doing it for yourself- To stock your own ego? (Feel good about yourself - Flawed thinking)
We shouldn't be thinking about ourselves because it is not about us but THEM!
You should be doing research in and about the community.

*Especially working with the marginalize community
- Be with the community
- Understand them
Eg. When someone has a cut and you put a plaster over it. On the surface it seems like there is no more bleeding but the wound is still there. It takes time for the wound to heal.
Don't assume that you can just conduct one little project and just go. Sometimes it takes years, a long time.
Even when you leave the community is still slowly rebuilding.

When a disaster hits ...
(EASILY SEEN)  physical (geographical) problems - building collapse, Land is affected
(NOT EASILY SEEN) emotional problems/issues/trauma (practitioners deal with) - takes a significant amount of time needed

3) Many times, we are seen as "OUTSIDERS" (Pg 28, para 2, middle section)
"We are regarded as CULTURAL OUTSIDERS."
"Assume that a particular society needs to be transformed."
- Don't assume that they need to be transformed.
"There is sometimes an interpretative gap between the practitioners and how initially perceive by participants which can be very troubling."
"Assumptions that Drama is good for you however disgust are likely to meet with resistance."
- Coming in here to help
- This is good for you
- You should take it
That mentality can reflected off. Your participants can feel it and you will never be one of them. (OUTSIDER)

4)  "... well (attitude) ... a remarkable document given by a young lady ... she is actually disappointed that he did not live up ... from the play" (pg 30 - 31)

What is happening here?
What is Juliet thinking?
- She has her own expectation of what this person should be.
What about Simon?
- He think she is impressed.
- He calls her naive.
- (Last line) He takes it upon himself to think about that in the near future. I need to do something about it ...
Moral: THEY ARE NOT COMMUNICATING WITH ONE ANOTHER. (Miscommunication)
- Simon feel good about his teaching but Juliet (whom he thinks he is helping) doesn't understand the help.
*This can happen in relationship (Practitioner and participants).
Good intentions but it may not be the only thing that sustains everything.
How much impact can you make in that 4 sessions?
Do you think you can achieve your aim?
What do you think needs to be done after the 4 sessions? (What is going to happen after you leave?)

5) Uncertainty and Humility are important.
Uncertain- to go the community knowing that I don't know everything.

------------------------------------------------------------------------------------------------------------

Aid going to Nepal Article-> "Don't rush to Nepal for help, Read this first"
You want to help but they don't need unskilled workers or aid that they cannot use. Here is what you do that will not get in the way.
You go there with a good intention to help but your presence slowed down the rebuilding process because of the lack of training. Not only did your plaster not work, it made it worst.

(Points are related this this week and last week's lessons)
1) It is not about us - how guilty you feel
2) Don't donate $ but supplies
3) In a long term sustainability is important

Ethics:
- Ask yourself about the intentions
- Wonder about what is going to happen when your project ends

Link: Practitioners going in to use drama and working with the community- What do they need to think about?

(Personal Opinion) What is Ethics
- Balance of power
Find a balance Between practitioner and participants
- Morally Right?
- Respect
- Practitioner being humble
- Like a guide/ rule for yourself on how to behave.

[From Article] Key Questions that Practitioners can ask themselves.
1) Ethical responsibility of researchers? (para 2 line 8)
2) How might the drama be affected? Do the participant know that ...
3) When is ethically ...
4) How are the responses be represented ...
5) Public scrutiny ...

(Insert Video - Mums and Maids #igiveadayoff)
They ask mother and help question relating to the child. The mother will say something but the maid will get it correct. As viewers we feel sorry for the mother. The mother is up there for public scrutiny.
Unethical: If the message or the plan was not told (informed) to the mother beforehand. (Ask for consent)
Risk: Getting sued!

Guidelines (pg 121)

• Participant voluntary and inform consent ...

Consent VS Inform Consent 

When they signed the form, you are responsible. It would not be right to not tell them exactly what you are doing, information will be treated, what this programme is going to do and how this drama is suppose to help. (Relates to respect)

• Participants data is treated with confidentiality (Serious Issue)

Data, names and private information are very confidential. 

Be responsible for the data that you collect.

"Even if you have code of ethics having that doesn't guarantee that your project will be ethical"

The code of ethics is just a guideline to standardize to make sure everybody does simple things and it is a lot more than that.
- How you plan your programme

- Inform consent and sustainability issue.

What is going to happen after the project ends?

- Cultivate safe space.

Qualitative RM Week 1

Qualitative Researchers are not concern about numbers but QUALITY.
They talk to people and ask them questions.
Eg. How you feel?
      What you think?
      Why do you think so?
      What do you want to do?

Why do Qualitative Research?
To improve your own practice.

Eg. Can playing hopscotch help improve spatial awareness ability for children under 6?

Before you start your research... ...

What community are you interested in finding out?
Eg.
Children with a learning disability?
Children in Kindergarten?
Children, who come from Single Parent families?
Children, who come from Single Income Families?

Youths who have a criminal record?
Youths who have joined gangs before?
Youths who have tattoos?
Youths from privileged families?

Why are interested in working with these group of people? (Have a personal feel to it)
-To see if it is easy for other Youths who have join the gang to break out of it.
-You were influence by drama and realise that this was not the way to live my life so you came out of the gang. Now you want to go back and conduct drama for Youth in gang and see whether they will come to the same realisation.
- I read this inspiring article by ... and I want to find out more.

What are you going to do?
1) Read what others have done
2) Does it help you?
3) If not, find others.
4) What are the Gaps?

Factors to look out for in research papers
The country it was conducted.
The huge gap of years of the experiment compared to the current year.
The difference in culture/ demographics.
The way we approach the rehabilitation (method) is different.
SO YOU WANT TO SEE IF WE CAN GET SIMILAR RESULTS.

Eg. How does Arts help the rehabilitative process of youth offenders?

Examples
Children and Creativity
-Assessing creativity through task
- Define creativity? Ability to create something.
Eg. Get them to do something that demonstrates that they are able to create.

*Important
Find out age group as it will affect the type of task/test administered. (Use psychology knowledge)
The variable should be minimum.
Try not make assumptions questions or statement.
Self-expression forms?

Example (BEST EXAMPLE)
The school uses the traditional didactic method of teaching (raise hand and answer question) character education. This week she teach humility, the next week she uses drama (act it out) to perseverance. (SAME CLASS, DIFFERENT TOPIC)
Then she do a comparison.
- Teacher is consistent
- Class is consistent
- Topic must change
Student will only tell preference and not what is the most effective method.

*Don't use "effective", use "engaging".

QNS: Which is more engaging to the student from various demographics/ needs/ learning style?

My Group comment
What are you trying to find out?
What is it about Drama and Self Control (Aims) do you wish to look at?
Why?
-If participating in Drama, they have better self-control?
Eg. After enrolling in DADP can I have regular contact with drama, does it help me to have better self-esteem/ more pro social/ more emphatic now/ more in torch with emotion and can control it a lot better?
-To know if the person is constantly engaged in the drama does it actually contribute to their ability to manage their anger?
What is the link or relationship there?
Eg. I never know drama in my life until now being in this course and by default, I have to do drama. I noticed that I become angrier because drama unleashes a lot of emotions in me, gives me the license to be angry.
I want to know whether there is in impact. Whether drama people are very free with their emotions.
What exactly are you interested in? (What about drama are you interested in finding out?)
What does the topic mean to you?

Audience
- Youths at risk
- Youths participating in drama clubs (What kind of participation then?)
-Youths in drama as a cause of study
- Youths who watch drama

Ethics in AD: Volunteerism VS Voluntoursim

Voluntourism - Buy a tour package include visits to less fortunate places
                     - People pay money to go on a tour, volunteering is part of the trip.

QNS: Who are they doing it for?
(Are they doing it for themselves or the community?)

QNS: What is their intention?

(Question to self) WHY ARE WE DOING WHAT WE ARE DOING?

QNS: Why do I want work with this community?

People who volunteer just want to do good. The earnest hope to help the community.


The GOOD and BAD of Voluntourism.













As an outsider, we think we know what is best for them. We think we know what they want/need.
WHO ARE WE TO ADOPT THAT KIND OF ATTITUDE?

Story: In Sri Lanka, the fisherman were affected by the disaster. The aid organisation went in and gave the people items. Without doing any prior research, they gave the community fibreglass boats. The Sri Lanka people were very happy but after a while, the boats could not be used anymore.
WHY?

The Sri Lanka citizens do not have the materials and knowledge to repair and maintain the boat. Previously, the citizen use boats that they have made by themselves. So, they would know how to fix them because of their rich local knowledge. There was nothing wrong with their handmade boats.

The items were given is not sustainable and not what the community really needs or wants. (THINK ABOUT IT)



This is applied locally.
The project here must be addressing the real need.
WHO IS GOING TO GAIN THE MOST OUT OF IT? Receiver or Giver?


#InstagrammingAfrica: The Narcissism of Global Voluntourism

An article in The Onion mocks voluntourism, joking that a six-day visit to a rural African village can “completely change a woman’s Facebook profile picture.”  The article quotes “22-year-old Angela Fisher” who says:

I don’t think my profile photo will ever be the same, not after the experience of taking such incredible pictures with my arms around those small African children’s shoulders.

(Read: http://www.psmag.com/business-economics/instagrammingafrica-narcissism-global-voluntourism-83838)

QNS: Who do you do it for? 

Some people do it to feel good about themselves. 

She talks about how you get around this. How you can actually make Voluntourism work!

MINDSET Ethics in AD!

GAME: Guess who is that!

- Get to know each other better.
-  People meeting for the first time.

Instruction
1) Write something down on the paper that nobody knows about you. (Take about 1 minute)
2) Write down what you are comfortable with sharing.
3) Fold the paper and pass it to the person in charge.
4) Inform them that the papers will be put in the middle, everyone will grab one, open and guess who the person may be.

Ethics 

- Be responsible
- The risk of losing student's trust for that moment.
(It will take a while for the trust to build back up again.)
- Maintain Safe Space
Usually, you deal with personal stories so the space that you cultivate has to be safe.
How do you cultivate a safe space?
- Your manner (How you run your sessions)
>> Got to read people in your class
- Language (Things that you say)
>> Be Sensitive to your participant
(Are they uncomfortable?)
>> Try to say something positive
- Rules
* Takes time to cultivate SAFE SPACE depend on your participants. Participants trust depends on the individual.

Bottom Line:

Don't go in with the SUPERIOR ATTITUDE ...  ...
- YOU ARE BETTER THAN EVERYONE!
- YOU'RE in CHARGE!

Go in with HUMILITY ... ...
- APOLOGISE if you make a mistake.
- be HONEST!
- it should be a 2 WAY DIALOGUE.

QNS: When you work on Project what do you need to think about/ consider or plan to make it ethical?