-1- -2- -3- -4- -5- -6- -7- -8- -9- -10- -11- -12- -13- -14- -15- -16- -17- -18- -19- -20- -21- -22- -23- -24- -25- -26- -27- -28- -29- -30- -31- -32- -33- -34- -35- -36- -37- -38- -39- -40- -41- -42- -43- -44- -45- -46- -47- -48- -49- -50- -51- -52- -53- -54- -55- -56-
COMMUNICATOR for a CYBER AGE in Africa.
Edited by Fr. K D Tom Kunnel sdb Bosco Eastern Africa Multimedia Services (B.E.A.M.S) Salesians of Don Bosco Karen, 00502 Kenya
COMMUNICATOR FOR A CYBER-AGE IN AFRICA TABLE OF CONTENTS
231 Communicator for a Cyber-Age in Africa SECTION V CONTENT FOCUS Presentation and Publication Skills Education and Team Building Film Analysis SYLLABUS GUIDEPOST Lay - University Year 3 - Catechist Training Year 2 Religious - Pastoral Experience/Temporary Vows Priestly Formation - Pastoral Experience232 Communicator for a Cyber-Age in Africa SECTION V 5.1 Starting a Newsletter 233 5.2 Group Dynamics of a Mission Team 239 5.3 Organising a One day Media / Literature / Science Festival/ Bible Camp/ mission Event 242 5.4 Presentation Skills 246 5.5 Fundamental Research Methodology 251 5.6 Publication Skills 257 5.7 Caring as an Expression of Christian Communication 261 5.8 Words in Relationships 265 5.9 Classroom / School Management 269 5.10 Understanding Film – Grammar and Cultural Expression 273 5.11 Film Criticism and Review 282233 Communicator for a Cyber-Age in Africa Procedure: The students should solely design a newsletter, its content and format and have it published.
Input: - Newsletters are specialized information to a limited audience on a regular basis. Most are four or eight pages long with a page size the same as business stationery (A4 size). They have short articles written in an informal style.
- Your most important need is to know what results the principal/parish priest and readers want from your publication. It is important to have goals, objectives and an audience because they reflect desired results. They also shape decisions about content, design, printing and distribution.
Deciding the Purpose - Establish the purpose of the newsletter. The purpose will/can be one of the following: - Marketing: Newsletters intended to sell ideas, products and services. It includes publications intended to raise money, increase membership or promote greater use of facilities.
- Public Relations: newsletters focus on attitudes instead of actions. They seek to change or reinforce or create positive attitudes in an organization. A public relations newsletter helps people know more and feel better about its sponsoring organization. They help provide support for causes and good will for sponsors.
- internal relations: The best internal newsletters help shape organizational vision and promote the feeling that “we’re in it together” among members of an organisation. They establish direction, present agenda, build morale, inspire loyalty, and stimulate quality.
Proposed Framework for establishing a newsletter Exercise 1. Define goals from the list below: To advice honour praise advocate illustrate predict analyse impress prepare announce improve prevent assure influence raise funds clarify inform recruit condense inspire report define interpret simplify describe justify solicit digest lead stimulate evaluate motivate suggest explain notify support guide persuade teach help portray train Goals may define the effect you want to have on your audience, the amount of money you want to make from your production, and how you plan to position yourself in the market.
Aim Materials Required [ To help the trainee start a newsletter for a school or parish youth group.
[ A computer with PageMaker or MS Publisher software and a printer.
5.1 Starting a Newsletter234 Communicator for a Cyber-Age in Africa Exercise 2) Establishing Objectives from the goals you have defined This will help you define the content and audience of your newsletter. Objectives narrow down content, project costs and give you a working plan. They describe the destination. Objectives also give you the action steps towards meeting your goals. Thus, goals give you the direction whilst objectives show you how to get to your destination.
3) Making Financial Decisions - Consider length, frequency of publication, timing, schedule, quantity and distribution, recurring expenditures and salaries and develop a budget.
Exercise 4) Select a name for your newsletter juggling the following key words: accents guide post advisory highlights profile advocate horizons report alert hotline reporter almanac ink resources briefs insider review briefing interchange scene bulletin intercom scope channel journal spotlight connection keynote survey context letter tab digest light times dimensions line topic eye link trends examiner list update facts log viewpoint file monthly views focus news voice forecast notes weekly forum outlook wire gram perspective world 5. Select Writers It is important to select your newsletter contributors carefully. The following is a simple criteria you can use to do so: • Are they self driven and willing to learn? • Do they posses basic writing skills and knowledge on grammar? • Are they dedicated? Can they meet deadlines? It is not always possible to get the perfect man for the job because writers have different background and experience. Intense training is therefore key to moulding them. A sense of belonging and ‘we’re in this together’ is also paramount in helping to retain writers. Pay is also important. You do not want to invest resources in training only to lose your writers to a publication that pays them better. If you cannot afford to pay them well at the conception of your newsletter, make it known to them that you do not have the resources but will increase their pay when you start rolling out issues. It is also important to communicate to your writers how you intend to penetrate the market and establish your newsletter as this builds confidence and solidarity .
6. Style Guide A style guide or style manual is a set of standards for design and writing documents, either for general use or for a specific publication or organization. Style guides are prevalent for general and specialized use, for the general reading and writing audience, and for students and scholars of various academic disciplines like medicine, journalism, law, government, business, and industry. Some style guides focus on graphic design, covering such topics as typography and white space. Web site style guides focus on a publication’s visual and technical aspects, prose style, best usage, grammar, punctuation, spelling, and fairness.
An in-house manual sets the ground rules for your writers and editors and it is important that each member of your team gets a copy. Many style guides are revised periodically to accommodate changes in conventions and usage. 235 Communicator for a Cyber-Age in Africa For example, the stylebook of the Associated Press is updated annually. Certain style guides such as the Economist Style Guide and the Chicago Manual of Style are used as the basis for editing of major newspapers and magazines in Africa. However, they are usually modified to meet the audience written for and the values and goals of the media houses. It should be noted that not all in-house style guides advocate for correct grammar and punctuation as they do catchy phrases and subjective content and titles. This is because of the commercial nature of most publications. This is a major ethical issue in Africa. 7. Aids - You can produce a first rate newsletter with a powerful word processing program, such as Microsoft Word. Even if you use PageMaker or another desktop publishing program, write and edit using the word processor, then import files into the graphics program.
- It is also important to have a laser-jet printer to preview your manuscript before going to print. A coloured one would be preferable so as to view the colours clearly.
- Storage devices such as CDs and flashdisks are essential to save and transport the soft copies to printing presses and photocopiers.
8. Writing - Headlines summarise and advertise a story. They must also relate to a story, use the present tense and be specific. e.g. Present tense: Two girls raised by Miss Joan (NO) Joan raises two girls (YES) Specific: Arts and Crafts displayed (NO) Craft fair heralds holidays (YES) Writing Articles - The style for newsletter articles should be informal and reflect natural speaking at its best.
- Use simple language. Write to express, not impress. Jargon drives out simplicity and separates you from readers. Other tools for writing are: a) Begin sentences with subjects and verbs b) Activate your verbs c) Be passive-aggressive d) Take is easy on the –ings e) Prefer the simple over the technical Example of simple words instead of write assist help obtain get ascertain learn attempt try communicate say, write facilitate help, ease implement do indicate show insufficient not enough numerous many terminate end, stop as a result of because in excess of more than Others include: f) Specific Terms - Concrete words create images.
E.g.: General – The annual meeting was well attended.
Specific – Eighty-five people came to the meeting236 Communicator for a Cyber-Age in Africa g) Compact Avoid clutter. Get to the point. Purge every useless word.
h) Strong Verbs make writing sparkle.
Examples: Weak verb Strong verb Inform tell, say reduce cut indicate show modify change endeavour try desire want i) Action builds interest E.g.: A candidate will be John Mark (NO) John Mark said he would run (YES) j) Pronouns make sentences move briskly.
E.g.: The sales manager informed the audit task force that projections were encouraging a reduction in personnel. (NO) She said some people would be fired because of falling profits. (YES) k) Contractions You should not avoid one contraction where it sounds right. E.g. can’t, won’t etc.
l) Delete “that”. Try crossing out every “that” in your article. Read the article aloud and replace “that” only when a sentence makes less sense without it.
m) Avoid bias. Don’t risk offending readers with slurs, stereotypes based on gender, race, age, ethnic background, physical ability or sexual preference.
n) Parallel Language: If males are men, females should be women, no girls or ladies.
o) Equal Respect E.g. John Rogers and Mrs. Thompson planned last year’s annual picnic (NO) John Rogers and Sally Thompson…(YES) John and Sally (YES) p) Generic Titles and Descriptions no YES businessman executive, merchant chairman leader, moderator, director, head, chair manned staffed man-sized job big job, enormous task middle man liaison, intermediary, go between, agent salesman agent, clerk, representative spokesman representative, advocate - There is no place for terms such as the better half, the fair sex, girl Friday, libber, old wives’ tale, or the old man (for husband or father) 9. Copy Editing - Copyeditors check and correct writing for spelling, grammar, punctuation, inconsistencies, inaccuracies, and conformity to the requirements of a guide to style. It takes place while articles are still being shaped. However, writers should take it as their responsibility to edit their work to the best of their knowledge before handing it over to the editor for further editing.
10. Proofreading - Proofreaders examine final copy for errors in keyboarding. They verify accuracy, not style. It is the final stage of producing content.
11. one/two/three/four Column Format - Design and layout237 Communicator for a Cyber-Age in Africa - Print according to your copy requirements.
- Immediate distribution must be assured.
Review 1. Newsletters are specialized information to a limited audience on a regular basis. 2. The major steps in creating a magazine are: • Deciding the Purpose • Establishing Objectives • Select a name for your newsletter • Select writers • Making Financial Decisions 3. Headlines should advertise and relate to a story, use the present tense and Subject-verb form of writing. They should also be specific so as to be effective.
4. The style for writing newsletter article should be informal and reflect natural speaking. It should also use simple language to express and not to impress and avoid jargon because it drives out simplicity and separates you from readers.
5. While writing, you should use specific terms, compact words and strong verbs as compared to weaker ones. You should also endeavour to; • use action words because they build interest, • use pronouns because they make sentences move briskly and, • use contractions when they sound right.
6. As a rule, you should express equal respect in your writing as regards males and females, avoid bias and employ parallel language whereby if you mention men for males, women should be mentioned for females. Avoid deviations from this such as girls or ladies for women. 7. Avoid the use of the word ‘that’ unless the sentence makes less sense without it.
8. A style guide or style manual is a set of standards for design and writing of documents, either for general use or for a specific publication or organization.
9. Certain style guides such as the Economist Style Guide and the Chicago Manual of Style are used as the basis for editing major newspapers and magazines in Africa. Reflection ‘Not all in-house style guides advocate for correct grammar and punctuation as they do catchy phrases and subjective content and titles that ensure the publication sells out.’ What should be the basis of our writing as writers of the media? What should take prevalence: objectivity and truth, good writing or sensational and subjective writing? Relevant Skills Group the participants in groups of not more than five people and have them write articles for the magazine production project they will undertake for this chapter. Key points and guidelines for both conceptualizing and getting into production explained in this chapter should be kept in mind. Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
References En.wikipedia.org/wiki/House_style238 Communicator for a Cyber-Age in Africa Aim • To start a newsletter for a school or parish youth group.
Procedure: Design a newsletter, its content and format and have it published.
Review 1. Newsletters are specialized information to a limited audience on a regular basis. 2. The major steps in creating a magazine are: • Deciding the Purpose • Establishing Objectives • Select a name for your newsletter • Select writers • Making Financial Decisions 3. Headlines should advertise and relate to a story, use the present tense and Subject-verb form of writing. Be specific so as to be effective.
4. The style for writing a newsletter article should be informal and reflect natural speaking. It should also use simple language to express and not to impress and avoid jargon because it drives out simplicity and separates you from readers.
5. While writing, you should use specific terms, compact words and strong verbs as compared to weaker ones. You should also endeavour to; • use action words because they build interest, • use pronouns because they make sentences move briskly and • use contractions when they sound right.
6. As a rule, you should express equal respect in your writing as regards males and females, avoid bias and employ parallel language whereby if you mention men for males, women should be mentioned for females. Avoid deviations from this such as girls or ladies for women. Also, give equal respect to both males and females in your writing.
7. Avoid the use of the word ‘that’ unless the sentence makes less sense without it.
8. A style guide or style manual is a set of standards for design and writing of documents, either for general use or for a specific publication or organization.
9. Certain style guides such as the Economist Style Guide and the Chicago Manual of Style are used as the basis for editing major newspapers and magazines in Africa. Reflection ‘Not all in-house style guides advocate for correct grammar and punctuation as they do catchy phrases and subjective content and titles that ensure that the publication sells out.’ What should be the basis of our writing as writers of the media? What should take prevalence: objectivity and truth, good writing or sensational writing? Relevant Skills In groups of not more than 5 people write articles for the magazine production project. Key points and guidelines of both conceptualizing and getting into production explained in this chapter should be kept in mind. Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
References En.wikipedia.org/wiki/House_style CHAPTER 5.1 PARTiCiPAnT’S HAnDouT Starting a Newsletter COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke239 Communicator for a Cyber-Age in Africa Procedure: - Start by distributing a piece of the picture puzzle to all. Let them solve the puzzle. When the picture is complete let them spontaneously share their experience/reaction of the entire process. The facilitator then highlights the advantages of working together.
Input: - Mission preparation could be great fun! - Planning and preparing the Parish Mission, Vocation/Bible camp should fill the group with a sense of fun rather than a sense of fear. This is an opportunity to experiment with different ideas and approaches to the group task.
- The preparation is an integral part of the process and, if it is undertaken with the right attitude and spirit, it becomes an enriching and enjoyable experience for all who participate.
- If you are not enjoying the task, you’re probably not doing it right! Atleast not in terms of interpersonal relations, work distribution and clarity of tasks to be undertaken.
- Be creative and committed when dealing with the task set before the group. Be caring and courteous when dealing with other members of the group.
- A successful Mission or Vocation/Bible Camp preparation leads not to an Event but to a Celebration.
- What is a Mission Team? What does a Mission Team do? Who is the Mission Team for? - The Mission Team is a group of people who accept responsibility for organizing the preparation of the Parish Mission.
- Various talks have to be undertaken if the Mission is to become a significant event in parish life.
- Each member of the Mission Team accepts responsibility for a particular task. The member invites other people to share in the task. As a result of this involvement a Task Group evolves.
- The Mission Team: Meets once a month. The team members are expected firstly to continue their growth as friends in the community and, secondly, to co-ordinate the efforts of the various task groups.
- The Task Group: Meet once a month. The group is expected firstly to develop in friendship and, secondly, to do the assigned work.
- Each member of the Mission Team will meet once a month with his/her Task Group and once a month with his/her Mission Team.
- Mission preparation is an opportunity for each individual.
Personal Renewal - Each Christian is called to enjoy a personal relationship with God. Through the outpouring of the Holy Spirit, we enjoy fellowship with Jesus Christ as children of our Father.
- This belief is often not a reality in our lives. The mission calls the individual to commitment and conversion.
- Being a Christian is a process of continual conversion as we move more deeply into the person of Christ and the work of His Kingdom.
- “Whoever drinks of the water that I shall give will never thirst. The water that I shall give him will become, inside him, a spring of water welling up to eternal life.” (Jn. 4:14) - Being engaged in the activity of Mission is a part of this continual conversion. Mission is not something I undertake when I am fully Christian, it is an Aim Materials Required [ To equip the trainee with information on how to build a Task Group for a parish mission or youth retreat or vocation / bible camp.
[ Picture puzzle pieces for every member. Limit the members to 10 or 12.
5.2 Group Dynamics of a Mission Team240 Communicator for a Cyber-Age in Africa involvement through which I achieve growth into the person of Christ. It is not a consequence of a converted life; it is an integral and essential part of the process of conversion. The Mission is a call to each person to become a member of an outward looking and outward reaching community. It is a reminder that each individual has a part to play in the growth of God’s kingdom. It is an opportunity for the Mission Team to recognize the gifts and talents of the individuals in the parish, and to call people to offer these gifts for the service of the Church and the local community.
- ‘Faith’ is being a friend of God. (Pope St. Gregory the Great) Community Development - There are many ways in which we can bear witness to Jesus Christ. One special way is through the development and growth of the community. The manner in which we relate to, and communicate with one another, is a powerful witness to the presence of God in our midst.
- Preparing a Mission is about involvement! Involvement in life and friendship with others, and involvement in carrying out the various tasks! Share the tasks with as many people as possible.
- Do not let one do alone what two, three or more can do together! - It is important to remember that each Task Group working for the Mission is not a means to an end.
- The group has a value in its own right. The growth of trust and understanding, the development of friendship and respect between the group members, is a worthwhile objective in itself.
- When he had washed their feet, Jesus said to them: “Do you know what I have done for you? If I, your Lord and Teacher, have washed your feet, you also ought to wash one another’s feet.” (Jn 13:12-14) - A Task Group succeeds when its members grow in relationship and work together for a common purpose.
- Too many cooks don’t always spoil the broth.
- It is better to get the group to dance around the task before tackling it.
- Mission preparation is an opportunity to Evangelise.
- The ultimate purpose of the Mission is to reach out in Faith Friendship to others. Communicating Jesus Christ and the values of His Kingdom is the primary objective of the Mission. The Christian commandments are summarized in the love of God and the love of neighbour.
- The person (or the community) evangelized goes on to evangelise others. Herein lays the test of truth, the touchstone of evangelization. (Pope Paul, V1, Evangelisation Today 24) - My neighbour is not just my fellow Catholic, but is also a lapsed parishioner, Christians from other churches, people of different faiths and all those who have no faith. The Parish Mission will try to have a real effect on the lives and faith of all those who live in the area. All are going to be invited to the Mission and as many as possible asked to be involved in the preparation.
- My neighbour is my neighbourhood.
- “Father as you have sent me into the world so I am sending them into the world. I do not pray for these alone but for all those who through their word, will come to believe in me”. (Jn. 17:18-20) Review 1. The aims of the Mission preparation Team and the purpose of the Task Group are threefold: a. To help the individual grow.
b. To help the community grow.
c. To enable the community reach out to others.
2. Remember, the purpose of the Mission Group and the Task Group is to develop a sense of community among each other as well as achieving the objectives set by the task.
3. Good working relationships come to an end. Friendships last forever.
4. Each Christian is called to enjoy a personal relationship with God. Through the outpouring of the Holy Spirit, we enjoy fellowship with Jesus Christ as children of Our Father.
5. This belief is often not a reality in our lives. The Mission calls the individual to commitment and conversion.
Reflection ‘Being a Christian is a process of continual conversion as we move more deeply into the person of Christ and the work of His Kingdom.’ Reflect on this statement. How can we as individuals continue the work of God’s Kingdom? In what special ways are we called to evangelise? Pray for the courage and dedication to bring God’s Kingdom to those around you.
Relevant Skills Embark on organizing a mission or Bible camp in your parish. Do your best to make it fun, memorable and as involving of all participants as it can be.
Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.241 Communicator for a Cyber-Age in Africa Aim • To equip you with information on how to build a Task Group for a parish mission or youth retreat or vocation / bible camp.
Procedure: - Solve the picture puzzle. Then share your experience/reaction of the entire process.
Review 1. The aims of the Mission preparation Team and the purpose of the Task Group are threefold: a. To help the individual grow.
b. To help the community grow.
c. To enable the community reach out to others.
2. Remember, the purpose of the Mission Group and the Task Group is to develop a sense of community among each other as well as achieving the objectives set by the task.
3. Good working relationships come to an end. Friendships last forever.
4. Each Christian is called to enjoy a personal relationship with God. Through the outpouring of the Holy Spirit, we enjoy fellowship with Jesus Christ as children of Our Father.
5. This belief is often not a reality in our lives. The Mission calls the individual to commitment and conversion.
Reflection ‘Being a Christian is a process of continual conversion as we move more deeply into the person of Christ and the work of His Kingdom.’ Reflect on this statement. How can we as individuals continue the work of God’s Kingdom? In what special ways are we called to evangelise? Pray for the courage and dedication to bring God’s Kingdom to those around you.
Relevant Skills Embark on organizing a mission or Bible camp in your parish. Do your best to make it fun, memorable and as involving of all participants as it can be.
Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
CHAPTER 5.2 PARTiCiPAnT’S HAnDouT Group Dynamics of a Mission Team COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke242 Communicator for a Cyber-Age in Africa Input 1) The Preparation - The chief organizer must call for meetings months in advance of the date scheduled for the festival. A four-month preparation is suitable.
- Volunteers: These are young people who have leadership qualities who would like to form part of the executive committees.
- Animators: These are young people who are intelligent and capable enough to handle group discussions.
- The agenda for these meetings ought to include the job-description of the various committees with reference to the timetable on the day of the festival.
2) The Committees The theme/forum committee This committee discusses the theme of the media festival and the theme song.
They arrange the inauguration.
The case studies, questions for discussion, drama, skits, film and names of experts to be on the panel of the forum are arranged as the moderator of the panel is chosen. - The animators are to be trained to handle discussions and to know more about the theme.
- Momentos will help build camaraderie at the festival. E.g.: a cap, a scarf, a T-shirt… - A logo is chosen. This would have to appear at the entrance point on the day of the festival as well as on all the tickets and promotional material that is printed.
- The participants are divided into groups. An animator is appointed for each group.
- The prayer service is arranged.
The invitation/registration & publicity committee: - The invitations are printed. A list of VIPs to be invited for the occasion is prepared.
- The tickets (if required) would have to be sold and collected at the entrance on the day of the festival.
- All details of promotion are to be attended to.
- Registration procedures and particulars are arranged.
The finance and arrangements committee Questions about finance are considered: - Whom to approach for sponsorship? What is the budget? What is the fee? Per participant? - Tickets are printed as well as lunch coupons, show coupons, etc.
- Enclosures and areas are to be demarcated and barricaded.
- Proper permits are to be obtained from the police and civic departments.
- Sound systems & Theatre equipment are organised.
- Light systems are organised.
- Caterers are invited to present their estimates.
- The budget is calculated per person.
- Are the toilets prepared? They must be spacious and clean with proper directions for ladies and gentlemen.
- A First Aid Center needs to be set up in a prominent and easily accessible place.
- The VIP snack room can be prepared away from the performance rooms and meeting points to make it secluded. Here they can be made to feel welcome and can relax either before or after their presentations or workshops.
The media stall committee: - What media is on display? Who will be in charge of exhibits/shows? - Who is in charge of the live talk show on a selected theme? Aim Materials Required [ To help young people come together to celebrate togetherness and reflect on the impact of media/literature/science in their lives.
[ Ten volunteers - Logo/Theme - Theme song - Mementos/T-shirts - Six Animators - Prayer service - Sponsors - Tickets - Talk Show Host - Compere (person who introduces others in a show or performance) - Live band - Food stalls / catering 5.3 Organising a One Day Media/Literature/Science Festival/Bible Camp/Mission Event243 Communicator for a Cyber-Age in Africa - Arrangements for the inauguration, drama, thanksgiving, etc. have to be made to in advance.
- If a band is invited, which one should it be? - What kind of music would the audience want? - Who is the emcee is he/she informed of the events, the purpose of the meeting, the schedule? 3) A Sample Festival Schedule: 7:00 a.m. Volunteers report and register at the main office.
They receive their T-shirts, badges, as well as case papers.
Ticket collectors / Ushers are appointed to take their positions at the entrance.
8:00 a.m. Participants are permitted entrance only with their entry tickets and are presented with their badge, lunch coupons and their festival regalia.
Participants make their way into the festival centre.
8:15 a.m.
As the participants file into the centre the emcee welcomes the participants. Music is then played. The emcee introduces the theme of the festival. He then gives instructions concerning layout, toilets, cafeteria, etc… and teaches the theme song.
9:00 a.m.
Inauguration: The VIPs are welcomed on to the dais.
Participants congregate around the stage informally.
Welcome address by the chief organizer.
Speech by the Chief Guest.
Prayer Theme song is sung.
9:30 a.m.
Break up into respective groups.
Have a mixer game of 20 minutes where people introduce each other (games like introducing your neighbour, etc.) 9:50 a.m. - Time for reflection Begin the group discussion on the case studies provided. Discuss the questions or show a film, or have several video stalls and then discuss the questions given or watch a play being enacted or a live talk show and discuss questions given. Answers given by the group or discussion of the group must be noted down on paper and handed over to the group leader.
10:30 a.m. All participants move to the assembly hall or to the stage. Group leaders then meet to discuss which questions to retain for the panel discussion and which to eliminate.
10:40 a.m.
Panelists are welcomed by the chief moderator and are introduced. The moderator assigns a time limit for the first part: the question-answer session based on the discussion of the group; and, for the second part; questions solicited from the floor. The panel discussion can last for an hour. Finally the moderator thanks the panelists and makes announcements of the lunch programme.
12 noon Participants queue up for lunch. Lunch is served. Volunteers must ensure smooth delivery of lunch coupons and easy flow of the queue. The party games/telegames are held in the open space provided for this event. It is better to organize them away from the venue of the Forum and the stage, but this is only if space is available.
1:30 p.m.
Party games commence. The participants join their respective groups. Sheets are given to the captains with explanation of the games. Prizes are announced. Points are put on a visible score board.
3:30 p.m.
Tea and snacks stall is opened for participants. All are encouraged to prepare for an evening of prayer and reflection. Meanwhile the platform or stage is arranged once again for the reflection moment.
4:15 p.m.
Participants are invited to take their seats. Songs and hymns to be used during the prayer are taught.244 Communicator for a Cyber-Age in Africa 4:30 p.m.
The prayer-hour begins and ends with the theme song.
5:30 p.m.
The floor is cleared for dancing. Chairs are arranged on the side so as to have sufficient space for dancing. Groups are requested to give a list of songs they would like the band to play.
6:00 p.m.
The Band takes over. Gifts and prizes are distributed between the songs.
6:30 p.m.
Theme song is sung. Final thanksgiving speech. Closing.
Special notes - Many African groups enjoy singing together.
- If space is available, dancing to well known cultural songs energizes people.
- Add colour by inviting celebrities.
- Prayers to begin and end the event are expected in most gatherings.
- Keep in mind that there are special foods that make a gathering, a festival.
- Have a crew for clearing the place after the event.
Review 1. As the preparation for the festival begins, the chief organizer must call for meetings months in advance of the date scheduled for the festival. The committees should involve volunteers and animators. The agenda for these meetings ought to include the job-descriptions of the various committees with reference to the timetable on the day of the festival.
2. The various committees could include: - The theme/forum committee.
- The invitation/registration & publicity committee.
- The finance and arrangements committee.
- The media stall committee.
Reflection Jesus influenced people’s lives within minutes of meeting them. What qualities enabled Him to be so influential? In what ways can we as evangelizers imitate Christ in impacting the youth even as we prepare formation programmes for them? Relevant Skills From the knowledge you have gained from this lesson and your reflection of how to be more influential in evangelizing, come up with a practical plan for a two-day youth seminar on any topic of your choice.
Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
Reference BEAMS PRODUCTION. Games for Teachers, Trainers and Youth Ministers. Karen, 2008.245 Communicator for a Cyber-Age in Africa Aim • To come together to celebrate unity and reflect on the impact of media/literature/science in our lives.
Review 1. As the preparation for the festival begins, the chief organizer must call for meetings months in advance of the date scheduled for the festival. The committees should involve volunteers and animators. The agenda for these meetings ought to include the job-descriptions of the various committees with reference to the timetable on the day of the festival.
2. The various committees could include: - The theme/forum committee.
- The invitation/registration & publicity committee.
- The finance and arrangements committee.
- The media stall committee.
Special notes - Many African groups enjoy singing together.
- If space is available dancing, to well known cultural songs energizes people.
- Add colour by inviting celebrities.
- Prayers to begin and end the event are expected in most gatherings.
- Keep in mind that there are special foods that makes a gathering, a festival.
- Have a crew for clearing the place after the event.
Reflection Jesus influenced people’s lives within minutes of meeting them. What qualities enabled Him to be so influential? In what ways can we as evangelizers imitate Christ in impacting the youth even as we prepare formation programmes for them? Relevant Skills From the knowledge you have gained from this lesson and your reflection of how to be more influential in evangelizing, come up with a practical plan for a two-day youth seminar on any topic of your choice.
Resources BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
Reference BEAMS PRODUCTION. Games for Teachers, Trainers and Youth Ministers. Karen, 2008.
CHAPTER 5.3 Organising a One Day Media/Literature/Science Festival/Bible Camp/Mission Event COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke PARTiCiPAnT’S HAnDouT246 Communicator for a Cyber-Age in Africa Input To be able to evangelise or sell a product, you need to be able to convince your audience that what you are offering or telling them is worth their time and in the case of products, their money. To do this, you need to make an effective presentation. Most presentations are essentially the same in their construction whether they are for a congregation, a board of directors or for the seemingly simple task of showing a new employee around the office.
The seven basic steps of making a good presentation are: 1. Decide what you want to achieve.
2. Decide whether a formal presentation is the best way to do it.
3. If you do decide to go ahead with the presentation, decide which form it should take.
4. Prepare a script.
5. Design and prepare visual aids and handouts if necessary (in pastoral communication this may not be necessary).
6. Rehearse.
7. Present.
Determine whether a presentation is the best way to achieve your required objective. Do this by asking yourself: • Do people need to be able to discuss the topic in order to reach a decision? • Do they need to be able to question the presenter to fully understand the material? • Is the presentation designed to ‘sell’ an idea, a product or a course of action? • Is there a practical element in the presentation? If the presentation is necessary, you can choose between five formats depending on your primary objective which you can define by: • Drawing up your main objective in one sentence. For example: Inform all the members of the project as to the current state of play. • Giving it some hard thought – make it precise.
• Determine what the presentation is meant to achieve. • Set out the expected/required result of the presentation clearly. Certain basic targets include; - Everyone involved must clearly understand the nature of the presentation.
- Everyone must understand the input expected from them.
• Presenters must have a yardstick to measure how much the presentation has achieved in a certain period of time.
Forms of presentations Visual Aids Visual aids are important because: • We learn about 90% of what we already know visually – from films, books, etc. Only 7 - 11% is learnt through hearing alone.
• The average audience member will remember about 70% of a purely verbal presentation, three hours later.
Aim Materials Required [ To train the participants in the techniques of good presentations.
[ Pen and Paper.
5.4 Presentation Skills247 Communicator for a Cyber-Age in Africa • Of a purely visual presentation, about 75% will be remembered after three hours, and up to 20% after 3 days.
• Presenters who use visual aids are generally perceived as being more professional and persuasive than those who rely on speech alone. Thus, for a truly powerful and memorable presentation, you will need to include some form of visual aid. Always use a visual aid that will best suit your purpose, audience and personal skill. Avoid using different kinds of visual aids simultaneously unless you have professional assistance and a lot of practice.
other forms of presentations are: • Over Head Projector (OHP) • Slides • Computer-based displays • Video • Charts • Film Audience To stage a good presentation, focus on the basic characteristics of your audience such as: • Who will be attending the presentation and what is their level of seniority? • Who is the decision maker? • Is there any point in giving the presentation if certain people do not attend? • Will people be attending your presentation by choice? • Is their initial attitude likely to be for, neutral or against? • How intelligent are they? Never talk down on people.
• How well informed are they? Will they have background knowledge and if so, how much? • Will they understand the jargon you normally use? • What sort of mood will they be in? • What will they be expecting from you? • How can you present your information so as to encourage a positive response (and especially avoid a negative reaction)? Personal presentation Some pointers to remember are that: 1. Moving around or standing still does not make any difference.
2. When standing still, aim to have your feet about shoulder width apart and keep your body square onto the audience and with your toes pointing slightly outward. This stance is comfortable to maintain and indicates to the audience that you are relaxed and confident.
3. Be clearly visible to your audience, especially when saying something important. If you stand in front of a bright light, e.g. a well lit window, your audience will not see much more than a black shape which will be perceived as a negative image.
4. Settling in one spot, leaning to one side.
Hidden message: ‘I’m bored and I’d rather be somewhere else.’ Solution: When standing still, keep your weight evenly balanced and your hips Level.
5. Leaning over the top of the lectern.
Hidden message: ‘I’m too tired to stand up straight’ – or ‘I just can’t be bothered to do so.’ Solution: When using a lectern, stand to one side rather than directly behind it.
6. Sitting on the table provided for your notes, the OHP, etc.
Hidden message: ‘I don’t have to make an effort here, because I’m more important than you.
Solution: No matter how relaxed you feel, remain standing! It is far more important that your verbal content, vocal style and body language be congruent (all giving the same message) than walking 3 meters or 3 kilometers while delivering your presentation.
Movement 1. Hands Act as though you were in a normal conversation. For example, if you usually wave your hands in an animated fashion do the same thing (with reason) in a presentation. It is also fine if you do not usually make much use of your hands during a conversation. If you do not feel comfortable, do not do it and do not worry about it. Keep in mind however that if you use your hands when talking, make sure that your gestures during a presentation are appropriate for the size of your audience. Thus, the more people you are talking to, the bigger your hand and arm movements will be. Some poses you might want to avoid are:248 Communicator for a Cyber-Age in Africa • The ‘stand at ease’ stance – feet firmly planted and hands clasped behind your back. It looks stiff and overly formal. It is an authoritarian stance and will make it much harder to establish any degree of rapport with your audience.
• Having your hands behind in your pocket looks unduly casual, or even sloppy. If you find your hands have wondered into your pockets: * Remove them from your pocket(s) in a leisurely manner at a suitable moment: point at something in a visual display, a turn a page of your notes etc.
* For men, if your hands find their way into your trouser pockets, then above all, keep them still. Fiddling with something in your pocket will be interpreted by your audience negatively.
Clasping your hands in front of you looks rigid and uncomfortable and in English speaking countries, it is generally recognized as a defensive posture, particularly for men. It will tend to set you apart from your audience and will lower your esteem in their eyes. It will not do much for your self-confidence either. Standing with your hands on your hips can look arrogant, affected or plain silly.
Folding your arms over your stomach or chest can appear domineering in a large person and is otherwise recognized as a defensive or divisive posture.
Rubbing your hands together in a ‘washing’ motion looks creepy, fussy and possibly dishonest.
2. Eye Contact Two key elements which ensure dynamic eye contact with an audience are timing, and the aura effect. As for timing, you should not look at any single person for more than three or four seconds. Shift your gaze frequently and preferably randomly. It is important to look at every member of an audience in order to maintain rapport with whole groups of people rather than with isolated individuals. It works because our field of vision ‘fans out’ as it gets farther away. The aura effect extends to the sides, in front of and behind the person the presenter is actually looking at. In the first illustration, when the presenter makes eye contact with one person near the front of the audience, at least four or five people are likely to believe that the presenter turns his gaze towards the back of the audience, however, as many as 15 to 20 people are likely to believe that the presenter is looking at them, and them alone. In general then, there will be times you will want to maintain eye contact with your audience. There are times however, when you will want to deliberately break eye contact. If, for example, you ask your audience to think something through, for a few moments, you will get a better response if you lead by breaking eye contact and then mime, being thoughtful until you are ready to continue. In essence, the overall image that you need to project for the best effect, is one of relaxed control. This effect is most easily produced if it reflects what you really feel – when you know that you have done everything you can to ensure that the presentation goes well.
Style of Speaking Speaking style improves in a gradual way, in a progressive process. It is an extention of our abilities. Several ways in which we can improve our voice is by; practicing in front of a mirror, talking into a tape recorder or a video camera, reading a column from your local telephone directory so that it sounds exciting, amusing or persuasive. This way, you will be able to develop your vocal style. Rehearsals Once you have drafted the outline of your script, put it on audio tape (video tape is even better) then run it through with the following thoughts in mind: • Does your presentation follow a clear sequence of ideas? • Have you aimed the material at the right level? • Have you included material that is not strictly relevant? • Are you trying to cover too much information? • How and where can you use visual aids to clarify and enhance the basic presentation? • Are you presenting your material in an appropriate manner? Once you have developed a script that does what you want it to, have another recorded rehearsal, asking yourself whether it really achieves the required result. It will also pay to take note of the vocal interest in your delivery (plus you body language, if you are doing a video recording).249 Communicator for a Cyber-Age in Africa When you first begin to give presentations, you might also want to set the microphone a little away from you so that you can learn to project your voice. The difference between projecting your voice and raising your voice (shouting) is: 1a To projecting your voice is to use your diaphragm to drive the air up through your throat and mouth.
1b When you shout, you use your neck muscles to do all the work.
2a When you project your voice, usually you find that you are conversing with someone only a short distance away. Projecting your voice should not cause any kind of physical strain.
2b When you shout, it hurts! Review 1. To be able to evangelise or sell a product, you need to be able to convince your audience that what you are offering or telling them is worth their time and in the case of products, their money.
2. The seven basic steps of making a good presentation are: a) Decide what you want to achieve.
b) Decide whether a formal presentation is the best way to do this.
c) If you do decide to go ahead with the presentation, decide the form it should take.
d) Prepare a script.
e) Design and prepare visual aids and handouts if necessary (in pastoral communication this may not be necessary).
f) Rehearse.
g) Present.
Reflection ‘Of a purely visual presentation, about 75% will be remembered after three hours, and up to 20% after 3 days.’ State what implication(s) this has on effective presentation.
Relevant Skills Using the knowledge you have acquired and the steps outlined above, present a three minute speech on any pastoral topic to your fellow participants.
References BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
Resources Sherron Bienvenu. The Presentation Skills Workshop. New Delhi: Prentice Hall of India, 2008.
Rhonda Abrams. Winning Presentation In A Day. New Delhi: Prentice Hall of India, 2008.250 Communicator for a Cyber-Age in Africa Aim • To learn the techniques of good presentations Determine whether a presentation is the best way to achieve your required objective. Do this by asking yourself: • Do people need to be able to discuss the topic in order to reach a decision? • Do they need to be able to question the presenter to fully understand the material? • Is the presentation designed to ‘sell’ an idea, a product or a course of action? • Is there a practical element in the presentation? If the presentation is necessary, you can choose between five formats depending on your primary objective which you can define by: • Drawing up your main objective in one sentence. For example; Inform all the members of the project as to the current state of play. • Giving it some hard thought – make it precise.
• Determine what the presentation is meant to achieve. • Set out the expected/required result of the presentation clearly. Certain basic targets include: - Everyone involved must clearly understand the nature of the presentation.
- Everyone must understand the input expected from them.
• Presenters must have a yardstick to measure how much the presentation has achieved in a certain period of time.
Review 1. To be able to evangelise or sell a product, you need to be able to convince your audience that what you are offering or telling them is worth their time and in the case of products, their money.
2. The seven basic steps of making a good presentation are: a) Decide what you want to achieve.
b) Decide whether a formal presentation is the best way to do this.
c) If you do decide to go ahead with the presentation, decide the form it should take.
d) Prepare a script.
e) Design and prepare visual aids and handouts if necessary (in pastoral communication this may not be necessary).
f) Rehearse.
g) Present.
Reflection ‘Of a purely visual presentation, about 75% will be remembered after three hours, and up to 20% after three days.’ State what implication(s) this has on effective presentation.
Relevant Skills Using the knowledge you have acquired and the steps outlined above, present a three minute speech on any pastoral topic to your fellow participants.
References BOSCOM-INDIA. ‘SHEPHERDS’ FOR AN INFORMATION AGE. Matunga: Tej Prasarini, 2000.
Kunnel, Tom. Salesians of Don Bosco for a Cyber Age in Africa, Kenya: BEAMS, 2008.
Resources Sherron Bienvenu. The Presentation Skills Workshop. New Delhi: Prentice Hall of India, 2008.
Rhonda Abrams. Winning Presentation In A Day. New Delhi: Prentice Hall of India, 2008.
CHAPTER 5.4 PARTiCiPAnT’S HAnDouT Presentation Skills COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke251 Communicator for a Cyber-Age in Africa Input: For service-oriented communication to be effective, a correct reading of the context and needs of the beneficiaries is necessary. However, organizations often assume the needs of the people they serve and proceed to act accordingly - through schools, dispensaries, and other socially uplifting projects. One of the ways service-oriented communicators can address the needs of their beneficiaries appropriately is by first collecting relevant information through a research project.
Research is important because the data collected is: - based on facts and not mere guess work or vague presumptions.
- objective and not dependent on personal preferences, predispositions and values. - delves deeper than what merely appears as self-evident to the actual ground reality.
1. How does one select a problem for research? Obviously the data to be studied has to be empirically and objectively measurable by using appropriate research tools. “Does God exist?” is not a good topic for research but “Does belief in God make a person law abiding?” is, since the latter is empirically measurable while the former is not. The empirical approach to knowledge is based on observations. We all use the empirical approach in everyday living. For example, a teacher may observe students becoming restless during a certain lesson. He or she might say that the lesson is boring. However, these observations may be misleading and are often misinterpreted. For example, the teacher may have misinterpreted reasons for the students’ restlessness. 2. once a problem has been chosen the next step is selecting an appropriate research design. It is a plan of action according to which observations have to be made and data collected. It answers the following questions: a) WHAT should we study? What is our scope? What are the variables to include? b) HOW shall we collect our data? Which techniques should we use? Questionnaires, interviews, observations, or some combination of all the three? c) WHO shall we study? Who are the respondents? d) HOW VALID will our data be? How objective, factual, true to reality? e) How shall we present our data? f) - There are two types of research designs: descriptive and explanatory.
g) - The primary interest of a descriptive design is to examine the state of affairs ‘as it exists’. The census conducted by governments is an example, or ‘how many street children have resorted to substance abuse?’ The explanatory design probes the ‘why’ behind the state of affairs. It studies the causes that have given rise to a phenomenon. Two strategies are usually used to find this out: a) The ‘after only’ strategy finds out why something has occurred after the event. For example, if 60 % of street children are found to be substance abusers, then we may want to know the cause of this phenomenon.
Aim Materials Required [ To expose the student to basic research methodology in order to appropriately respond to pastoral initiatives.
[ Pen and Paper.
5.5 Fundamental Research Methodology252 Communicator for a Cyber-Age in Africa b) The ‘before and after’ design is valid for measuring data. When we want to know the impact of TV violence on children we could observe the state of affairs before the film is shown (pre -measurement) and after (post-measurement). Finally the two measurements will be compared. If there is a change, that is, if there exists a difference in the two measurements, one can conclude that the phenomenon is positively responsible for the change. Thus if there is greater aggression in the behaviour of children after a violent film is shown to them, the researcher can conclude that TV violence is indeed the cause of aggression in children.
3. The research design is only half of the research task. The other half is sampling the people or events that will help in the collection of relevant data - the population understudy. The problem selected will determine which group of people to be studied. Thus if a research is being done on street children of Johannesburg, the groups to be interviewed are precisely the street children of Johannesburg.
Sample: Time and resources sometimes make it difficult to study all the people in a research, hence a selection is made. Those selected make up the sample. The method of sampling can be of two types - probability sampling or non-probability sampling.
The probability sample is used when you have a complete list of persons under the study. Let’s say they total 1050. Give each of them a number from 1 to 1050. Decide how many you wish to study, let’s say 100. Write the numbers 1 to 1050 on slips of paper, fold them and put them in a bowl. Randomly pick 100 of these slips of paper. The persons who bear the numbers now make up your random sample.
The non-probability sample can be taken when such a list of persons under study is not available. Let’s say you wish to study 50 rural and 50 urban persons. You will then contact any 50 persons from each category who may be available and willing to cooperate with you. (Even in this case, special effort should be made to be as objective as possible.) 4. Various techniques can be used to collect the data a) Observation: This technique is useful for studying data that is present and available. For this technique, it is important to have a diary in which you will record meticulously what you observe. Recording can be either on the spot or later, particularly if the people under the study are conscious of being observed. Yet, maintaining accuracy is difficult. It depends on your skill. You will also have to keep your personal preferences, values and biases consciously in check so that you are as factual as possible. Another way to observe will be to get a team of three to help you observe and then all can sit together to check the observations.
b) Interviewing: This technique is useful for studying past events or personal opinions, feelings and attitudes which cannot be observed. The interview can be structured and formal - like approaching people with a specific set of prepared questions. Most questions also provide a fixed set of alternative answers from which the respondent is asked to choose only one option: e.g.: Have you consumed marijuana? a. Never b. Only once/twice c. Once a week.
d. daily Other questions can be open ended: e.g. What kind of experiences do you have after smoking marijuana? Less structured interviews do not have predetermined questions or fixed sets of answers. General questions are put to the respondents and their answers come across through the conversation that follows. Further probing questions will have to be asked and in this case the researcher will have to be perceptive and flexible.
c) Questionnaires: Questionnaires may be called ‘distance interviewing’. Instead of asking a set of questions from an interview orally in face-to-face situations, the respondent replies in writing on the questionnaire itself and returns it to the researcher. They can be mailed to people selected in a sample accompanied by self-addressed, postage-paid envelopes for returning them. Alternatively, the researcher may personally hand it over and then on a mutually agreed date collect it. Questionnaires require that the respondents be adequately educated and can read, understand and clearly answer the questions. They are best used to cover large territories or when the respondents need the assurance of anonymity.
5. Data Analysis After having gone through the process of data collection, you will find yourself asking the question: What should I do with all these pieces of paper?”253 Communicator for a Cyber-Age in Africa Qualitative Data cannot be measured in numerical terms. It can be systematized by classifications. If through your unstructured interviews you have got various responses on the psychological experiences of drug addicts, code the responses by giving a number for the same information in all the interview records. Then count them. Later you will be able to say that, for example, out of 100 respondents 15 felt elated, 50 were depressed and 35 saw colourful images.
Quantitative Data is easier to compile. The following are some of the ways: Coding: Assigning numbers/alphabets to similar answers in such a way that similar answers are given one code.
AGE CoDE Person A aged 21 Person B aged 16 Person C aged 35 Similar coding can be done for income.
But if you are not interested in exact numerical values but want to prepare categories instead, then the example below will help AGE CATEGoRY CoDE 11 to 15 years A 16 to 20 years B 21 to 25 years C How does one code ‘open-ended’ questions? This requires skill in categorizing and assigning codes to each question. But there is no other way except to trust your judgement as to what legitimately falls within a particular category and what does not.
Having scrutinized and coded your data you are still not in a position to say anything about the information until you bring it together. One way to do this is to use computers with the help of an appropriate software package. The most important forms of data presentation are: a) The Table: [see the example below:] Table 1 Number of Marijuana cigarettes smoked per day no of Cigarettes no. of respondents Percentage One 05 05.0 Two 11 11.0 Three 24 24.0 Table 2 Gender of Drug Abusers Gender no of Respondents Male 70 Female 30 Total 100 Other ways of presenting data are: a) bar diagrams, b) pie charts, c) line graphs d) graphic visual pictures.
Finally, it is important to interpret the data you have received. Tie up your findings with your objectives. Highlight salient features. Mention whether your hypotheses or expectations have been substantiated by the data acquired and if they are not, say so. Data from other researchers can be included in your presentation with permission, if possible. Credit must be given to the researcher. Use a style that is simple, clear and precise. Long sentences and big words only serve to confuse.254 Communicator for a Cyber-Age in Africa Having said so much, it is time to get down to practicing. The protocol of doing research in the ultimate analysis, is that you must have something significant to say and say it authentically .
Review 1. For service-oriented communication to be effective, a correct reading of the context and needs of the beneficiaries is necessary.
2. Data to be studied has to be empirically and objectively measurable by using appropriate research tools. This identification of a subject to be studied is the first step of research.
3. The next step of carrying out a research study is to determine an appropriate research design. There are two types of research designs: descriptive and explanatory.
4. The next step is sampling the people or events that will help in the collection of relevant data - the population understudy. The problem selected will determine which group of people to be studied. 5. Sampling can be of two types - probability sampling or non-probability sampling.
6. Various techniques can be used to collect the data: a) Observation b) Interviewing c) Questionnaires 7. The next step after sampling is data analysis. Qualitative Data can be systematized by classification and Quantitative Data can be coded.
8. Having scrutinized and coded your data, the next step is to bring it together. One way to do this is to use computers with the help of an appropriate software package. The most important forms of data presentation are: tables, bar diagrams, pie charts, line graphs and graphic visual pictures.
9. Finally, it is important to interpret the data you have received. Tie up your findings with your objectives. Highlight salient features. Mention whether your hypotheses or expectations have been substantiated by the data acquired and if they are not, say so.
Relevant Skills 1. Conduct a pastoral research project on any of the following: a) What are the TV habits of your parishioners/youth group? b) What do the parishioners think of the services rendered by the pastoral team? - What is the class stratification of our parishioners? c) How many people in your parish neighbourhood lack basic facilities? d) What do the parents of the students of your school think of the facilities offered at the school? References AMECEA and IMBISA. Basic Human Communication. Nairobi: Paulines Publications Africa, 2000.
Patten L. Mildred. Understanding Research Methods. California: Prczak Publishing, 2005.
Sharon K. Ferrett. USA: Peak Performance. McGraw Hill, 2003.255 Communicator for a Cyber-Age in Africa Aim • To learn basic research methodology in order to appropriately respond through pastoral initiatives.
Review 1. For service-oriented communication to be effective, a correct reading of the context and needs of the beneficiaries is necessary.
2. Data to be studied has to be empirically and objectively measurable by using appropriate research tools. This identification of a subject to be studied is the first step of research.
3. The next step of carrying out a research study is to determine an appropriate research design. There are two types of research designs: descriptive and explanatory.
4. The next step is sampling the people or events that will help in the collection of relevant data - the population understudy. The problem selected will determine which group of people to be studied. 5. Sampling can be of two types - probability sampling or non-probability sampling.
6. Various techniques can be used to collect the data: a) Observation b) Interviewing c) Questionnaires 7. The next step after sampling is data analysis. Qualitative Data can be systematized by classifications and Quantitative Data can be coded.
8. Having scrutinized and coded your data, the next step is to bring it together. One way to do this is to use computers with the help of an appropriate software package. The most important forms of data presentation are: tables, bar diagrams, pie charts, line graphs and graphic visual pictures.
9. Finally, it is important to interpret the data you have received. Tie up your findings with your objectives. Highlight salient features. Mention whether your hypotheses or expectations have been substantiated by the data acquired and if they are not, say so.
Relevant Skills 1. Conduct a pastoral research project on any of the following: a) What are the TV habits of your parishioners/youth group? b) What do the parishioners think of the services rendered by the pastoral team? - What is the class stratification of our parishioners? c) How many people in your parish neighbourhood lack basic facilities? d) What do the parents of the students of your school think of the facilities offered at the school? References AMECEA and IMBISA. Basic Human Communication. Nairobi: Paulines Publications Africa, 2000.
Patten L. Mildred. Understanding Research Methods. California: Prczak Publishing, 2005.
Sharon K. Ferrett. USA: Peak Performance. McGraw Hill, 2003.
CHAPTER 5.5 PARTiCiPAnT’S HAnDouT Fundamental Research Methodology COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke256 Communicator for a Cyber-Age in Africa Procedure Before the actual class, ask the participants to investigate the process of publishing from the writing of the book to the financial aspects of publishing.
Input The ideas that ultimately become books reach publishers in a number of ways. Sometimes they reach an acquisitions editor (the person charged with determining which books a publisher will publish). This means that ideas are mailed or phoned directly to the acquisitions editor by the author. Many of the larger and better publishers will not accept unsolicited ideas from aspiring writers unless they first secure the services of an agent, an intermediary between publisher and writer. Increasingly, acquisition editors are determining what books they think will do well and seeking out writers who can meet their needs. At some publishing houses, acquisition editors have the power to say yes or no to a book proposal based on their own judgment of the value and profitability of an idea. At many others, these editors must prepare a case for the projects they want to take on and have them reviewed and approved by a review or proposal committee. These committees typically include not only “book people” but marketing, financial, production, and administrative professionals who judge the merit of the idea from their own perspectives. Once the acquisitions editor says “Yes” or is given permission by the committee to do so, the author and the publisher sign a contract. After the contract is signed, an editor is assigned to assist the author in producing a quality manuscript. Some combination of the publisher’s marketing, promotions, and publicity departments plans the advertising campaign for the book. When available, review copies are sent to appropriate reviewers in other media. Book tours and signings are planned and scheduled. Copy for catalogues is written to aid sales people in their attempts to place the book in bookstores. All this effort is usually aimed at the first few months of a book’s release. The publisher will determine in this time if the book will succeed or fail with readers. If the book appears to be a success, additional printings will be ordered. If the book has generated little interest from buyers, no additional copies are printed. Bookstores will eventually return unsold copies to the publisher to be sold at great discount as remainders.
Background information The following is a look into what publishers today are looking for and the trends that surround them. Keeping them in mind will give you a guideline of what to write and how to publish your book. Generally, they will make you streetwise as regards publishing.
Trends and Convergence in Book Publishing The contemporary book industry is characterized by several important economic and structural factors. Among the most important are convergence, conglomeration, hyper-commercialism and demand for profits, the growth of small presses, restructuring of retailing, and changes in readership.
a) Convergence Convergence is altering almost all aspects of the book industry and its relationship Aim Materials Required [ To familiarize the participants with the process of publishing.
[ To enlighten the participants on the current trends and convergence in book publishing.
[ Pen and Paper.
5.6 Publication Skills257 Communicator for a Cyber-Age in Africa with its readers. Traditionally, books traveled the route from idea to publication, but the internet now offers an additional way for writers’ ideas to be published. Using this new technology, even the physical form of books is changing - many of today’s books are no longer composed of paper pages snug between two covers. In addition, the Internet is changing the way books are distributed and sold.
b) Conglomeration More than any other medium, the book industry was dominated by relatively small operations. Publishing houses were traditionally staffed by fewer than 20 people, the large majority by fewer than 10. Today, however, although more than 20,000 businesses call themselves book publishers, only 2,000 produce four or more titles a year. The industry is dominated now by a few giants: Hearst Books, the Penguin Group, Bantam Doubleday Dell, Time Warner Publishing, Farrar, Straus & Giroux, Harcourt General, HarperCollins, and Simon & Schuster. Each of these giants was once, sometimes with another name, an independent book publisher. All are now part of large national or international corporate conglomerates. These major publishers control more than 80% of all U.S. book sales (Schiffren, 1999).
c) Demand for Profits and Hypercommercialism The threat from conglomeration is seen in the parent company’s overemphasis on the bottom line-that is, profitability at all costs. Little pride is taken in the content of books and that risk-taking (tackling controversial issues, experimenting with new styles, finding and nurturing unknown authors) is becoming rarer and rarer.
d) Growth of Small Presses The over-commercialization of the book industry is mitigated somewhat by the rise in the number of smaller publishing houses. Although these smaller operations are large in number, they account for a very small proportion of books sold. They cannot compete in the blockbuster world.
Publication Skills in Magazine Publishing The masthead, or list of a magazine, usually appears near the table of contents in the first few pages of a magazine. The number and size of departments and types of positions vary with each publication; large consumer-magazine staffs may employ several hundred people, while small specialized business publications might have fewer than ten people. The positions and departments listed below are common for all sizes of magazine staffs 1. Publisher The publisher, to whom all staff members are ultimately responsible, may also be the magazine owner or editor. The publisher defines the personality of the publication and works to ensure its financial success. Some publication works to ensure its financial success. Some publishers with particularly forceful personalities and deep pocketbooks can breathe life into a publication or kill it with an easy blow. 2. Editorial Once the publisher has defined the magazine’s personality, the editor develops and shapes its identity. To successfully complete an editor’s mission, the managing editor, the articles editor, and department editors work together to give readers the information they want. Editors edit and proofread stories, approve design and graphics, accept freelance submissions, and contract with designers.
Most magazines rely solely or partially on freelance work for their articles. Freelancers or their agents (who take 15 percent of the writer’s fee in return for time spent selling the idea and the freelancer) send a query letter outlining and justifying a story idea and giving the writer’s background and qualifications for doing the story. If the editors like the idea, they commission the freelancers to write the story. Although it is hard initially to get an idea accepted, once a writer does acceptable work for an editorial staff, it is likely to accept the writer’s work a second time or even to commission stories. Nevertheless, even for regular writers, freelancing is rarely a road to financial success. Only a few magazine writers, manage to hit the big time in terms of money and prestige and most of them do another job on the side to supplement their income.
3. Advertising Advertising is often a magazine’s lifeblood and advertising departments are always seeking new advertisers. Advertising staffs may include only an advertising director and several salespeople. At larger magazines, divisional managers contribute specialized knowledge about readers and advertisers in specific geographic areas or about specific types of products.258 Communicator for a Cyber-Age in Africa 4. Design and Production The design department designs the actual paper product that readers hold. The production staff includes artistic experts, technological wizards, and people who buy supplies for production, such as ink and paper. Magazine production used to be tedious, complicated, long, and expensive, but computers have revolutionalised the process. Desktop publishing has saved magazines millions of dollars and cut production time.
5. Circulation The circulation staff or distribution company gets the magazine to the reader, through their subscriptions or newsstand sales. Each method has different costs and every stage of transport between publisher and newsstand takes a percentage of the copy price.
Soliciting subscriptions is one facet of circulation, and magazine managers have become adept at giving audiences special rates for weekly, monthly and yearly subscriptions.
Trends and innovations Today’s magazines are operating in a climate of massive change. The business climate and technological development indicate that magazines will continue to be geographically decentralized and to operate with smaller staffs and increasing contractual arrangements. Technological change is affecting how magazines address demographic change, as well as increasing the choices for distribution. Social change, intertwined with the growth of the aging population challenges magazine editors to provide new types of content. Increasingly, you, your friends and your families may not read the same magazines.
1. Demographics Changing lifestyles and an increasingly diversified population will make new demands on magazines. If magazines are to survive, publishers must learn how to satisfy new demands. Publishers need to concentrate on improving editorial content by offering selective sections geared to the specific needs and interests of readers. These sections add editorial and advertising value to a magazine. Selective binding techniques permit publishers to create customized editions of a single issue of a magazine. Advertising and information markets may further blend as more publishers join with companies to produce magazines for consumers of a particular product.
2. Economic and Social Change The adaptation of magazines to social and economic change has enabled them to continue to connect people and events.
3. Combined Technology offers more Choice Technology is driven, at least in part, by economic need. As publishers see the need for innovation in order to maintain profits, they finance the development of technology. At other times technological developments in fields other than publishing are tools to be adapted for innovation.
Computer publishing has greatly decreased the cost of producing magazines. But an even more costly area has been distribution.
4. international Markets Mailing costs and lack of access to lists of potential foreign consumers have slowed the growth of international circulations. However, there have been some success stories. Readers Digest is read in about 163 countries, Time produces about 34 foreign editions; Cosmopolitan which in 1994 was being read by 84 countries, became the first major women’s magazine published in the former Soviet Union. Many foreign magazines have an African edition now.
Review 1. The ideas that ultimately become books reach publishers in a number of ways. Sometimes they reach an acquisitions editor and others through an agent, an intermediary between publisher and writer.
2. Most publishers accept an offer to publish written material only after a board of committee members comprising marketing, financial, production, and administrative professionals agree. This board judge the merit of the idea from their various perspectives. 3. Once the acquisitions editor says “Yes” or is given permission by the committee to do so, the author and the publisher sign a contract. 259 Communicator for a Cyber-Age in Africa 4. As a student, you can also publish your own book either independently or with a group of your schoolmates. The challenge here however is that most independent publishers have a hard time raising the money for printing, marketing and distribution. 5. The contemporary book industry is characterized by several important economic and structural factors. Among the most important are convergence, conglomeration, hyper-commercialism and demand for profits, the growth of small presses, restructuring of retailing, and changes in readership.
6. Demographic changes force magazines to attract new audiences. Magazines must meet the needs of changing audiences and of advertisers.
7. Combined or converging technologies foster new methods of production and distribution. Magazine publishers increasingly are enhancing their products with CD-ROM delivery or add-ons, online magazines, and fax sections Reflection Traditionally, books traveled the route from idea to publication, but the Internet now offers an additional way for writers’ ideas to be published. Using this new technology, even the physical form of books is changing. Most of today’s books are no longer composed of paper pages snug between two covers. In addition, the Internet is changing the way books are distributed and sold.
Relevant Skills 1. Keeping in mind the skills in writing, editing and desktop publishing, reflect on ways you can publish your own book either independently or with a group of your schoolmates.
2. List the foreign magazines that have local editions in your country/region. References Baran, J. Stanley. Introduction to Mass Communication. USA: McGraw- Hill Higher Education, 2002.
Levin Mark. Journalism A Handbook for Journalists. USA: National Textbook Company, 1999.260 Communicator for a Cyber-Age in Africa Aim • To familiarize yourself with the process of publishing.
• To enlighten you on the current trends and convergence in book publishing.
Procedure Before the actual class, ask the participants to investigate the process of publishing from the writing of the book to the financial aspects of publishing.
Review 1. The ideas that ultimately become books reach publishers in a number of ways. Sometimes they reach an acquisitions editor and others through an agent, an intermediary between publisher and writer.
2. Most publishers accept an offer to publish written material only after a board of committee members comprising marketing, financial, production, and administrative professionals agree. This board judge the merit of the idea from their various perspectives. 3. Once the acquisitions editor says “Yes” or is given permission by the committee to do so, the author and the publisher sign a contract. 4. As a student, you can also publish your own book either independently or with a group of your schoolmates. The challenge here however is that most independent publishers have a hard time raising the money for printing, marketing and distribution. 5. The contemporary book industry is characterized by several important economic and structural factors. Among the most important are convergence, conglomeration, hyper-commercialism and demand for profits, the growth of small presses, restructuring of retailing, and changes in readership.
Reflection Traditionally, books traveled the route from idea to publication, but the Internet now offers an additional way for writers’ ideas to be published. Using this new technology, even the physical form of books is changing. Most of today’s books are no longer composed of paper pages snug between two covers. In addition, the Internet is changing the way books are distributed and sold.
Relevant Skills 1. Keeping in mind the skills in writing, editing and desktop publishing, reflect on ways you can publish your own book either independently or with a group of your schoolmates. 2. List the foreign magazines that have local editions in your country/region. References Baran, J. Stanley. Introduction to Mass Communication. USA: McGraw- Hill Higher Education, 2002.
Levin Mark. Journalism A Handbook for Journalists. USA: National Textbook Company, 1999.
CHAPTER 5.6 PARTiCiPAnT’S HAnDouT Publication Skills COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke261 Communicator for a Cyber-Age in Africa Procedure: Let the participants identify major ways in which the church is an instrument of caring for the society. Or Invite the participants to recall from memory the instances when Christ expressed caring by touch.
Input One of Paul’s earliest admonitions to Christians was that they have genuine reverence for one another. (1Cor. 12:24-25) It was Paul’s conviction that Christians are members of the body of Christ in much the same way physical parts are related to the entire body. Caring for others (as Christians), in the deepest sense demands involvement and commitment. It is an affective movement towards another that is both honest and relevant. To care is to feel. Caring in a biblical sense, whether expressed by a quiet concern or a gentle reaching, never leave us unmoved. It evokes the full range of emotions, some pleasant, some unpleasant and others even agonizing. For Jesus, caring for 72 who came back after a mission brought excitement and the taste of success, caring for multitudes, the sheep without shepherds...brought weariness and often sadness, caring for Mary Magdalena brought criticism and gossip about his judgment. Caring for Nicodemus brought frustration.
Caring In the first letter to the Thessalonians, caring is preferred to a mother providing for her children. (1 Thes 2: 7-8) The Greek homeiromai means to have affectionate desire for someone “to love so much.” Feeling affection for another and wanting to provide care for that person often go together in relationships. This must be distinguished from merimnao, which is a kind of anxiety as in Lk 10:41 when Jesus rebukes Martha.
Paul’s Affection Paul naturally felt pride and administration towards the community of Christians in Thessalonica for their commitment under difficult circumstances including remaining faithful to Christian teaching during persecution. His letter to them is filled with unstrained expression of affection and caring (Thes 2:17-18).
Paul not only felt care and concern for the communities himself, but he also rejoiced when he saw evidence of caring among his brothers and sisters. (2 Cor 8: 16 -17) Luke’s Description of Caring Luke like Paul was particularly concerned about the manner in which Christians provided care for those in the community. He identified the true follower of Jesus as a caring person, as one who took risks and incurred cost in attending to others. (Lk. 10:33-34) The Samaritan in Luke’s story was moved with compassion. The Greek splagchnizomai implies powerful movements from within that wells up with energy. It really means to “churn from the bowels.” The Samaritan in the story was overcomed with powerful feelings of pity for the beaten man to extend care. Christian caring comes from the feelings. The compassion/pity in the biblical understanding goes beyond feeling to action that brings about positive result in the doer of the action and the one(s) who benefit from the action.
Aim Materials Required [ To understand the significance of caring.
[ To understand the biblical perspective of caring.
[ To explore ways of practicing caring in society.
[ Pen and Paper.
5.7 Caring as an Expression of Christian Communication262 Communicator for a Cyber-Age in Africa Luke identifies the call to care for others as having its beginning in Yahweh’s care for the Israelites. Even though the people are wicked and unfaithful, God never abandons them (Acts. 13:18).
Jesus’ Compassion The early Christians found a model for human caring in Jesus. Jesus extended his care to people, and in particular to the oppressed who had no one to look after them. His care was so pervasive, so much a part of his total personality, that it touched all creation (Jn 16:14-15), (Mt 6:28-30). For Jesus, caring for others was more important than the Sabbath observance. He went about doing good and healing (Acts 10:38). He had compassion on them and healed the sick (Mt 14:14), my son your sins are forgiven (MT 2:5 ), Take heart...your sins are forgiven (Mt 9:2 ).
The involvement of Jesus with people and the expansiveness of his connectedness with them stayed in the minds of the disciples. The images of Christ as the shepherd, the healer and the master who washes his disciples’ feet were powerful examples of caring.
Human Caring According to Gerald Egan “The Skilled Helper”, human relations experts often identify the ability to care for others as an important dimension of psychological health. Caring for others means seeing their worth and letting them matter in our life. To care for someone suggests that we have a particular way of seeing that person, an inner attitude that is basically for that individual. Human caring is expressed in a variety of ways depending on characteristics of the relationship. They include: a) supportive feedback.
b) Presence and behavioral gestures that communicate receptivity.
c) Warmth.
d) Regard for others’ self-determination.
e) Physical touch used frequently in the gospel stories for caring often expressed the concern associated with genuine care. Today the word care refers usually to two broad categories of response: Caring in order to be helpful and Caring in the sense of being involved in intimacy.
Avoiding Extremes There is a fine between caring and controlling. A truly caring person has discovered the middle grounds of genuine caring amid its extremes of coldness and control. Some individuals carry concern for others to such an extreme that they appear more doting than caring (pseudo-caring). Pseudo-caring tends to be more common in women, and in particularly housewives who have learnt that their primary role is to care for others.
Genuine caring does not overwhelm people. It is attuned to the response of the person being cared for in a situation. It does not rush in to do for others what they can do for themselves.
People who cannot care for others are often those who have not experienced being cared for in their own personal life.
Review Caring for others (as Christians) in the deepest sense demands involvement and commitment. It is an affective movement towards another that is both honest and relevant. To care is to feel. Caring in a biblical sense whether expressed by a quiet concern, a gentle reaching, never leaves us unmoved. It evokes the full range of emotions, some pleasant, some unpleasant and some even agonizing. Luke like Paul was particularly concerned about the manner in which Christians provided care for those in the community. Luke identifies the call to care for others as having its beginning in Yahweh’s care of the Israelites. Even though the people are wicked and unfaithful, God never abandons them (Acts. 13:18).
The early Christians found a model for human caring in Jesus. Jesus extended his care to people, and in particular to the oppressed who had no one to look after them. Caring for others means seeing their worth and letting them matter in our life. To care for someone suggests that we have a particular way of seeing that person, an inner attitude that is basically for that individual.
According to Gerald Egan “The Skilled Helper”, Human relations experts often identify the ability to care for others as an important dimension of psychological health. People who cannot care for others are often those who have not experienced being cared for in their own personal life.263 Communicator for a Cyber-Age in Africa Reflection Caring for others means seeing their worth and letting them matter in our life. Write one page reflection on this.
Relevant Skills Compare the gospels: Lk 13 and Jn 4 on Jesus’ care for the two women. Identify persons in similar situations in the community/society around you. What kind of care can you offer them? References Ferder, Fran. Word Made Flesh: Scripture, Psychology and Human Communication. Notre Dame: Ave Maria Press, 1986.
Gerard Egan. The Skilled Helper. CA: Wadsworth Inc., 1982.264 Communicator for a Cyber-Age in Africa Aim • To understand the significance of caring.
• To learn to understand the biblical perspective of caring.
• To explore ways of practicing care in society.
Procedure: Identify major ways in which the church is an instrument of caring for the society. Recall from memory the instances when Christ expressed caring by touch.
Review Caring for others (as Christians) in the deepest sense demands involvement and commitment. It is an affective movement towards another that is both honest and relevant. To care is to feel. Caring in a biblical sense whether expressed by a quiet concern, a gentle reaching, never leaves us unmoved. It evokes the full range of emotions, some pleasant, some unpleasant and some even agonizing. Luke like Paul was particularly concerned about the manner in which Christians provided care for those in the community. Luke identifies the call to care for others as having its beginning in Yahweh’s care of the Israelites. Even though the people are wicked and unfaithful, God never abandons them (Acts. 13:18).
The early Christians found a model for human caring in Jesus. Jesus extended his care to people, and in particular to the oppressed who had no one to look after them. Caring for others means seeing their worth and letting them have concern in our life. To care for someone suggests that we have a particular way of seeing that person, an inner attitude that is basically for that individual.
According to Gerald Egan “The Skilled Helper”, Human relations experts often identify the ability to care for others as an important dimension of psychological health. People who cannot care for others are often those who have not experienced being cared for in their own personal life.
Reflection Caring for others means seeing their worth and letting them matter in our life. Write one page reflection on this.
Relevant Skills Compare the gospels: Lk 13 and Jn 4 on Jesus’ care for the two women. Identify persons in similar situations in the community/society around you. What kind of care can you offer them? References Ferder, Fran. Word Made Flesh: Scripture, Psychology and Human Communication. Notre Dame: Ave Maria Press, 1986.
Gerard Egan. The Skilled Helper. CA: Wadsworth Inc., 1982.
CHAPTER 5.7 PARTiCiPAnT’S HAnDouT Caring as an Expression of Christian Communication COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke265 Communicator for a Cyber-Age in Africa Procedure: Divide the participants into groups and give them a parable each to mime (act out without use of words). Discuss what significant messages were lost since words were not used.
Input “If you make my word your home you will indeed be my disciples, you will learn the truth and the truth will set you free.” (Jn 8:31-32) a) Receptivity to the word The insecure, the frightened, the hostile, the self righteous all have difficulty with receptivity to words that do not match their needs. When emotions are volatile and expectations are threatened, words cannot be heard as they are intended. Jesus appeared to understand the important influence of receptivity. He is not seen to force his words to anyone. “If your wish to be perfect...” (Mt 19:21- 22), “...what about you, do you want to go away too?” (Jn 6:67) Jesus respects people’s freedom to accept or reject his vision. He does not want his words to induce false loyalty.
b) Words that get through In the Gospel, Jesus is presented as a person who took particular care to speak in a manner that would be understood by his contemporaries if they had “ears to hear”. He does not want to pressure his hearers but he does want to get his message through. He wants his word to reach people’s hearts and make a difference.
When his words baffle the sincere, he willingly re-explains his message, further clarifying what his disciples do not yet understand (Lk 24:44, 45). Jesus uses words symbols, metaphors that are familiar to those he is addressing -shepherds and fishermen.
Contemporary psychological research shows that people who demonstrate verbal flexibility and are sensitive to people’s environment are highly effective communicators.
c) Words from the heart Jesus, whether at prayer or with people speaks words that are congruent with his heart.
Words have power, good or bad. The manner in which people use that power says something about the state of their souls before God. Jesus has a harsh message for those who abuse the gift of verbal speech. (Mt 12: 34-37) d) Say but the word The word of Jesus was remembered by later Christians as having tremendous power (Mt 8: 8,13). Jesus wanted radical commitment and total change from his disciples after hearing his words. “My brothers and sisters are those who listen to the word and put it into practice.” (Lk 8:20-21) The things Jesus did and said were signs that he had a certain obvious meaning as well as a deeper meaning that the disciples would understand later (Jn 2:21-22). Our understanding is progressive. It begins with simple hearing. It is transformed with life experience and culminates in discovering the deeper word of our lives.
Aim Materials Required [ To understand the significance of words.
[ To understand the biblical perspective of the spoken word.
[ To explore ways of effectively using words in communication.
[ Pen and Paper.
[ A Bible.
5.8 Words in Relationships266 Communicator for a Cyber-Age in Africa e) My word is not my own “And my word is not my own: it is the word of the one who sent me.” (Jn 14:24). Jesus used words as words should be used not to describe data, but to break through the surface to the real truth of human life.
We should not use words to confuse, impress, deceive or attack but to break through; to break through secretive, hidden ways to openness, and to break through silence to conversion. We are to use words as Jesus did; to heal and to liberate, and to give honest expression to the word of God within us.
f) The communicative functions of words Studies show that the step from awareness of feelings to an appropriate verbal expression often fails because of lack of verbal clarity. Whenever we have expressions of others that we do not say directly, we set ourselves up for disappointment. When we use silence, or some other forms of wordless behavior to communicate for us, we find ourselves increasingly alienated from those in our environment. Whenever our words are spoken without thought of another person’s readiness to hear them, we will be experienced as cold and uncaring g) Speaking in the light Behavioral sciences have identified “verbal clarity” as one of major skills needed for effective communication Verbal clarity, sometimes called concreteness involves the ability to speak in a manner that is straight forward and uncomplicated. It implies a style of speaking that is open, honest, and congruent with inner beliefs and real feelings. Verbal clarity enables others to understand what we are saying and to make sense of our own message, unless their own hearing is fogged with an agenda incompatible with good listening.
The skill of verbal clarity presupposes good self-knowledge. In order to be clear to others we must be clear to ourselves. Through a process of reflection, we must clarify our true feelings, our honest expectation our inner message.
h) obstacles to verbal clarity Vague speech: It occurs when we talk without ever coming to the point of our message. This usually happens because we haven’t sufficiently clarified for ourselves what it is that we feel, think, or want to communicate. Sometimes we are deliberately vague in an attempt to deceive someone.
Hesitant speech: This often plagues those who are shy or unassertive or fearful of being rejected. Words that are watered down, tentative, hesitant, too slow... may cause others to avoid taking us seriously.
Double message: It is usually spoken when the one speaking is in conflict with something that he doesn’t want to admit especially to others. Usually one of the messages express what we really want or mean and the other one is a cover spoken because we think it is what people want to hear. A good way to distinguish a real message from the cover is to listen to ourselves when we are speaking to the people with whom we feel safe with.
What do we say behind the doors after the meeting is over? Does it differ from what we said in public? If yes then we are not operating in the light of ushering the kingdom of God. Double messages put people in a no win situation. It can be avoided by being honest about our true wants, needs, thoughts and feelings.
i) Symbols without words Symbols point to a deep reality that words cannot fully express. Symbols need words to make the connection between themselves and that which they symbolize. Communication symbols such as gifts, facial expressions, body movements and gestures need words to make their meaning clear. We need clear and well timed words to give meaning to even our most treasured symbols. j) Verbal clarity a skill that needs compassion Verbal clarity takes the haziness out of our message as we struggle to make that message clear to one another. Verbal clarity without listening can be inappropriate and can lead us to saying things that are out of place. Verbal clarity without feeling can be blunt and cruel, far removed from the verbal style of Jesus.
In order to serve the Christian function of communication, verbal clarity must be as reflective as it is expressive, as gentle as it is honest and as attentive to others as it is to its own message.267 Communicator for a Cyber-Age in Africa k) in service of the word As Christians we have a commitment to the word, the word that is Jesus. We have a commandment to the way of life that his words articulate (Acts 6:3-4). “...We will continue to devote ourselves to prayer and to the service of the word.” For them service of the word meant preaching and proclaiming Jesus to all who would listen. But before the word could be preached it had to be lived, it had to become flesh in the life of the preacher. It is only when words become flesh, real and warm embodiments of our inner being that they can communicate something. Through the strength of our words, others will come to faith. Through the integrity of our words, others will come to trust and through the compassion of our words, others will come to healing.
Review Jesus, whether at prayer or with people, speaks words that are congruent with his heart. Words have power, good or bad. The manner in which people use that power says something about the state of their souls before God. Our understanding is progressive. It begins with simple hearing. It is transformed with life experience and culminates in discovering the deeper word of our lives. We are to use words as Jesus did. To heal and to liberate, and to give honest expression to the word of God within us. Behavioral sciences have identified “verbal clarity” as one of the major skills needed for effective communication. Verbal clarity, sometimes called concreteness involves the ability to speak in a manner that is straight forward and uncomplicated. Obstacles to verbal clarity are: Vague speech, Hesitant speech and Double message. Symbols need words to make the connection between themselves and that which they symbolize. Through the strength of our words, others will come to faith. Through the integrity of our words, others will come to trust and through the compassion of our words, others will come to healing.
Reflection ‘When we use silence, or some other forms of wordless behavior, to communicate for us, we find ourselves increasingly alienated from those in our environment.’ Write one page reflection on this Relevant Skills Spend half a day in total silence. Write down the insights from this experience.
References Ferder, Fran. Word Made Flesh: Scripture, Psychology and Human Communication. Notre Dame: Ave Maria Press, 1986.268 Communicator for a Cyber-Age in Africa Aim • To understand the significance of words • To understand the biblical perspective of the spoken word • To explore ways of effectively using words in communication Procedure: Mime a parable from the Gospels (act out without use of words). Discuss what significant messages were lost since words were not used.
Review Jesus, whether at prayer or with people, speaks words that are congruent with his heart. Words have power, good or bad. The manner in which people use that power says something about the state of their souls before God. Our understanding is progressive. It begins with simple hearing. It is transformed with life experience and culminates in discovering the deeper word of our lives. We are to use words as Jesus did. To heal and to liberate, and to give honest expression to the word of God within us. Behavioral sciences have identified “verbal clarity” as one of the major skills needed for effective communication. Verbal clarity, sometimes called concreteness involves the ability to speak in a manner that is straight forward and uncomplicated. Obstacles to verbal clarity are: Vague speech, Hesitant speech and Double message. Symbols need words to make the connection between themselves and that which they symbolize. Through the strength of our words, others will come to faith. Through the integrity of our words, others will come to trust and through the compassion of our words, others will come to healing.
Reflection ‘When we use silence, or some other forms of wordless behavior, to communicate for us, we find ourselves increasingly alienated from those in our environment.’ Write one page reflection on this Relevant Skills Spend half a day in total silence. Write down the insights from this experience.
References Ferder, Fran. Word Made Flesh: Scripture, Psychology and Human Communication. Notre Dame: Ave Maria Press, 1986.
CHAPTER 5.8 PARTiCiPAnT’S HAnDouT Words in Relationships COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke269 Communicator for a Cyber-Age in Africa Procedure: Invite the participants to list names of three teachers from their primary or secondary school who have influenced them and describe the reasons for these teachers’ influential roles in their lives.
Input a) Education has two important goals The first goal of education is to provide students with the knowledge they need to function well in society. The second, and equally important goal is to help young people develop good character. In other words, help them become good and honest citizens.
Intelligence is not enough. Intelligence plus character – that is the goal of true education. Martin Luther King, Jr. - Solid research proves that schools with an effective character education program promote higher academic standards. The reason is simple: an environment of mutual respect results in a better place for teachers to teach and a better place for students to learn. - Even if you don’t teach in a school with a character education program, there are several things you can do to promote good behavior and high academic standards. b) All great teachers share a special quality The quality is enthusiasm. There are other names for it: passion, excitement, eagerness, gusto, fervor, zeal, zest, and a few others, including love or loving kindness. In other words, great teachers love what they’re doing. Think back on all your favorite teachers from primary school through secondary school. They may have taught different subjects and had different personalities, but they were effective because they had a passion for what they did. Enthusiasm is contagious. The word ENTHUSIASM can be explained better in this way: Energetic – Teaching is a high-energy job. The lifeless need not apply. The students we teach have energy to spare. We need to be able to keep up with them.
Not boring – These are students’ three most common complaints about teachers: 1 - “He has no control over the class,” 2 – “I’m not learning anything,” and 3 – “He’s so boring.” It’s impossible to be boring when you’re excited about what you’re doing.
Tough – Teachers need to be tough in a couple of ways. Teaching is not a job for weaklings. You have to be tough physically and mentally because it’s a demanding profession. There are also times when you have to be tough on students. Not mean, but tough. We need to hold them accountable, and they need to know we will. High standards – Good teachers maintain high standards in both behaviour and academic performance. It’s important to put those standards in writing, to let students and their parents know what’s expected, and to be consistent in following through. Understanding – By knowing what’s going on in students’ lives, their background, cultural values, family etc, you will have empathy for them. It’s important for Aim Materials Required [ To build relationship skills for school/class-room management.
[ To get to know management principles that help in student- teacher relationships.
[ To understand the useful insights of Neuro Linguistic Programming (NLP) for teaching.
[ Pen and Paper.
5.9 Class Room/School Management270 Communicator for a Cyber-Age in Africa teachers to remember their own days as students. What was it like on a bad day? When were you distracted? What got you fired up? Sense of humor – People of all ages love to laugh, and students laugh about ten times more than the average adult. Someone once said that laughter is the shortest distance between two people. Never miss an opportunity to laugh with students and at yourself. Add to this the insistence of Don Bosco on family spirit.
Imagination – Even Einstein said imagination was more important than intellect. This is especially true of teachers because teaching is an art. It requires a certain degree of creativity. Always look for new ways of presenting things in the classroom.
Always prepared – The most time-consuming aspect of teaching is preparation. Enter the class room always well prepared.
Story-teller – “If you want to make a point with the students, put it into a story. They’ll listen to a good story. They’ll tune out a lecture.” There’s nothing like a good story to get your point across. Remember story telling is an African special trait.
Motivated – “Real motivation comes from within.” They keep a fire burning inside rather than wait for someone else to light one for them. c) Parents can be powerful partners Parents will always be the first, and in most cases the most important teachers their children will ever have. When they send their children to a school, whether private or public, they’re essentially saying to us, “Please help us continue the process of educating our children.” - Find out ways to get connected to the parents: sending out your expectations, invitation to open-day discussions, school concerts, asking for their ward’s evaluation, back-to-school encounter with parents etc.
- Incase you are working with children that have no parents, getting connected with a family member is very important.
d) A good education starts at the door If you can reach ‘em, you can teach ‘em. Children don’t care how much you know until they know how much you care.
- Because education is a personal process, the better the connection between the teacher and the student, the better the chance of learning taking place. “BE THERE” before the students arrive. Put preventive system to good use. Greet the students pleasantly, if possible individually. - Make eye contact with your students, smile and choose a form of greeting that the students prefer. e) What you permit you promote Teach manners and the Golden Rule on the first day of school. “What you accept, you teach.” “What you permit, you promote.” In other words, if a student in your class says something rude and mean-spirited, and you don’t deal with it, you’ve taught that student and his or her classmates essentially two things: 1 – “What you just did is acceptable behavior in my classroom,” and 2 – “It’s OK for the rest of you to behave the same way.” What you accept, you teach.
f) Words can poison, words can nourish ‘We live in an ocean of words, but like a fish in water we are often not aware of it.’ Stuart Chase Identify with the help of the students, the words and phrases that convey the meaning ‘toxic’ or ‘poisonous’. List words and phrases that they want to hear in class because they are nourishing and encouraging. Make contracts to use the latter set of words. g) Always start with something positive Don Bosco introduced the custom of giving a good thought at the end of the day which is practice started by Mama Margaret. Begin the day with some positive thoughts, narrating a blessing or something for which you are thankful for. Encourage ‘celebrating each day.’ h) Teachers and students need a mission of their own A Mission Statement is a concise statement of purpose that the teachers and students have worked on together, and it must be posted in a prominent place and if possible in every room to help teachers and students stay focused on 271 Communicator for a Cyber-Age in Africa their mission. You can check on the Educational Pastoral Plan of the community to find out the mission statement. Added to the mission statement of the institution, draw up your personal mission statement and help each of your students to do the same. The ‘River Mee’ video produced by BEAMS in Nairobi is a good tool to help develop the mission statement.
THE DIFFERENCE A TEACHER CAN MAKE I have come to a frightening conclusion that I am the decisive element in the classroom. It’s my personal approach that creates the climate. It’s my daily mood that makes the weather. As a teacher, I possess a tremendous power to make a child’s life miserable or joyous. I can be a tool of torture or an instrument of inspiration. – Haim Ginott i) Visible reminders can work wonders The world does not require so much to be informed as to be reminded. – Hannah More The practice of putting up visible reminders comes to us from Don Bosco himeself, who put up the sign, ‘God sees you’ at the oratory. Apart from the mission statement, post other powerful statements and quotations on the walls of the class room and corridors.
Here are some valuable reminders: NO ONE EVER WENT WRONG BY BEING POLITE NO PUT-DOWNS – COMPLIMENTS SPOKEN HERE NO DISCOUNTS – EVERYONE COUNTS (a discount is ignoring someone) CELEBRATE TODAY! OBLIGATION OR OPPORTUNITY? DARE TO BE DIFFERENT AVOID THE PLAGUE ‘AVERAGE IS GOOD ENOUGH’ j) Students honour the rules when they own the rules Students want clearly defined guidelines and the assurance that the teacher has control of the class without being mean. When they write those guidelines themselves, they take them more seriously. They play a big part in helping you create a nourishing environment, a caring community. k) Routines “Look to make your course regular, that men may know beforehand what they may expect.” Francis Bacon Staffrooms resonate with pleas of “What do I do with this student?” “How do I get them quiet?” “What do I do when they ignore me?” “How do I get them to sit properly?” The reason so many teachers feel they have no control is because they are concerned with sorting problems out after the event has happened – they are operating from a ‘reactive’ point of view, effectively waiting for problems to occur and then reacting to them with the best course of action they can think of at that particular moment. When thoughts and judgments are clouded with frustration and stress, our best course of action isn’t always the best – just like the out-of-control aircraft, things can become traumatic and messy.
When teachers focus on PREVENTING problems instead of reacting to them, school life becomes much easier. Routines are one of the best preventive tools you can use. Routines lay down your broad rules into specific step-by- step plans and make them applicable to an almost unlimited range of activities and situations. They make classrooms run smoothly, allow activities and tasks to be accomplished efficiently and eliminate the problems normally associated with transition times and other hotspots. And students LIKE routines too – simply because they make it easy for them to succeed in school by showing them exactly how to do things right. The classroom will run smoothly and your job will be much easier when pupils know exactly what to do and how to do it.
Give them a destination, a map and a clear set of directions and there is more chance of them getting where they are supposed to be. Routines teach the behaviour you want to see in your students, it gives them tracks to walk in and a map to follow. And because this map is repeated over and over again and doesn’t change, it creates total consistency for both teacher and pupil. Routines are the most effective, time-saving device any teacher can use.
l) Gestures – The Secret of Rapport Most people aren’t aware of their own gestures, let alone anyone else’s. Gestures are communications direct from the person’s unconscious mind. So if you decide to start acknowledging gestures, you are communicating with someone’s unconscious. There are three main ways to interact with a person’s gestures: a) The first is mirroring: Once you notice a person’s gestures, feed some of them back to the person. When you refer to something they’ve said, use their gesture as well. Rapport has been described as getting the attention of a person’s unconscious mind. When you mirror their gestures back to them, a person’s unconscious mind knows you’ve noticed it. You don’t even have to mirror the gesture in full! For instance, if a person moves their hand in circles as they describe going round & round, you could move your index finger in circles to mirror it.272 Communicator for a Cyber-Age in Africa b) The second approach is to utilize gestures by “referencing.” For instance, if someone were to say “I know there’s a job I’d love to do but I don’t know what it is” and held their hand up at eye level as they said it, you can subtly point to the space where their hand was whenever you refer to it (Eg. “So this job, you don’t know it yet you are curious to find out what it is.”) Like mirroring, this sends a covert message to the person that you understand what’s going on (perhaps even better than the person’s conscious mind does.) c) The third way is by impacting ‘full contact’. Analyze the gestures to capture blocks or walls the person may be projecting. You will have to ‘decode’ both the words and gestures. If someone were to tell you, “I have the will to succeed, but something is bothering me still,” and holds her hands like a fence in front of her body. You could reply by telling her to move in a new direction (show with your hands that direction) or say put aside those fears/ limiting thoughts etc (show the action of pulling down the fence). m) use Your Peripheral Vision John Grinder (co-developer of NLP) once said that he’d identified three main obstacles to mastery of any skill: - over-reliance on focal vision - internal dialogue - a feeling of hesitation By finding ways to overcome or eliminate obstacles, you can really increase your abilities. One of the quickest and most effective ways to get results fast, is by looking at peripheral vision.
Peripheral vision opens up to either side of you, both above and below. Among other things, peripheral vision is good for detecting movement, and you can think of it as being connected to your unconscious. When you use peripheral vision while on a one to one situation, you will get more information about the person, information that you may not have been able to access in the past, such as breathing rate, gestures, blink rate and all the other things that can be useful (e.g. if you want to match or mirror them to build rapport.) It also allows your unconscious to get in on the act, and for you to start to get more information about the other person and what’s going on in them.
If you work with groups of people, peripheral vision allows you to notice what’s going on for all the people you are not looking directly at. This means that you can be looking at one person but noticing the signals, gestures and expressions being made by the people who think you can’t see them. This is a very useful skill in a class room.
n) You have to give in inorder to receive “You get out of life what you put in”. As a teacher you will find this adage, the hinge on which the door of your success swings. If you deliver boring lessons your students will respond with boredom and apathy and the behaviours that such feelings tend to cause. If you lose your temper with a pupil, there is a good chance that they will become angry and retaliate. If you treat pupils as if you dislike them - by ignoring them, belittling them and shouting at them - they will act as if they dislike you too - by ignoring your requests, by rudely disrupting your lessons or by shouting at you.
Oddly enough, the opposite is often true. If you show them you value them and care about them they will respond with that too, as someone who feels valued and cared for rather than as someone who feels the world is against them. If you give them fun in your lessons they will be less inclined to seek fun in inappropriate ways. If you are consistent there is less likelihood you will be the cause of needless outbursts from pupils who feel you are being unfair. If you treat them with respect and talk to them politely you are acting as a positive role model and stand a chance of positively influencing their behaviour. If you maintain an even temper and remain calm in difficult situations there is less chance that problems will escalate.
If you focus on the positive, reward successes and constantly look out for pupils doing the ‘right thing’, there is more chance they will repeat their behaviour. Swing your mental attitude on its tail and make it land on the principle, “Let me ‘catch’ my pupils doing RIGHT rather than wrong.” This one attitude is going to turn your teaching experience into an unforgettable era both for you and your students.
In short, whatever you want to see in your pupils, you will stand more chance of witnessing it if you first give it to them.273 Communicator for a Cyber-Age in Africa o) The Teacher-Pupil Relationship.
This is one true key to successful behaviour management. It doesn’t matter how many effective teaching skills and useful behaviour strategies you have in your arsenal; without this, your efforts will eventually come unstuck. When you really get to know a pupil you become aware of their triggers – the things that upset them and cause all sorts of problems in class and when you’re dealing with children who carry all kinds of emotional baggage and flare up for no apparent reason, this is valuable knowledge. When you take the time to get to know a pupil, you find out what they enjoy, what they like doing and what their interests are. With this information you have the power to make all your lessons instantly appealing and your conversations with them stimulating. When you reach out and get to know a child in school, you show them they’re valued as people. Once they learn this, their ability to take an active role in other positive relationships is improved; they fit in better and so are less likely to get into serious trouble and less likely to spoil your lessons. Also, when you show them that you’re actually interested in them as individuals, they will respect and trust you. Pupils will behave much better during lessons and towards others in the presence of a teacher they trust and respect. Once you get to know them, anything really is possible; doors are opened to a whole new world of communication, cooperation, fun and mutual respect. One valuable technique is ‘Record Card’ in which you put down the interests of each student, hobbies, books he/she likes, passions, interests, dislikes etc. These tidbits gradually build up and form a library of useful information which can be drawn on to deepen the relationship during the next meeting. Your ‘word in the ear’ will become a relevant point of connection with the person of the student.
Review 1. Education has two important goals. - provide students with the knowledge they need to function well in society.
- help young people develop good characters.
2. All great teachers share a special quality – ENTHUSIASM. 3. Parents will always be the first, and in most cases the most important teachers their children will ever have.
4. Because education is a personal process, the better the connection between the teacher and the student, the better the chance of learning taking place.
5. What you permit as a teacher, you promote. What you accept, you teach.
6. Words can poison, but words can also nourish.
7. Always start with something positive.
8. A Mission Statement is a concise statement of purpose that the teachers and students have worked on together, and it must be posted in a prominent place and if possible in every room to help teachers and students stay focused on their mission. 9. Teachers and students need a mission of their own. 10. The world does not require so much to be informed as to be reminded. – Hannah More 11. Students honour the rules when they own the rules. 12. “Look to make your course regular, that men may know beforehand what to expect.” Francis Bacon 13. Mimicking gestures is the Secret of Rapport 14. Use Your Peripheral Vision to better develop rapport with your students.
15. In teaching, you have to give in order to receive. 16. Getting to know your pupils, showing them that you value them enhances their ability to take an active role in other positive relationships; they fit in better and so are less likely to get into serious trouble and less likely to spoil lessons.
Reflection “It is not enough for you to love the pupils, they must realize that you love them.” Don Bosco.
Relevant Skills Watch the movie: Freedom Writers and list the principles in this chapter that were put into practice by Ms.G.
Reference Harry Alder and Beryl Heather. NLP in 21 Days. Piatkus, 1999.274 Communicator for a Cyber-Age in Africa Aim • To build relationship skills for school/class-room management.
• To get to know management principles that help in student-teacher relationships.
• To understand the useful insights of Neuro Linguistic Programming (NLP) for teaching. Procedure: List names of three teachers from their primary or secondary school who have influenced them and describe the reasons for these teachers’ influential roles in your lives.
Review 1. Education has two important goals. - provide students with the knowledge they need to function well in society.
- help young people develop good characters.
2. All great teachers share a special quality – ENTHUSIASM. 3. Parents will always be the first, and in most cases the most important teachers their children will ever have.
4. Because education is a personal process, the better the connection between the teacher and the student, the better the chance of learning taking place.
5. What you permit as a teacher, you promote. What you accept, you teach.
6. Words can poison, but words can also nourish.
7. Always start with something positive.
8. A Mission Statement is a concise statement of purpose that the teachers and students have worked on together, and it must be posted in a prominent place and if possible in every room to help teachers and students stay focused on their mission. 9. Teachers and students need a mission of their own. 10. The world does not require so much to be informed as to be reminded. – Hannah More 11. Students honour the rules when they own the rules. 12. “Look to make your course regular, that men may know beforehand what to expect.” Francis Bacon 13. Mimicking gestures is the Secret of Rapport 14. Use Your Peripheral Vision to better develop rapport with your students.
15. In teaching, you have to give in order to receive. 16. Getting to know your pupils, showing them that you value them enhances their ability to take an active role in other positive relationships; they fit in better and so are less likely to get into serious trouble and less likely to spoil lessons.
Reflection “It is not enough for you to love the pupils, they must realize that you love them.” Don Bosco.
Relevant Skills Watch the movie: Freedom Writers and list the principles in this chapter that were put into practice by Ms.G.
Reference Harry Alder and Beryl Heather. NLP in 21 Days. Piatkus, 1999.
CHAPTER 5.9 PARTiCiPAnT’S HAnDouT Class Room/School Management COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke275 Communicator for a Cyber-Age in Africa Procedure Ask the participants to talk about one movie made in Africa that they liked.
Input There are no short cut to learning any language: one has got to know the grammar of that language; to know the basic rules for the construction of sentences, to describe oneself as having some degree of proficiency in that language. It takes learning and study to acquire language proficiency. The general rule of grammar for a beginner is to move from the simple/basic to the complex and compound. One can make complex sentences with ease only after some experience in using the language. The term “film grammar” is to be understood metaphorically since the elements of film grammar do not correspond in a one to one relation with that of linguistics. For instance, the smallest unit of communication is the frame/shot; which cannot be matched exactly with the smallest unit in a language, a letter/word. We can only speak of approximations.
We need to look at “film grammar” under two dimensions: The general: what Ferdinand de Saussure would refer to as the langue: That which applies to all language as a system. Using the same parallelism, this requires looking at “film language” as a universal phenomenon for instance, how cinema as a form of expression communicates, regardless of whether it is European cinema, American cinema, or African cinema. There is a basic unit of expression that applies to this art form called cinema.
The equivalent of what de Saussure calls the parole; which is the individual utterances, that is, individual words in a given language. In terms of film grammar, this would translate to the specific/unique characteristics or ways in which a film director from a certain cultural context uses the universal film grammar to express him/herself. This explains why, using the same grammar, we can still notice the different signatures of the various film directors so that we have a Sembene Ousmane film, an Oumar Sissoko film, a Caroline Kamya film, a Nigerian film etc. Each artist has his own unique way of using the film grammar that is common to all: his own unique signature as auteur as theorists prefer to call it. How each of these directors may use the film punctuations may vary with persons, film aesthetics, genres, and other idiosyncratic features of the director and the cultural context within which he/she makes that film.
Much as this grammar may be applied to all films of all cultures, there is nonetheless, cultural specificity in the way directors used these aesthetics. This explains why we have certain features emerging out of the different regions of the world. We do have in film history categorizations like Italian neo-realism, German expressionism, French impressionism, Russian formalism, African cinema, the American Hollywood style, Nigerian movies/nollywood, etc. Aim Materials Required [ To understand the language and grammar of Film.
[ To get to know how film is a vehicle for cultural expression.
[ Pen and Paper.
[ Equipments to watch a movie.
5.10 Understanding Film-Grammar and Cultural Expression276 Communicator for a Cyber-Age in Africa It is for this that film is not just art, but also a social/cultural practice. Film is not a language in the strict linguistic sense, but like language, it generates it meaning through a system (cinematography, sound, editing etc) which work like language. The first step in this is to see film as a communication. Secondly, to place film communication within the wider system of generating meaning, that is culture.
Theories of cultural studies like Roland Barthes (semiotician) understand language beyond the normal definition of verbal or written language. For them, language combines elements in order to communicate, so that dress (dress code) can work as a language. Language works to construct reality for the users, using structures and elements within that structure.
When we are dealing with images, we are not just dealing with the object or concept they represent; but we are also dealing with the way in which they are represented; just as in literature, a critical analysis would take into consideration the emotive aspects of the word (tone, mood, attitude). There is thus, a “language” for visual representation: a set of codes and conventions used by the audience to make sense of what they see. One of the tasks of film analysis is to discover how this is done both in particular films and in general. Film serves a cultural function through its narrative that goes beyond the pleasure of the story: the syntagmatic structure. It also draws from culture: the paradigmatic structure.
Film is an art, and at the same time, a social/cultural practice; the two are not mutually exclusive. Films are made so that audiences can see them; they are not just made as pieces of art work meant for the “cultured”. The pleasure that popular film provides may be quite different from that derived from literature or fine art; but it is equally deserving of our understanding and appreciation. Today popular culture (under which film studies can comfortably be placed) has attracted the attention/interest of the academia. Film provides us with pleasure in the spectacle of the representation on the screen, in our recognition of stars, styles, and genres, and in our enjoyment of the events themselves. Popular films have a life beyond their theatre run: stars, genres, key movies become part of our personal culture, our identity. Thus, film is a social/cultural practice for its maker as well as for the audience. In its narrative and meaning, we can locate evidence of the way in which our culture makes sense of itself.
Viewing film as a form of language/literacy includes the following abilities: understanding how it communicates, analyzing and evaluating its text, and its creative use as a medium of expression and communication within a specific cultural context.
Talking of film language, we must take stock of the fact that film as a craft is constantly subject to change. So what we refer to when we talk of film language is the grammar that has proved stable and has stood the test of time.
Another caution is that one cannot learn film language by giving examples or analyzing other people’s film only; the process is completed when one engages in doing/making film. The knowledge of others and personal experience are important to acquire a film sense. The second part is up to the individual.
Film Language universals The film language encompasses the following broad elements: a) Camera Techniques/Movements b) In terms of the distance between camera and object: E.g. LS, MLS, CU ECU, Establishing shot, etc c) In terms of short angles: e.g. Low, eye-level, high.
d) In terms of movement: e.g. pan, track, tilt, crab i.e. moving right or left, zoom.
1. Editing Techniques These include the following: a) Cut: when to use it and the effect it has, b) Fade: the picture gradually appears from a blank screen; as if a closed eye opening to see an object. c) Dissolve (also called a mix): involves fading out one picture while fading up (in) another. The effect is of merging images, then becoming one. It usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to suggest flashback. Both fade and dissolve are gradual transitions between shots: fade in as a quiet introduction; fade out as a peaceful end. Both are often used to suggest lapse in time.
d) Wipe: is an optical effect marking transition. It is a technique that draws attention to itself as a clear marker of change.277 Communicator for a Cyber-Age in Africa e) Superimposition: two or three images are put one on top of the other.
f) Split screen: mostly used to heighten drama and simultaneity.
g) Short/reverse shot editing: mostly used in dialogue.
2. Manipulation of time In film, there are various ways of communicating time: a) Screen time: this is the period of time represented by the events within the film. E.g. a day , a week, etc.
b) Subjective time: this is the time experienced by a character in the film. This is revealed through camera movement and editing. For instance, when a frightened person’s flight from danger is prolonged.
c) Suppressed time: when time is compressed or reduced. E.g. walking to a place or climbing stairs. When there is nothing interesting happening on this walk, this time is compressed.
d) Simultaneous editing: achieved through parallel editing, cross cutting or split screen.
e) Slow motion: to make fast actions visible, to de-familiarise familiar actions to emphasize dramatic moments. It can either give a lyrical and romantic quality or amplify violence. f) Accelerated motion (undercranking): to make slow motions visible, make a familiar action funny, to give it a dramatic quality, to increase the thrill of speed.
g) Reverse motion: reproducing action backwards for comic, magical or explanatory effects.
h) Replay: as in sports; often in slow motion to review significant moments/events 3. Freeze frame a) Flashback: a break in the chronology; often associated with objective treatment of the story b) Extended or expanded time/overlapping action: inter-cutting a series of shots or filming actions from different angles and editing them together. Part of an action may be repeated from another point of view. It may be used to stretch time, perhaps to exaggerate for dramatic effects; it is sometimes combined with slow motion.
c) Ambiguous time: this is mostly communicated through superimpositions and dissolves. Within a well defined time frame, sequences may occur which are ambiguous in time.
d) universal time: to suggest universal relevance, ideas rather than examples are emphasized. Context may be interrupted by frequent cuts rather than by extensive use of (CUs) closeup and other shots to reveal a specific environment.
4. use of Sound There are various types of sounds in a film: a) Direct sound: live sound from the environment (for freshness, spontaneity, authenticity of atmosphere, though it may not be acoustically ideal.
b) Studio sound: recorded in the studio to improve sound quality, eliminating unwanted noise from the ambient. This may include dubbed dialogue mixed with live environmental sound.
c) Selective sound: this is the removal of some sound and the retention of others to make significant sound more recognizable or to create atmosphere for dramatic effect. E.g. a watch or a bomb ticking, water dripping. This is sometimes used as a subjective device, leading us to identify with a character: to hear what the character hears. The lack of ambient sound may make such sound seem artificial or expressionistic.
d) Sound Perspective/aural perspective: this is the impression of distance of sound, usually created through the use of selective sound.
e) Sound bridge: this involves adding to continuity through sound by running sound from one shot across a cut to another shot to make the action seem uninterrupted. f) Dubbed dialogue: wild tract (asynchronous sound): sound which was self-evidently recorded separately from the visuals with which it was shown. E.g. a studio voice over added to a visual sequence later.
g) Parallel (synchronous) sound: this is sound caused by some event on the screen and which matches the action.
h) Commentary/Voice-over: in this case, the quality of voice chosen is important. It can be used to do the following: introduce particular parts of a programme; add extra information not evident from the picture; interpret the images for the audience from a particular point of view; link parts of a sequence or programme together. i) Sound Effect: sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.
j) Music: helps to establish the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. k) Background music: is a synchronous music which accompanies a film. It is not normally intended to be 278 Communicator for a Cyber-Age in Africa noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. l) Foreground music: is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo, piano or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music. For e.g., in Kristof Kieslovsky’s Three Colour: Blue, music is foregrounded: it comes both from the mind of the actor, and from the musical instrument. From the background, as if in the mind of the actor, it swells and becomes powerful when the protagonist completes the hymn of love, becoming a dominant theme in the film.
m) Silence: The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel disassociated from reality. It can be used to foreground an idea.
5. Lighting: a) Lighting: the quality of light is equally important. Soft and hard/harsh lighting can manipulate a viewer’s attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realistically. b) Backlighting: may be used to create a halo effect in a romantic scene, for instance.
6. Graphics: titles appear at or near the start of the programme. Their style - typeface, size, colour, background and pace - (together with music) can establish expectations about the atmosphere and style of the programme. Credits listing the main actors, the director, and so on, are normally shown at or near the beginning, whilst those listing the rest of the actors and programme makers are normally shown at the end. Some American narrative series begin with a lengthy pre-credit sequence. Credits are frequently superimposed on action or stills, and may be shown as a sequence of frames or scrolled up the screen. Captions are commonly used in news and documentaries to identify speakers and in documentaries, documentary dramas and dramatic narratives to indicate dates or locations. Subtitles at the bottom of the screen are usually used for translation or for the benefit of the hearing-impaired. Graphics such as maps, graphs and diagrams are associated primarily with news, documentary and educational programmes. 7. Animation: this involves creating an illusion of movement, by inter-cutting stills, using graphics with movable sections, using step-by-step changes, or control wire activation. 8. narrative Style: this is viewed under the following: a) Subjective treatment The camera treatment is called ‘subjective’ when the viewer is treated as a participant (e.g. when the camera is addressed directly or when it imitates the viewpoint or movement of a character). We may be shown not only what a character sees, but how he or she sees it. This is like a ‘first-person’ use of camera as the character can be effective in conveying unusual states of mind or powerful experiences, such as dreaming, remembering, or moving very fast. If overused, it can draw too much attention to the camera. Moving the camera (or zooming) is a subjective camera effect, especially if the movement is not gradual or smooth. b) objective treatment The ‘objective point of view’ involves treating the viewer as an observer. A major example is the ‘privileged point of view’ which involves watching from omniscient vantage points. Keeping the camera still whilst the subject moves towards or away from it is an objective camera effect. c) Parallel development/parallel editing/cross-cutting An inter-cut sequence of shots in which the camera shifts back and forth between one scene and another. Two distinct but related events seem to be happening at approximately the same time. A chase is a good example. Each scene serves as a cutaway for the other. This adds tension and excitement to dramatic action. d) ‘invisible editing’ This is the omniscient style of the realist feature films developed in Hollywood. The vast majority of narrative films are now edited in this way. The cuts are intended to be unobtrusive except for special dramatic shots. It supports rather than dominates the narrative: the story and the behaviour of its characters are the centre of attention. The technique gives the impression that the edits are always required and are motivated by the events in the ‘reality’ that the camera is recording rather than as the result of a desire to tell a story in a particular way. The ‘seamlessness’ 279 Communicator for a Cyber-Age in Africa convinces us of its ‘realism’, but its devices include: the use of matched cuts (rather than jump cuts); motivated cuts; changes of shot through camera movement; long takes; the use of the sound bridge; parallel development. The editing isn’t really ‘invisible’, but the conventions have become so familiar to visual literates that they no longer consciously notice them. e) Mise-en-scene (Contrast montage) ‘Realistic’ technique whereby meaning is conveyed through the relationship of things visible within a single shot (rather than, as with montage, the relationship between shots). It is an attempt to preserve space and time as much as possible; editing or fragmenting of scenes is minimised. Composition is therefore extremely important. The way people stand and move in relation to each other is important. Long shots and long takes are characteristic. This usually includes the use of deep focus: foreground, middle ground and background.
f) Montage/montage editing In its broadest meaning, the process of cutting up film and editing it into the screened sequence. However, it may also be used to mean intellectual montage - the juxtaposition of short shots to represent action or ideas - or (especially in Hollywood), cutting between shots to condense a series of events. Intellectual montage is used consciously to convey subjective messages through the juxtaposition of shots which are related in composition or movement, through repetition of images, cutting rhythm, detail or metaphor. Montage editing, unlike invisible editing, uses conspicuous techniques which may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning. 9. Talk to camera: the sight of a person looking (‘full face’) and talking directly at the camera establishes their authority or ‘expert’ status with the audience. Only certain people are normally allowed to do this, such as announcers, presenters, newsreaders, weather forecasters, interviewers, anchor-persons, and, on special occasions (e.g. ministerial broadcasts). Key public figures are also allowed to do this. The words of ‘ordinary’ people are normally mediated by an interviewer. In a play or film, talking to camera clearly breaks out of naturalistic conventions (the speaker may seem like an obtrusive narrator). A short sequence of this kind in a ‘factual’ programme is called a ‘piece to camera’. 10. Tone: the mood or atmosphere of a programme (e.g. ironic, comic, nostalgic, romantic). Formats and other features a) Shot: A single run of the camera or the piece of film resulting from such a run. b) Scene: A dramatic unit composed of single or several shots. A scene usually takes place in a continuous time period, in the same setting, and involves the same characters. c) Sequence: A dramatic unit composed of several scenes, all linked together by their emotional and narrative momentum. d) Genre: Broad category of television or film programme. Genres include: soap operas, documentaries, game shows, ‘cop shows’ (police dramas), news programmes, ‘chat’ shows, phone-ins and sitcoms (situation comedies). e) Series: A succession of programmes with a standard format. f) Serial: An ongoing story in which each episode takes up where the last one left off. Soap operas are serials. g) Talking heads: In some science programmes extensive use is made of interviews with a succession of specialists/ experts (the interviewer’s questions having been edited out). This is derogatively referred to as ‘talking heads’. Speakers are sometimes allowed to talk to camera. The various interviews are sometimes cut together as if it were a debate, although the speakers are rarely in direct conversation. h) Vox pop: Short for ‘vox populi’, Latin for ‘voice of the people’. The same question is put to a range of people to give a flavour of ‘what ordinary people think’ about some issue. Answers are selected and edited together to achieve a rapid-fire stream of opinions. i) intertextuality: Intertextuality refers to relationships between different elements of a medium (e.g. formats and participants), and links with other media. One aspect of intertextuality is that programme participants who are known to the audience from other programmes bring with them images established in other contexts which affect the audience’s perception of their current role. Young children may make no clear distinction between advertisements sandwiched between programmes and the programmes themselves. * Check the glossary at the end of this manual for the explanation of terms.280 Communicator for a Cyber-Age in Africa Review 1. In film history, we have categorizations like Italian neo-realism, German expressionism, French impressionism, Russian formalism, African cinema, the American Hollywood style, Nigerian movies/nollywood, etc. 2. Editing techniques include: Cutting, fading, dissolving, wipe, superimposition, split screen and short/reverse shot editing.
3. There are various types of sounds in a film: • Direct sound • Commentary/Voice-over • Studio sound • Sound Effect • Selective sound • Music • Sound Perspective/aural perspective • Silence • Sound bridge • Background music • Dubbed dialogue • Foreground music • Wild tract • Parallel (synchronous) sound 4. The various ways of communicating time in film are: Screen time, subjective time, suppressed time, simultaneous editing, slow motion, accelerated motion, reverse motion and replay.
5. The quality of light is important. Soft and hard/harsh lighting can manipulate a viewer’s attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realistically . 6. Formats and other features include: • Shot • Scene • Sequence • Series • Serial • Talking heads • Vox pop. Short for ‘vox populi’ • Intertextuality Reflection Film is an art, and at the same time, a social/cultural practice; the two are not mutually exclusive. Films are made so that audiences can see them; they are not just made as pieces of art work meant for everyone. Relevant Skills Watch a famous movie e.g. Ben-Hur and pause every time shots change (CU, ECU etc) and pay attention to seamless editing technique.
References Arijon, Daniel. Grammar of the Film Language. London: Focal Press, 1976 Bordwell, David & Kristin Thompson.: Film Art: An Introduction. New York: McGraw Hill, 1993. Fiske, John. Television Culture. London: Routledge, 1997.
Monaco, James. How to Read a Film. New York: Oxford University Press, 1981.281 Communicator for a Cyber-Age in Africa Aim • To understand the language and grammar of Film • To get to know how film is a vehicle for cultural expression Procedure Ask the participants to talk about one movie made in Africa that they liked.
Review 1. In film history, we have categorizations like Italian neo-realism, German expressionism, French impressionism, Russian formalism, African cinema, the American Hollywood style, Nigerian movies/nollywood, etc. 2. Editing techniques include: Cutting, fading, dissolving, wipe, superimposition, split screen and short/reverse shot editing.
3. There are various types of sounds in a film: • Direct sound • Commentary/Voice-over • Studio sound • Sound Effect • Selective sound • Music • Sound Perspective/aural perspective • Silence • Sound bridge • Background music • Dubbed dialogue • Foreground music • Wild tract • Parallel (synchronous) sound 4. The various ways of communicating time in film are: Screen time, subjective time, suppressed time, simultaneous editing, slow motion, accelerated motion, reverse motion and replay.
5. The quality of light is important. Soft and hard/harsh lighting can manipulate a viewer’s attitude towards a setting or a character. The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realistically . 6. Formats and other features include: • Shot • Scene • Sequence • Series • Serial • Talking heads • Vox pop. Short for ‘vox populi’ • Intertextuality Reflection Film is an art, and at the same time, a social/cultural practice; the two are not mutually exclusive. Films are made so that audiences can see them; they are not just made as pieces of art work meant for everyone. Relevant Skills Watch a famous movie e.g. Ben-Hur and pause every time shot changes (CU, ECU etc) and pay attention to seamless editing technique.
References Arijon, Daniel. Grammar of the Film Language. London: Focal Press, 1976 Bordwell, David & Kristin Thompson.: Film Art: An Introduction. New York: McGraw Hill, 1993. Fiske, John. Television Culture. London: Routledge, 1997.
Monaco, James. How to Read a Film. New York: Oxford University Press, 1981.
CHAPTER 5.10 PARTiCiPAnT’S HAnDouT Uderstanding Film-Grammar and Cultural Expression COMMUNICATOR FOR A CYBER AGE IN AFRICA Bosco Eastern Africa Multimedia Services - BEAMS Publication, Kenya. beams@donbosco.or.ke282 Communicator for a Cyber-Age in Africa Procedure: Watch a movie as a group and express opinions as regards the storyline, values conveyed and quality of photography. E.g. John Q, Homeless to Harvard. Input FiLM: A film is a complex language made up of images, movement, action, light and shade, sound (dialogue, music, natural sounds and silence) and colours. Film can be seen as a technique of recording, conserving and projecting images in movement. Besides being a technique, it is also a means of expression, representation and communication. It makes itself understood through a particular language, which has its own grammar. Films are not images produced through our immediate and direct contact with the world. Rather, films are mediated visions of the world. They provide us an indirect vision, one which is filtered through the lens not just of a camera, but also someone else (and that could be you) who has a particular interest in seeing the world in a particular way (aesthetic, moral or purely economic).
TYPES oF FiLM CRiTiCiSM There are many types of film criticism 1. Genre criticism: this refers to the attempt to structure and order text into a kind of formula for the convenience of both the producer and audience. Strategies for constructing generic categories: a) Aesthetic (appropriateness of the textual characteristics) b) Ritual (repeated structures that emphasise the shared cultural values of the audience and the producer) c) And lastly Ideological strategy (the text orients the audience to see things in a particular way) 2. Textual Criticism/Journalistic Film Criticism: takes into consideration, the plot, the characters, the themes the technical devices.
3. Humanistic Approach: this approach is concerned with the importance of human values in movies.
4. ideological or Academic Approach: commonly used by film scholars and students. It seeks to answer the basic question, “What is a cinema?” In this lesson we shall deal with two types of Film criticism and a Film review A. JouRnALiSTiC nARRATiVE FiLM CRiTiCiSM The reviewer often sees film once and has a very short period to write up the review. The review also tends to be short to medium length articles. Although they are often quick takes on a movie, they can sometimes be substantial and insightful. Often genre identification, (drama, police detective, history, Western, etc), plot summary make up the majority of the review. It includes a fast assessment of the aesthetic (shots, images, lighting, sound, casting, etc), entertainment, social, and cultural merits.
Journalistic film review may also aim at advertising. The primary purpose of these film reviews is to publicize a film and to convince readers to go watch it. Phrases associated with this kind of reviewing include “spectacular”, “thrilling”, “edge of the seat”, “joy-ride”, etc. This, of course is, adulteration of criticism as they are usually done by those obscure reviewers whom nobody in the business knows about.
Aim Materials Required [ To acquire skills to write a film review.
[ To understand film genre and make a simple film criticism .
[ Pen and Paper.
[ Equipments to watch a movie.
5.11 Film Criticism and Review283 Communicator for a Cyber-Age in Africa 1. How is the story told? (linear, with flashbacks, flash-forwards, episodically?) What “happens” on the level of the plot? How do plot and story differ, if at all? 2. Can the sequence be divided into individual segments (indicated, for instance, by shifts of location, jumps in time, inter-titles, etc.)? Mention some of them. How many simultaneous narratives (sub-stories) does the sequence contain? 3. How do the various channels of information used in film - image, speech, sound, music, writing - interact to produce meaning? Does one of the channels dominate in this sequence? 4. Is there a recognizable source of the narration? Voice-over or off-screen commentary? What is the narrator’s perspective? 5. How does the narrative position the spectator vis-à-vis the onscreen events and characters? Are we made to respond in certain ways to certain events (say, through music that “tells” us how to respond or distances us from the action)? B. HuMAniSTiC FiLM CRiTiCiSM The Christian Filmgoer’s Dilemma The entertainment industry finds it difficult to present the art of storytelling without today’s cinema stables - offensive language, exploitive sex, crude humor or brutal violence. For example, in nearly every film represented by Oscar’s nod, God’s name is misused.
Screenwriter Brian Godawa tackles the tough issues Christians face in their movie viewing choices, examining the redemptive emphasis of storytelling, the competing worldviews expressed through today’s cinema, and spirituality in the movies. Godawa’s analysis offers a contemporary perspective on an important focal point of cultural dialogue: the language of movies. • Excess and abstinence: Godawa first establishes the dangers of excess, both in movie consumption and movie- avoidance. “Cultural abstainers often end up in irrelevance and alienation from others. I call these artistic teetotalers cultural anorexics. . . . The arts (of which movies are a part) are a God-given means of expressing our humanity. The creation of art, though flawed or imperfect, reflects the creativity and beauty of our Creator. To reject any of the arts in total is to reject the imago Dei, the image of God in humanity.” Someone who thoughtlessly devours any movie and lumps them all under the umbrella of “entertainment”, is a cultural glutton. “Cultural gluttons prefer to avoid analyzing movies beyond their entertainment value,” Godawa says. The key to all stories, according to Godawa, is their redemptive core. “They narrate the events surrounding characters who overcome obstacles to achieve some goal and who, in the process, are confronted with their personal need for change. In short, movie storytelling is about redemption-the recovery of something lost or the attainment of something needed.” 1. What are the socio-historical background to the film, economic and political factors that conditioned its making and explain its existence? 2. How are the views expressed by the lead characters ‘TRUTH’ for the audience to believe? 3. How are the women portrayed? Is there any blatant discrimination? 4. What is the balance between entertainment and values in the movie? 5. What Gospel values can be attributed to the movie? Find a passage in the Bible that connects with this movie.
C. FiLM REViEW David Bordwell suggests in his book Making Meaning, that there are four key components present in film reviews. These components consist of a condensed plot synopsis, background information, a set of abbreviated arguments about the film, and an evaluation. a) Condensed Plot Synopsis: A condensed plot synopsis means exactly that. This is a brief description of the film’s plot that probably emphasizes the most important moments of the film without revealing the film’s ending. Nothing is worse than revealing too much about the movie and thus ruining it for the viewer. b) Background information: Background information about the film consists of information about the stars, the director, and the production staff of the film. It can also includes interesting tidbits about the making of the film (example, entirely shot on location, or studio: this information may interest a viewer). It may incorporate information about the film’s source material (is it an adaptation or a book? Is it a real life story, etc) as well as mentioning the type of genre (is it an action film, drama, history, narrative, Western, etc) the film fits into. If the reviewer is so inclined, it may also include comments from other reviewers and industry insiders that are designed to indicate to the reader what the film’s reception is likely to be. Communicator for a Cyber-Age in Africa c) Abbreviated Arguments about the Film: The abbreviated arguments about the film are generally the main focus of the review. This is the section in which the reviewer analyzes and critiques the film. The focus of this segment is to point out what does and does not work in the movie and why. Most reviewers attempt to combine this information with a little background information. For example, if the lighting and composition of the film are particularly dreadful the reviewer will generally take the time to note who the film’s cinematographer was - since it’s the cinematographer’s responsibility to prevent that from happening.
d) Evaluation: The reviewer’s evaluation of the film generally includes a recommendation to either see or avoid seeing the film. This evaluation is always based on the reviewer’s arguments about the film and is frequently backed up with his/her comments regarding the film’s background. Your instructor would argue that the entire tone of the review should be influenced by the reviewer’s evaluation of the film. To be honest, the reader should have a fairly clear idea of the reviewer’s opinion after they have read the review’s opening sentence. This does NOT mean that you should start a review with statements like, “This was a good movie,” or “you should go see this film right now!” It does mean that the reader should have a general idea about where the reviewer stands on the film from the first paragraph on. As a reviewer, ask yourself: 1. Does the film hold your attention and arouse your emotions (film is an emotion machine)? 2. Are there characters or characteristic (themes) that you can identify with in real life? 3. What is the story about? Describe the ‘catharsis’ (resolution of conflict).
4. Give the brief credit list 5. Your informed opinion about the movie, cautions, audience, rating etc.
Review 1. A film is a complex language made up of images, movement, action, light and shade, sound (dialogue, music, natural sounds and sounds and silence) and colours. 2. There are several types of film criticism namely: a) Genre criticism b) Ideological or Academic Approach c) Humanistic Approach d) Textual Criticism/Journalistic Film Criticism e) Journalistic Criticism 3. There are four key components present in film reviews. These components are: a) a condensed plot synopsis b) background information c) a set of abbreviated arguments about the film d) an evaluation. Reflection Twenty-four frames a second, 100 heartbeats a minute, a dozen emotional high an hour, probing thoughts for weeks, lingering memories for months and shockwaves that last a lifetime: that is cinema.
Relevant Skills Watch a famous movie e.g. Forrest Gump, Bridge Over River Kwai, Singing in the Rain and write a review and a Journalistic and Humanistic criticism.
Reference www.christianitytoday.org
