"How To Become A Professional Master of Ceremonies" Workshop-17 Aug 2013

TOASTMASTERS INTERNATIONALDISTRICT 51 DIVISION B PRESENTS

“HOW TO BECOME A PROFESSIONAL MASTER OF CEREMONIES”

WORKSHOP

SPEAKER: DTM JON TAN

VENUE: SUNWAY UNIVERSITY, PETALING JAYA, SELANGOR, MALAYSIADATE: 17 AUGUST 2013

“HOW TO BE A PROFESSIONAL EMCEE”

Copyright © 2002 by Author BRANDJONTAN Jon Tan

All Rights Reserved.

No part of this publication may be reproduced for

professional or commercial purpose, without the

prior written consent of the Author.

[email protected]

www.brandjontan.com

NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER HOW YOU FEEL RIGHT NOW... GET INTO THE RIGHT STATE-OF-BEING, AND…

GIVE YOUR LIFE’S BEST PERFORMANCE

TODAY!

PRO EMCEE PRINCIPLES AND CONCEPTS

ENGAGE YOUR AUDIENCE

WITH S E X

SEX ACRONYM: NEXT SLIDE

SEX ACRONYM, STANDS FOR:

SHINE (LIKE A DIAMOND) …WITHOUT OUTSHINING THE STARS

EFFECTIVE COMMAND

X-FACTOR PERSONA

SHINE LIKE A DIAMONDWITHOUT OUTSHINING THE STARS“THE REAL ROLE OF THE EMCEE”

THE REAL ROLE OF THE EMCEE: CLARIFICATIONS OF MISCONCEPTIONS

(A) WHO IS THE STAR? (1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.

(I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT.

BUT IS, A MAIN PLAYER…EMCEE’S PERFORMANCE SHOULD EQUAL TO, BUT NOT

INTENTIONALLY HIGHER THAN PERFORMANCE OF SPEAKERS/PERFORMERS.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS

(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA

AND STANDARD OF PERFORMANCE THAT EQUATES

TO THE EVENT.


(B) WHAT AN EMCEE IS…

(I) RESPONSIBLE FOR SUCCESS OF EVENT:

(a) PROBABLE PROBLEMS/CRISES ARISING.

(b) LESS-THAN-PROFICIENT PEOPLE DIRECTLY, OR INDIRECTLY INVOLVED IN RUNNING OF EVENT.


(II) MAIN PLAYER: STAR-MAKER, NOT THE STAR: (a) BRIDGE BETWEEN SPEAKERS/PERFORMERS OF AN EVENT, TO THE AUDIENCE.

(b) HELP TO INSPIRE “STARS” OUT OF SPEAKERS AND PERFORMERS, ESPECIALLY THE LESS-CELEBRATED ONES.


(II) MAIN PLAYER: STAR-MAKER, NOT THE STAR:

(c) BE AN EMOTION-METER: PRE-SET THE ALREADY-DEFINED/DECIDED MOOD AND TONE OF A PARTICULAR EVENT.


(II) MAIN PLAYER: STAR-MAKER, NOT THE STAR: (d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND INSPIRING.

(e) ALSO, CONTINUALLY “EQUALIZE” THE AMBIENCE/ATMOSPHERIC MOOD AND TONE.


(III) DIFFUSER OF TENSION (4 TYPES): (a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.

(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.

(d) AUDIENCE AND ENVIRONMENT.


(IV) RESCUEMAN FOR EMERGENCY: “BE THE COOL, PERSONABLE HOST/HOSTESS, DURING CRISIS MANAGEMENT.”


(IV) RESCUEMAN FOR EMERGENCY: NOTE: THE PRO EMCEE DOES NOT “LEAVE CONTROL” OF THE FORT, TO HANDLE ANY CRISIS OR PROBLEM.

THIS IS TO BE EFFECTED BY THE RESPECTIVE PERSON-IN-CHARGE, WHO SHALL THEN REPORT TO THE ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON THE ISSUE AT HAND.


(V) CATALYST FOR AN EVENT:

(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED…NO MATTER WHAT.

(b) BE AN ENERGIZER…SO THAT AUDIENCE CAN FULLY ENJOY THE EVENT.


(V) CATALYST FOR AN EVENT:

(c) BE A CHEERLEADER, ALWAYS “LEADING THE APPLAUSE”.


(C) WHAT AN EMCEE IS NOT…

(I) THE MAIN STAR OR HERO OF AN EVENT: “YOU ARE THE STAR-MAKER.”

(II) AN “UNIMPORTANT ROLE”: YOU PLAY A “HIGHLY IMPORTANT” ROLE.



(III) A GLAMOUR-ROLE PER SE.

(IV) A “PRIMA DONNA”.



(V) A SMART-ALEC / KNOW-IT-ALL / STOPPED-LEARNING-TYPE-OF-PERSON. (VI) A “LAST-MINUTE JOHNNY”.



(VII) A “KNIGHT IN SHINING ARMOUR”: MAKING FIRST APPEARANCE EVER AT AN EVENT, WITHOUT GOING THROUGH PRE-PREP AND PREP STAGES.


(D) THE “SHOULDs”:

(I) PERSONAL QUALITIES:(i) PERSONAL ATTRIBUTES:

(a) WELL-GROOMED (DRESS TO THE OCCASION).(b) FRIENDLY AND COURTEOUS (HUMBLE NOT COCKY).(c) CREATIVE/INVENTIVE.(d) DECISIVE.



(I) PERSONAL QUALITIES:(ii) SUAVE DIFFUSER OF TENSION: (a) AUDIENCE AND AUDIENCE. (b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS. (c) AUDIENCE AND PROGRAM/MATERIALS/PROPS/ETC.(d) AUDIENCE AND ENVIRONMENT.



(I) PERSONAL QUALITIES:(iii) CATALYST FOR EVENT: ENERGIZER (CONDUIT FOR AUDIENCE) AND CHEERLEADER

(a) VOICE: DYNAMIC WITH VITALITY. (b) BODY LANGUAGE: ENTHUSIASTIC/ATTRACTING. (c) “GOOD PRETENDER”, ALWAYS LEAD APPLAUSE.




(d) LIGHTEN-UP AUDIENCE, WITH WIT/HUMOUR, OR WHATEVER ENTERTAINING WAY.

(e) REMAIN RELAXED AND CALM, EVEN WHEN UNDER PRESSURE.




(f) NO MATTER WHAT, RAISE SPIRIT AND SUSTAIN ENTHUSIASM OF AUDIENCE.

(g) NO MATTER WHAT, STAY CHEERFUL. NEVER BE FLUSTERED, EVEN WHEN DURING DEEP CRISIS.



(I) PERSONAL QUALITIES:(iv) RESCUEMAN FOR EMERGENCY: BE ALERT AND WATCHFUL

(a) MINDFUL OF GOINGS-ON. (b) EYE FOR PROBABLE “TROUBLE-SPOTS” (c) PROTECT MOOD OF AUDIENCE, AND ATMOSPHERE.


(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(v) BE IN COMMAND:

(a) BE IN “CONTROL” OF AUDIENCE, AND NOT THE OTHER WAY AROUND. (b) UPKEEP QUALITY, AND INCREASE QUALITY. (c) HOLD THE FORT, AT SPEAKING/PERFORMANCE AREA. (d) TIMING OF PROGRAM ELEMENTS, IS YOUR JURISDICTION/DECISION, NOT OTHERS’.



(I) PERSONAL QUALITIES:(vi) TIME MANAGEMENT:

(a) START ON TIME, END ON TIME. (b) CATCH UP, IF BEHIND TIME. (c) INTELLIGENTLY CUT-OUT OR SHORTEN INTRA-PROGRAM ELEMENT, OR WHOLE PROGRAM ELEMENT.



(I) PERSONAL QUALITIES:(vii) BE IN CONSTANT LIAISON WITH ORGANIZING COMMITTEE HEAD:

(a) ENSURE THAT THE ORGANIZING HEAD, HAS EMPOWERED THE INDIVIDUAL COMMITTEE PERSONS-IN-CHARGE, AND SUB-COMMITTEE HEADS, TO BE “ON-THE-JOB”, ON TIMING AND EXECUTION.



(I) PERSONAL QUALITIES:(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER. (a) THE FLOOR MANAGER (LIAISING WITH THE MUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, OR ICT & MULTIMEDIA MANAGER) SHOULD BE YOUR ONLY LIAISON PERSON FOR STAGE, PRESENTATION AREA, AND MUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR GIMMICKS.



(I) PERSONAL QUALITIES:(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER. (b) IN LIEU OF A FLOOR MANAGER, IF APPLICABLE, THE MUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, OR ICT & MULTIMEDIA MANAGER SHOULD BE THE RESPECTIVE LIAISON PERSON FOR STAGE, PRESENTATION AREA, AND MUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR GIMMICKS.



(II) DICTION/CHOICE OF WORDS:(i) THEME-FOCUS. CONTEXT-SUITED. OCCASION-ORIENTED. SPECIFIC SITUATIONAL.

(ii) PSYCHOGRAPHICS PROFILING OF SPECIFIC AUDIENCE.

(iii) IF DIVERSE AUDIENCE, TO REACH OUT TO DIFFERENT PERSONALITY TYPES, CULTURAL TYPES, HIERARCHY, LEVELS OF EXPERIENCE, ETC.



(III) RESPECT: ALSO, BE SOCIALLY AND POLITICALLY CORRECT.

(i) NAMES AND TITLES. (ii) SENSITIVITY TO:(a) RACE/CULTURE.(b) RELIGION.(c) POLITICS.



(IV) RAPPORT:(i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOU HAVE THE AUDIENCE’S INTEREST AT HEART.

(ii) ALWAYS AIM TO HAVE A GREAT START. (iii) SUSTAIN BONDING THROUGHOUT.


(D) THE “SHOULD NOTs”:

(I) RESPONSIBILITIES:(i) SHOULD NOT BE LOOKING AFTER SOUND AND MUSIC SYSTEM, MIKE/LAPEL MIKE, ETC, OR LIGHTING/TECHNOLOGY, OR EFFECTS/GIMMICKS. (ROLE OF FLOOR MANAGER.)

(ii) SHOULD NOT BE IN CHARGE OF OPERATION OF PROJECTOR, LAPTOP OR OTHER PRESENTATION FACILITIES. NOT EVEN ASSISTING.



(I) RESPONSIBILITIES:(iii) SHOULD NOT BE THE HANDYMAN, OR “JACK-OF-ALL-TRADES”. (TO FOCUS ON SOLELY BEING THE EMCEE.)

(iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS, PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OF STAGE DÉCOR/SCENARIO.



(I) RESPONSIBILITIES:(v) SHOULD NOT SOURCE FOR SOUND SYSTEM/LIGHTING SYSTEM.

(vi) SHOULD NOT BE SOURCING FOR PERFORMERS OR ENTERTAINERS.

(vii) SHOULD NOT BE LOOKING AFTER F&B, NOR STARTING TIME AND FLOW OF F&B AT EVENT.



(I) RESPONSIBILITIES:(viii) SHOULD NOT BE TAKING CHARGE OF ANY OTHER ELEMENTS/HAPPENINGS ON ACTUAL DAY, AND/OR DURING THE EVENT. EXAMPLE: PRIZES CEREMONY, AWARDS CEREMONY, GAMES PARAPHERNALIA, ETC.



(I) RESPONSIBILITIES:(ix) SHOULD NOT BE COORDINATING THE EVENT, OR EVENT PREPARATION.

(x) SHOULD NOT BE COORDINATING THE “NEXT-TO-APPEAR” AVAILABILITY OF SPEAKERS, PERFORMERS OR RELEVANT PERSONNEL, FOR EFFECTING THE NEXT

ELEMENT ON THE PROGRAM.



(II) CHARACTER:HUMILITY | INTEGRITY | RESPONSIBILITY | SUPPORTIVENESS.

(i) SHOULD NOT OUTSTAGE SPEAKER OR PERFORMER.

(ii) SHOULD NOT BE UNPUNCTUAL.

(iii) SHOULD NOT BE CONDESCENDING, OR ARROGANT.

(iv) SHOULD NOT BELITTLE/MAKE FUN OF AUDIENCE.



(III) VOICE PROTECTION:(DRINK LOTS OF WATER, TO HYDRATE VOCAL SYSTEM.)

(i) SHOULD NOT DRINK ALCOHOL/BEER.

(ii) SHOULD NOT OVEREAT.

(iii) SHOULD NOT CONSUME OILY, DEEP-FRIED, SPICY FOOD.

(iv) SHOULD NOT DRINK EXCESSIVE MILK.



(IV) ENERGY:(EXERCISE OFTEN, TO STAY ENERGETIC.)

(i) SHOULD NOT SLEEP LATE, PRIOR TO EVENT.

(ii) SHOULD NOT GET “STRESSED-UP”.

(iii) SHOULD NOT DISCUSS PROBLEMS, PRIOR OR DURING EVENT. (THIS IS TO SUSTAIN YOUR “STATE OF POSITIVITY” PRESENCE.)



(V) MOOD & TONE:(MUST: YOU SET THE MOOD & TONE, MOULDING IT AS AND WHEN NECESSARY: WHEN THE AUDIENCE’S MOOD IS DOWN, YOU RAISE IT…WHEN THE MOOD IS UP, YOU RAISE IT EVEN HIGHER.)



(V) MOOD & TONE:

(i) SHOULD NOT BE “CONTROLLED” BY AUDIENCE.

(ii) SHOULD NOT “GRAVITATE” TO THE DESCENDING OR LOW MOOD OF AUDIENCE.

(iii) SHOULD NOT GO WITH THE FLOW OF AUDIENCE. ESPECIALLY WHEN AUDIENCE HAS SHIFTED TO A CONTRADICTORY MOOD & TONE.


(E) PRO EMCEE TABOOS:

TO ENSURE THAT YOUR ARE …(A) MOST ALERT…(B) ON FULL-DUTY…(C) DIGNIFIED…

…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:



(1) GET HIGH ON ALCOHOL. (2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROL AREA.

(3) UNPREPARED OR ILL-PREPARED. EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.



(4) RUDE, UNCOUTH, DISRESPECTFUL.

(5) OUT-OF-LINE. NOT AGREEABLE TO EVENT OBJECTIVE, OR ORGANIZATION.

(6) GLUTTON.(NOTE: MANY TOP PRO EMCEES DO NOT EAT AT ALL, AT EVENT, OR DURING EVENT.)



(7) SOCIALIZE “BIG-TIME”. (SOCIAL, BUSINESS, CASANOVA.)

(8) FLAUNTING YOURSELF.

EFFECTIVE COMMAND“EMCEE’S LOVE RELATIONSHIP WITH THE EVENT”

EMCEE’S LOVE RELATIONSHIP WITH THE EVENT

“THE EMCEE IS NOT ONE WHO APPEARS, LIKE A KNIGHT IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE OF THE EVENT.”

YOU MUST LOVE TO WORK HAND-IN-HAND, WITH THE ORGANIZING CHAIR AND COMMITTEE.

AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLE OF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZING PERSON ~ TO COORDINATE AND SEE THINGS TO FRUITION.


(A) IT’S A START-TO-FINISH INVOLVEMENT.

(I)START: INITIAL ORIENTATION TO EVENT.

(II)MID-WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY-RUN / REHEARSAL / LAST-MINUTE CHANGES. PLUS FINAL DRY-RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT:

(I) “PERSON” ELEMENTS.

(II) “NON-PERSON” ELEMENTS.

(III) OVERALL BRAND IMAGE.



(I) “PERSON” ELEMENTS OF THE EVENT:(1) ORGANIZING CHAIR.

(2) ORGANIZING COMMITTEE.

(3) SUB-COMMITTEES, INCLUDING “PROTOCOL”.



(I) “PERSON” ELEMENTS OF THE EVENT:(4) SPEAKERS, PERFORMERS.

(5) AWARD PRESENTERS/RECIPIENTS.

(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.



(I) “PERSON” ELEMENTS OF THE EVENT:(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.

(8) STAGE PERSONNEL (INCLUSIVE OF AV, SOUND & LIGHTING, ETC).



(II) “NON-PERSON” ELEMENTS OF THE EVENT:(1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY, GADGETS, GIMMICKS.

(2) PRESENTATION FACILITIES.

(3) VENUE DÉCOR & LAYOUT.



(II) “NON-PERSON” ELEMENTS OF THE EVENT:(4) PROMOTIONAL ASPECTS AT VENUE.

(5) ADVERTISING & PROMOTIONS.

(6) PUBLICITY & PR.



(II) “NON-PERSON” ELEMENTS OF THE EVENT:(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT (THAT YOU ARE TO EMCEE).



(III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA EVENT”:

EXAMPLE: “BRAND IMAGE” AND SELECTED CONCEPTUAL THEME FOR PARTICULAR OLYMPICS, COMMONWEALTH GAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBAL CORPORATION, ASIA-IN-MALAYSIA POSITIONING, ETC.




(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.

(2) KNOW THE “BIG PICTURE”, LEADING TO SIDEWAY-EXTENSION, DOWNWARD-CASCADING.




(3) IS THIS EVENT (THAT YOU ARE TO EMCEE) PART OF A LARGER ENTITY/SCHEME?


(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY ELEMENT OF AN EVENT (THAT YOU ARE GOING TO EMCEE):

(1) ACTIVITIES THAT SURROUND THE EVENT.

(2) PROGRAM ELEMENTS.

(3) ANY AREAS OF SIGNIFICANCE, OR SENSITIVITY?

X-FACTOR PERSONA“QUALITY TRAITS: EMCEE PAR EXCELLENCE”

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:

(1) STAND OUT WITH YOUR UNIQUE X-FACTOR POSITIONING.

(a) ESSENCE: WHAT DO YOU STAND FOR?

(b) INTRINSIC EMOTIONAL CONNECTORS: WHAT SPECIAL TALENTS/SKILLS?


(c) SOCIAL CAUSE: CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS, WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR INSPIRING, OR PROMOTING?


(d) PERSONALITY:

(i) OUTLOOK: HOW DO YOU THINK? HOW DO YOU DRESS? HOW DO YOU GROOM YOURPERSONAL BRAND?

(ii) STYLE: HOW DO YOU DO THINGS, YOUR UNIQUE WAY?

WHAT’S YOUR SIGNATURE STYLE?



(2) STAY RELEVANT TO PEOPLE AND EVENT: CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.(a) IN TUNE WITH THE CHANGING TIMES.

(b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFIC AUDIENCE.



(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.

(a) WHAT DRIVES YOU? INTRINSIC PASSION OR EGO?

HOW DO YOU OPERATE?OTHER-CENTRIC OR SELF-CENTRIC/NARCISSISTIC?

DO YOU HAVE THE SPIRIT OF GENEROSITY?




(b) OPTIMIZE “HALO EFFECT” FOR YOUR REPUTATION: CREATE A “LARGER-THAN-LIFE” PERSONAL BRAND IMAGE: (i) BRAND REPUTATION/CREDIBILITY ENHANCERS. (ii) BRAND ADVOCATES. (iii) BRAND ENDORSERS. (iv) BRAND-LEVERAGING.




(c) CHARISMA WITH HUMILITY.


(A) X-FACTOR PERSONA: (II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(1) HOW TO ENHANCE YOUR CHARISMA: BE A PEOPLE MAGNET, GIFTED WITH ART OF PERSUASION.


(A) X-FACTOR PERSONA: (II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(2) HOW TO ACQUIRE “STAGE PRESENCE”: “OWN THE STAGE.”


(A) X-FACTOR PERSONA: (III) GET INTO “BEINGNESS”:

(1) PSYCHOGRAPHICS COMMUNICATION:UNDERSTAND, THEN EMBRACE THE THEME, THE PRECISECONTEXT, AND THE PSYCHOGRAPHICS OF THE SPECIFIC AUDIENCE, AS WELL AS THE SPECIFIC OCCASION (AND SITUATION/S WITHIN).


(A) X-FACTOR PERSONA: (III) GET INTO “BEINGNESS”:

(2) DECLARE “STATE-OF-BEING”:INTERNALIZE , TO GET INTO THE RIGHT STATE-OF-MIND AND STATE-OF-HEART. THEN, FLOW FROM YOUR UNCONSCIOUS.


(B) 10 QUALITY TRAITS TO SUPPLEMENT YOUR X-FACTOR PERSONA

(1) THE POWER OF SELF-ESTEEM.

(2) THE DISCIPLINE TO TAKE FULL RESPONSIBILITY.

(3) THE POWER TO HARMONIZE, AND MOTIVATE AND INSPIRE.


(4) CRISIS MANAGEMENT – THE ACID TEST: PRE-EMPTING CRISES/TWISTS & TURNS

(5) THE POWER TO UPLIFT SPIRITS ALL THROUGH THE EVENT.

(6) THE MASTERY OF PSYCHOGRAPHICS: PSYCHOLOGY OF COMMUNICATION.

(7) VERSATILITY AND FLEXIBILITY.


(8) FINE ART OF SCRIPTING, PUBLIC SPEAKING, IMPROMPTU SPEAKING.

(9) “SPEAKING TO UNIFY” AND NOT “SPEAKING TO DIVIDE”.

(10) CREATE AND ACHIEVE EMOTIONAL ACCEPTANCE: IDENTIFY AND FULFIL THEIR NEED.


(C) CRISIS MANAGEMENT:

(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:

PRE-EMPT PROBABLE “TWISTS AND TURNS”, AHEAD OF EVENT, SO AS TO BE MENTALLY AND EMOTIONALLY PREPARED.

PLUS, STRATEGIZE AHEAD OF AN EVENT, HOW TO ADDRESS THESE PRE-EMPTIVE PROBABLE “TWISTS AND TURNS”.



(I) NEED FOR PERSUASIVE, UNIFYING IMPROMPTU SPEAKING. ARTICULATE THE SITUATION. EMPATHISE WITH AUDIENCE. BRING MOOD OF AUDIENCE UP AGAIN.

(II) BE INVENTIVE, WITH CONTINGENCY ARRANGEMENT, IN TANDEM WITH ORGANIZING HEAD.



(III) MAKE DECISION BY SELF (IF NOT MAJOR). PROPOSE POSSIBLE DECISION TO ORGANIZING HEAD.

(i) ALWAYS HAVE ON STANDBY, THE ORGANIZING HEAD, AS WELL AS KEY AND RELEVANT SUB-COMMITTEE HEADS AND ROLE PLAYERS.



(ii) TAKE CONTROL OF THE SITUATION. TAKE RESPONSIBILITY FOR DECIDED ACTION.

(iii) STAY COOL, AND COURTEOUS.



(IV) HOW TO DEAL WITH POSSIBILITY OF LAST-MINUTE CHANGES TO PROGRAM, OR EMERGENCY ADJUSTMENT TO PROGRAM:

STAY FOCUSED AND ALERT, GET INTO “FAST-THINKING” MODE:

(i) COME UP WITH FAST DECISIONS, ON HOW TO RESCHEDULE OR REORGANIZE THE PROGRAM.



(ii) CLOSE RAPPORT WITH ORGANIZING HEAD. BE PROACTIVE AND RECOMMEND YOUR ALTERNATE PLAN/S. MAKE A JOINT DECISION.

(iii) FLEX ACCORDINGLY, MAKE THE CHANGE. (SUCH AS SHIFTING PROGRAM ELEMENTS AROUND.)


(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:

PROPENSITY WITH THE “FEEL-GOOD” FACTOR, AND THE ABILITY

TO HARMONIZE OVERALL ENERGY, AS WELL AS TO OPTIMIZE

THE ENERGY-LEVEL AND ENTHUSIASM OF THE AUDIENCE.



(1) SHARP, FOCUSED, ALERT. PLUS, PRE-EMPTIVE OF CRISIS.

(2) ADDING-VALUE, WITHOUT WASTING WORDS.

(STAR-MAKER.)

(3) ARTICULATE WITH IMPROMPTU

SITUATIONAL SPEAKING PERSUASION.



(4) EMOTION-METER AND ENERGY BUILDER FOR AUDIENCE.

(5) PR-SAVVY.

(6) TIME-MANAGEMENT.

SCRIPTING GUIDEINTRODUCTORY GUIDE I. USE OF HUMOUR II. AWARD PRESENTATION III. PROTOCOL/DECORUM/FORMALITIES IV. INTRODUCING SPEAKER V. INTRODUCING PERFORMER VI. PROGRAM VII. CONTESTS

VIII. JUDGES/JUDGING IX. ORGANIZING CHAIRPERSON/COMMITTEE

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT

OVERALL:THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING, IN TANDEM WITH ORGANIC PREPARED SCRIPT.

PARAPHRASE, NOT SCRIPT-FIXATED.

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

CHECKPOINTS:(1) ORIGINAL SCRIPT FRAMEWORK: FOUNDATION/ESSENCE. KEEP TO THE ESSENCE.

(2) HOW ORGANIC? THE LESS FORMAL, THE MORE ORGANIC. KEEP IT SITUATIONAL.

(3) SEAMLESS BRIDGING, FROM START TO FINISH.

SCRIPTING GUIDE ~ (I) USE OF HUMOUR

WHY USE HUMOUR IN YOUR COMMUNICATION?

(1) BUILD RAPPORT WITH AUDIENCE.

(2) RELAX THE AUDIENCE. (REDUCE AUDIENCE “TENSION”).

(3) UPLIFT SPIRIT AND SUPPORTIVENESS OF AUDIENCE.

IMPORTANT NOTE: MAKE FUN OF SELF OR SPECIFIC INDIVIDUAL, BUT NOT THE AUDIENCE.


TYPES OF HUMOUR AND MERITS OF EACH TYPE:

(1) SLAPSTICK.

(2) GENERAL HUMOUR: (a) ONE-LINER. (b) ANECDOTE. (c) VERY SHORT STORY.(d) PREPARED JOKES. (e) ETC.

(3) PUN OR PUNNY PHRASES/STATEMENTS.



(4) WIT.

(5) “ROAST”.

(6) SATIRE.

(7) ETC.

NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE OF HUMOUR.



NOTE ON WHAT TYPE OF HUMOUR TO USE:

IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSIC INTEREST OR PASSION FOR TYPE OF HUMOUR.

THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO “STRUGGLE” TO DISPENSE HUMOUR, OR LOOK ARTIFICIAL.


WHEN TO USE HUMOUR:

ANSWER: WHENEVER APPROPRIATE. BUT THE HUMOUR MUST BE RELEVANT.

EXAMPLES:

(1) GOOD START (WITH RELEVANT SUITABLE HUMOUR).

(2) LIVEN UP ATMOSPHERE.

(3) JOLT PEOPLE OUT OF “SEDATIVE STATE”.


(4) “BRIDGING” DEVICE.

(5) REPARTEE.

(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)

(7) ALLEVIATE CRISIS.

(8) BREAK “MONOTONY”.


WHEN NOT TO USE HUMOUR:

ANSWER: *WHEN NOT APPROPRIATE, OR *WHEN IT IS CONFLICTING WITH THE INTENTION OR GENRE OF PERFORMER.

EXAMPLES:(1) WHEN YOU’RE NOT GOOD AT HUMOUR!

(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL EULOGY SERVICE, “SERIOUS” CHURCH WEDDING, ETC.


(3) OFFICIOUS EVENTS, SUCH AS ROYALTY-PATRONAGE, BLACK-TIE AFFAIR.

(4) SPEAKER WITH SERIOUS MESSAGE.

(5) PERFORMER OF SERIOUS NATURE.

SCRIPTING GUIDE ~ (II) AWARD PRESENTATION

AWARD PRESENTATION:

INTRODUCTION: TYPES OF AWARDS

(1) CONTEST.

(2) EXCELLENCE IN SERVICE. | LONG-SERVICE.

(3) RECOGNITION. (4) ACHIEVEMENT.

(5) ETC.


AWARD PRESENTATION:

DOs:

(1) (A) FORMAT:

(a) NAME OF AWARD. PURPOSE OF AWARD.

(b) PROCEDURE OR STAGES OF SELECTION/CONTEST.

(c) CRITERIA FOR SELECTION/JUDGING.

(d) ANNOUNCE NAME OF RECIPIENT: FROM WHERE

(DEPT/DIVISION/ORGANIZATION, COUNTRY, ETC).


AWARD PRESENTATION:

DOs:(1) (B) INTRODUCING/CONDUCTING AWARD PRESENTATION:

(a) DO STAY IN “NEUTRAL MODE” (PERSONA) ~TOWARDS RESULTS OF NOMINATIONS OR WINNERS.

(b) DO BE “DIGNIFIED”.


AWARD PRESENTATION:

DO NOTs:(2) (A) INTRODUCING/CONDUCTING AWARD PRESENTATION:

(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT, DISAGREEMENT TO RESULTS.

(b) DO NOT PRAISE THE WINNER.

SCRIPTING GUIDE ~ (IV) AWARD PRESENTATION

AWARD PRESENTATION:

(c) DO NOT POKE FUN.

(b) DO NOT COMMENT ON JUDGING/JUDGES.

SCRIPTING GUIDE ~ (III) PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:

DOs:(1) INSIST ON ONE PERSON IN CHARGE OF PROTOCOL:

(a) DO CHECK/RECHECK PROTOCOL ACCURACY AND HIERARCHY. VIA INFO MINISTRY, OR ROYAL HOUSEHOLD.

(b) DO RESPECT HIERARCHY OF POSITIONS, RE SOCIETY/CLUB/ASSOCIATION/CORPORATE PROTOCOL.

SCRIPTING GUIDE ~ (III) PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:

DO NOTs:(1) NEVER VOICE YOUR PERSONAL FEELING:

(a) DO NOT COMMENT ON PROTOCOL.

(b) DO NOT CHALLENGE LEVEL OF PROTOCOL, DECORUM, FORMALITIES SET.

NOTE: AGREE, OR TURN DOWN PRO EMCEE ASSIGNMENT.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER

INTRODUCING SPEAKER:

(1) FORMAT:(a) MENTION NAME OF SPEAKER.

(b) SEMBLANCE OF SUBJECT.

(c) CREDENTIALS: CREDIBILITY. PERSONAL BACKGROUND, ONLY WHERE RELEVANT TO THE SUBECT TO BE PRESENTED.



(d) FINAL ANNOUNCEMENT FLOW: NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION. (PAUSE.) TITLE AGAIN. NAME OF SPEAKER.

(e) LEAD APPLAUSE.



(2) DOs:

SETTING THE MOOD AND TONE. PRE-EMPT THE SAME MOOD AND TONE OF NEXT SPEAKER/PERFORMER.

(a) FIND OUT FROM SPEAKER: “TITLE” AND CONTEXT OF SPEECH.


(b) BRIEF INTRO (MAXIMUM 1-2MIN).

CREATE ENOUGH INTEREST OR EXCITEMENT AND CREDIBILITY FOR AUDIENCE TO WANT TO LISTEN TO SPEAKER.


(c) CREATE IMAGE OF A COMPETENT, WELL-QUALIFIED PERSON TO SPEAK ON SELECTED SUBJECT OR TOPIC.

CREDIBILITY CHECKPOINTS: (i) EXPERIENTIAL SUCCESS OR ACADEMIC/ PROFESSIONAL QUALIFICATION. (ii) FORMAL OR INFORMAL KNOWLEDGE. (iii) “SERIOUS” PART-TIMER OR HOBBYIST.(iv) INTRINSIC INTEREST, MATCHING LEVEL OF SPEECH/PRESENTATION.


(d) BUILD RAPPORT BETWEEN SPEAKER AND AUDIENCE: ANY COMMONALITY? (FOR THE PURPOSE OF BONDING AUDIENCE TO SPEAKER.)

(e) LEVEL OF “DIGNITY” OR INFORMALITY, IS RELATED TO: (A) OCCASION. (B) EMCEE’S RELATIONSHIP WITH SPEAKER. (C) PRESTIGE OF SPEAKER. (D) ETC.


(f) USE “INTRO CREDENTIALS” PROVIDED BY SPEAKER, IF HE/SHE WISHES TO, PROVIDED THAT THE “INTRO CREDENTIALS/BIODATA/PROFILE” IS:

* WITHIN DECIDED TIMEFRAME (NUMBER OF WORDS).* RELEVANT TO SUBJECT AND OCCASION. * PROPERLY WRITTEN/CONSTRUCTED.

IF NOT, PROVIDE FORMAT TO SPEAKER, TO FOLLOW. OR, REWRITE YOURSELF.



(2) DO NOTs:

(a) DO NOT GIVE LIFE HISTORY, ESPECIALLY WHEN NOT RELEVANT, TO THE THEME OR CONTEXT OF THE SPEECH/PRESENTATION. (DO NOT WASTE ANY WORDS, OR DILUTE THE CREDENTIALS.)



(b) DO NOT “OUTSTAGE” SPEAKER, OR TRY TO SHARE THE SPOTLIGHT, BY:

(i) GIVING SPEECH OF YOURSELF.(ii) BEING A COMEDIAN OR “CLOWN”.(iii) OVERSHADOWING THE SPEAKER SOMEWHAT.



(c) DO NOT “EXTRACT” SOME OF SPEAKER’S SCRIPT.

(d) AT INTRODUCTION, OR PRIOR TO INTRODUCING SPEAKER, DO NOT:(i) OFFER LENGTHY OPINION, OR, (ii) MAKE A SPEECH ON THE SPEAKER’S SAME SUBJECT OR TOPIC.



(e) DO NOT “STEAL THE THUNDER” OR LIMELIGHT FROM THE SPEAKER.

YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE, AND KEEP PROCEEDINGS SMOOTH.



(h) DO NOT DISCLOSE CONTENTS OF SPEECH.

(i) DO NOT SHOCK SPEAKER WITH IRRELEVANT OR CONTRADICTORY INTRO.



(f) DO NOT PUT SPEAKER, ON A PEDESTAL.

(g) DO NOT PUT UNDUE PRESSURE ON SPEAKER, BY SETTING VERY HIGH EXPECTATIONS, OR UNREALISTIC EXPECTATIONS.

SCRIPTING GUIDE ~ (V) INTRODUCING PERFORMER

INTRODUCING PERFORMER:

(1) DOs:

(a) DO KNOW WHAT’S THE NATURE OF PERFORMANCE, AND THE FLOW OF PERFORMANCE.

(b) DO REFLECT TONE OF, OR GENRE OF PERFORMANCE.

(c) DO KNOW “REPERTOIRE” OF SONGS, ELEMENTS OF PERFORMANCE, SYNOPSIS OF ACT.



(d) DO BE “IN TUNE” WITH THE NATURE OF PERFORMANCE, OR TYPE OF PERFORMANCE.

* SHOW YOUR INTEREST (EVEN IF YOU ARE PERSONALLY NOT KEEN WITH THE NATURE OF PERFORMANCE, OR TYPE OF PERFORMANCE).

* STAY NEUTRAL, IF YOU CANNOT GET EXCITED ABOUT IT!



(e) BETTER STILL, “FAKE” YOUR INTEREST OR EXCITEMENT FOR THE NATURE OF PERFORMANCE, OR TYPE OF PERFORMANCE.



(2) DO NOTs:

(a) DO NOT GO OFF-TANGENT/OUT-OF-CONTEXT.

(b) DO NOT MAKE COMPARISON WITH “THE BEST” OR HIGHER-LEVEL BENCHMARKS, THUS DOWNGRADING THIS PARTICULAR PERFORMANCE.

(c) DO NOT TELL AUDIENCE OF LACK OF PREPARATION BY THE PERFORMER/S.



(2) DO NOTs:

(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH, INEXPERIENCED.

(e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.

SCRIPTING GUIDE ~ (VI) PROGRAM

PROGRAM:

(1) DOs:

(a) DO INFORM AUDIENCE, AS EARLY AS POSSIBLE, OF WHAT’S IN STORE, TO (i) DIFFUSE TENSION, (ii) TO GENERATE EXCITEMENT.

(b) DO WARN OF “SURPRISES” AHEAD. NOT NECESSARY TO GIVE DETAILS. BUT GIVE NOTICE.


PROGRAM:

(c) DO MENTION “HIGHLIGHTS” EARLY, AS A MEANS TO GET AUDIENCE TO STAY THROUGHOUT THE PROGRAM.

(d) DO DRUM UP EXCITEMENT OF UPCOMING HIGHLIGHTS, TO INCREASE “SUSPENSE” AND ENTHUSIASM, AND TO KEEP AUDIENCE STAYING BACK.


PROGRAM:

(e) DO KEEP “FINALE” TO BE THE MOST IMPORTANT TO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZE AUDIENCE STAYING TILL THE END.


PROGRAM:

(2) DO NOTs:

(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUT NOTICE.

(b) DO NOT INTERCHANGE PROGRAM ELEMENTS, WITHOUT NOTICE.

SCRIPTING GUIDE ~ (VII) CONTESTS

CONTESTS:

(1) DOs:

(a) DO STAY NEUTRAL.

(b) DO ENCOURAGE ALL PARTICIPANTS.

(c) DO PRACTISE “FAIRNESS OF COMMENT”, AS WELL AS TIME SPENT WITH EACH.

SCRIPTING GUIDE ~ (VII) CONTESTS

CONTESTS:

(2) DO NOTs:

(a) DO NOT RIDICULE ANY CONTESTANT.

(b) DO NOT GET PERSONAL.

(c) DO NOT VICTIMIZE.

(d) DO NOT DISCUSS WITH OTHERS, ANYTHING RELATED TO PARTICIPANTS OR THE CONTEST.

SCRIPTING GUIDE ~ (VIII) JUDGES/JUDGING

JUDGES/JUDGING:

(1) DOs:

(a) DO SHOW DECORUM TO JUDGING SYSTEM.

(b) DO RESPECT ALL JUDGES ALIKE. (NOT TO CREATE ANY DOUBT ABOUT INTEGRITY OF ANY ONE OF THE JUDGES.)


JUDGES/JUDGING:

(2) DO NOTs:

(a) DO NOT MAKE FUN OF JUDGING PROCESS.

(b) DO NOT COMMENT ON INTEGRITY.

(c) DO NOT SINGLE-OUT ANY “ILLUSTRIOUS” PERSONALITY.


JUDGES/JUDGING:

(d) DO NOT BE OPINIONATED.

(e) DO NOT JUDGE THE JUDGES.

SCRIPTING GUIDE ~ (IX) ORGANIZING COMMITTEE/ORGANIZING CHAIR

ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(1) DOs:

(a) DO ACKNOWLEDGE EFFORT/COMMITMENT OF WHOLE ORGANIZING COMMITTEE (AND ALL SUB-COMMITTEES) ALIKE.

SCRIPTING GUIDE ~ (IX) ORGANIZING COMMITTEE/ORGANIZING CHAIR

ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(2) DO NOTs:

(a) DO NOT CRITICIZE INEFFICIENCY OF COMMITTEE OR PART OF THE COMMITTEE, OR SHOW YOUR DISDAIN.

(b) DO NOT DISASSOCIATE FROM THE COMMITTEE.(AS A PRO EMCEE, YOU ARE “PART OF THE EVENT”.)

SCRIPTING GUIDE ~ (IX)ORGANIZING COMMITTEE/ORGANIZING CHAIRORGANIZING COMMITTEE/ORGANIZING CHAIR:

(2) DO NOTs:

(c) DO NOT: (i) PRAISE ORGANIZING CHAIRPERSON IN EXCESS, OR (ii) SINGLE-OUT THE ORGANIZING CHAIRPERSON, AT THE EXPENSE OF “STEALING THE THUNDER” FROM THE

COMMITTEE (WHO MAY FEEL UNAPPRECIATED, SLIGHTED, DISAPPOINTED). NOT GOOD FOR YOUR FUTURE REPUTATION (OR BUSINESS) AS A PRO EMCEE.

ENHANCEMENT GUIDEI. MUSIC, SONGS, SOUND, SFX.

II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE PROPS, STAGE HISTRIONICS.

ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX

(1) WHY (USE) ? (A) INCREASE IMPACT OF EVENT.(B) PROVIDE MULTI-SENSORY STIMULATION.(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS OR INDIVIDUALS.(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.


(2) WHEN (TO USE) ? WHEN APPROPRIATE TO PROGRAM SEGMENT OR PARTICULAR SCENARIO, AND THE EVENT THEME.

EXAMPLES: (A) ACCOMPANYING MUSIC FANFARE TO INTRODUCING: (i) VIP. (ii) SPEAKER. (iii) PERFORMER OR ENTERTAINER


(2) WHEN (TO USE) ?

(B) PRELUDE TO EVENT.(C) INTERLUDE.(D) “LAUNCH” THEME.(E) GAME ACCOMPANIMENT.(F) BACKDROP MUSIC TO PRESENTATION.(G) FASHION SHOW | PERFORMANCE | DANCE | ETC.(H) WHENEVER IT SERVES TO ENHANCE THE SCENARIO, AND NOT DISTRACT OR “FIGHT” WITH THE SCENARIO.


(3) WHAT (SELECTION) ? (i) IN TANDEM WITH THE OVERALL THEME/CONCEPT OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A PARTICULAR PROGRAM ELEMENT, AS WELL AS IN-SYNC WITH THE TEMPO AND PACE.


(4) WHERE (TO USE) ?

(i) STAGE.(ii) NEAR STAGE ~ FRONT.(iii) CEILING.(iv) AND AS A SURPRISE FACTOR, ANYWHERE!


(5) WHO (TO EXECUTE) ?

(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) PROFESSIONAL MUSIC/AV DIRECTOR, OR SOUND & LIGHTING (& TECHNOLOGY) DIRECTOR, AND THEIR CREW.


(5) WHO (TO EXECUTE) ?

(iii) IN LIEU OF ABOVE PROFESSIONALS, EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A FLOOR MANAGER FOR THIS ROLE, PLUS A MUSIC-MACHINE MANAGER.

ENHANCEMENT GUIDE ~ I. MUSIC, SONGS, SOUND, SFX

(6) HOW (TO EXECUTE) ? PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH: (i) TIME PRECISION. (ii) HIGH QUALITY STANDARDS OF MUSIC, SONGS, SOUND, SFX. (iii) RELEVANT SELECTION STRATEGY. (iv) SLICK EXECUTION.

ENHANCEMENT GUIDE ~ I. MUSIC, SONGS, SOUND, SFX

(6) HOW (TO EXECUTE) ?

…OTHERWISE, TO DROP IT

(USE OF MUSIC, SONGS, SOUND, SFX)

FROM EVENT ENTIRELY!

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS

(1) WHY (USE) ?

(A) INCREASE IMPACT OF EVENT.(B) PROVIDE MULTI-SENSORY STIMULATION.(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS

OR INDIVIDUALS.(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.


(2) WHEN (TO USE) ?

WHEN APPROPRIATE TO PROGRAM SEGMENT OR PARTICULAR SCENARIO, AND THE EVENT THEME.

(i) AUDIO-VIDEO, MULTIMEDIA, ICT:FOR VISUAL PRESENTATION, AND FOR DRAMATIZING EFFECT.


(2) WHEN (TO USE) ?

(ii) LIGHTING, TECHNOLOGY:FOR STYLIZED IMPACT.

(iii) STAGE HISTRIONICS, PROPS:TO HEIGHTEN EXCITEMENT LEVEL.


(3) WHAT (SELECTION) ?

(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT

OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A PARTICULAR PROGRAM ELEMENT, AS WELL AS IN-SYNC WITH THE TEMPO AND PACE.


(4) WHERE (TO USE) ?

(i) STAGE.(ii) NEAR STAGE ~ FRONT.(iii) CEILING.(iv) AND AS A SURPRISE FACTOR, ANYWHERE!

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS(5) WHO (TO EXECUTE) ?

(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) SOUND & LIGHTING DIRECTOR OR TECHNOLOGY DIRECTOR, AND THEIR CREW.

(iii) IN LIEU OF ABOVE PROFESSIONALS, EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A FLOOR MANAGER FOR THIS ROLE.

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS(6) HOW (TO EXECUTE) ?

PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH: (i) TIME PRECISION. (ii) HIGH QUALITY STANDARDS OF AV, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY.(iii) RELEVANT PRODUCTION AND REPRODUCTION STRATEGY. (iv) SLICK EXECUTION.


(6) HOW (TO EXECUTE) ?

…OTHERWISE, TO DROP IT

(USE OF AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING,

TECHNOLOGY, STAGE HISTRIONICS, PROPS)

FROM EVENT ENTIRELY!

HOW TO PREPARE FOR EVENTI. INVOLVE FROM START-TO-FINISH.II. PHASE-BY-PHASE PREPARATION. (A) PRE-PREPARATION PHASE. (B) FINAL PREPARATION PHASE. (a) ONE DAY BEFORE. (b) DAY OF EVENT.

HOW TO PREPARE FOR EVENT ~ I. INVOLVE FROM START-TO-FINISH

KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:

(I) START: INITIAL ORIENTATION TO EVENT.

(II) MID-WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY-RUN / REHEARSAL / LAST-MINUTE CHANGES. PLUS FINAL DRY-RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION

(A) PRE-PREPARATION PHASE(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:

PLAN INITIAL GROUNDWORK CHECKLIST TO ASSESS

(a) SUITABILITY OF LOCATION, AND, (b) COMPETENCY LEVEL OF PERSONS-IN-CHARGE.



(1) THE PROGRAM/THEME/OBJECTIVE:MEET UP WITH ORGANIZER/CLIENT TO DISCUSS PROGRAM AND ALL PERSON ELEMENTS (INCLUDING PROTOCOL) AND NON-PERSON ELEMENTS, AS WELL AS OVERALL BRAND IMAGE.



(2) VENUE & LOGISTICS:

(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL, RESORT, WHATEVER PLACE), TO ALIGN TO THEME AND OBJECTIVE OF THE EVENT.

EXAMPLE: TROPICAL JUNGLE THEME.



(2) VENUE & LOGISTICS:

(b) LOGISTICS: TO RECCE TO CONFIRM WHETHER FACILITIES (SUCH AS STAGE, BACKDROP, HALL DESIGN, SOUND & LIGHTING SYSTEM, PRESENTATION FACILITIES, ETC, CAN “SUPPORT” THE THEME AND OBJECTIVE.

EXAMPLE: TROPICAL JUNGLE THEME.



(3) KNOW THE TEAM:ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUB-COMMITTEES.

IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONS-IN-CHARGE…TO CHECK WHETHER THEY HAVE THE EXPERIENCE TO HANDLE THEIR AREAS OF RESPONSIBILITIES.


(A) PRE-PREPARATION PHASE(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:

SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURING THE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BE THE “HANDYMAN” AND SHOULD NOT BE, SO INSIST ON THE FOLLOWING:

*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTO CIRTICAL ROLES DURING THE RUNNING OF THE EVENT, SUCH AS:


(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:

(a) KEY COORDINATING PERSON (ORGANIZING CHAIRPERSON/CLIENT).

(b) SOUND & LIGHTING/AUDIO-VIDEO (FLOOR MANAGER).

(c) PERSON COORDINATING TIMING AND PLAYING OF SPECIFIC FANFARES/MUSIC/SFX.


(A) PRE-PREPARATION PHASE (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:

(d) STAGE LOGISTICS.

(e) PRESENTATION FACILITIES. (f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS, INCLUDING HANDLING/OPERATING COMPUTER NOTEBOOKS, ETC.


(A) PRE-PREPARATION PHASE(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:

(g) PERSON COORDINATING WITH PRESENTERS/SPEAKERS/PERFORMERS. (h) FOOD & BEVERAGE.

(i) AWARD PRESENTATION/SOUVENIR PRESENTATION.


(B) FINAL PREPARATION PHASE:

ALIGNING EVERYTHING

TO CONFIRMED OBJECTIVE AND THEME,

TO ACHIEVE CONGRUENCY.


(B) FINAL PREPARATION PHASE:(i) EVENT DETAILING

(a) DEFINITION OF:* OBJECTIVE OF EVENT.* THEME OF EVENT.



(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS, OUTFITS, PROPS, MATERIALS:

* COSTUMING.* MUSIC & SONGS/SOUND/SFX/GIMMICKS.* STAGE DESIGN/DÉCOR/ETC.* ENTERTAINMENT: PRODUCTION HOUSES, ENTERTAINMENT AND PERFORMING ARTS PROVIDERS, MODELLING AGENCIES, ETC.



(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS, OUTFITS, PROPS, MATERIALS:

* SPEAKERS/PERFORMERS/ENTERTAINERS.* LAUNCH IDEAS/OPENING GAMBIT.


(B) FINAL PREPARATION PHASE:(ii) FINALIZING PROGRAM ELEMENTS AND FLOW:

(a) RECONFIRM PROGRAM ELEMENTS WITH ORGANIZER/CLIENT.

(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.

(c) PROCEED WITH SCRIPTING STRUCTURE.


(B) FINAL PREPARATION PHASE:(iii) EMCEE GROOMING AND APPEARANCE:

(a) DRESSING GUIDE:* DRESS TO THE OCCASION/THEME.* SAME LEVEL AS AUDIENCE, OR HIGHER.


(B) FINAL PREPARATION PHASE:(iv) FINAL CHECK WITH ORGANIZER/CLIENT, TO GET ENDORSEMENT:

(a) PROGRAM ELEMENTS AND FLOW.(b) EMCEE’S GROOMING AND APPEARANCE.(c) EMCEE’S SCRIPT ~ CONFIRM/MAKE FINAL ADJUSTMENTS.(d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUAL EXECUTION OF PROGRAM ACTIVITIES ~ NO SURPRISE FOR ORGANIZER/CLIENT.


(B) FINAL PREPARATION PHASE:(v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:

WAY BEFORE ACTUAL DAY/EVENT:COUNTERCHECK, “SUPERVISE”, OVERSEE THAT ALL RELEVANT PERSONS-IN-CHARGE HAVE PERFORMED THEIR DUTIES OR COORDINATIONS.


(B) FINAL PREPARATION PHASE:> ONE DAY BEFORE:

(a) FINAL CHECK: USING THE EMCEE CHECKLIST.(REFER TO APPENDIX 2 IN WORKBOOK.)

(IF YOU ARE LUCKY, A TOP-RATE ORGANIZER/CLIENT WILL ACTUALLY BE VERY CONCERNED, TO ENSURE THE “FINAL CHECK” IS EFFECTED. BUT BE “PROFESSIONAL” – BE THERE.


(B) FINAL PREPARATION PHASE:> ONE DAY BEFORE:

(b) DRY-RUN AT VENUE: TEST OUT FINAL SCRIPT, THROUGH SOUND SYSTEM.

(c) STAY THROUGH THE FULL-DRESS REHEARSAL, TO CHECK AND DOUBLE-CHECK TIMING AND LOGISTICS.


(B) FINAL PREPARATION PHASE:> DAY OF EVENT:

(a) VENUE/LOGISTICS CHECK* ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUR EMCEE CHECKLIST.

PLUS:* GET ORIENTED TO ENVIRONMENT, AUDIENCE AND GOINGS-ON.



* ENSURE KEY PEOPLE ARE READY TO COORDINATE FAST WITH YOU, TO UPKEEP THE ATMOSPHERE AND SMOOTH RUNNING OF PROGRAM.

* PREFERABLY, LET ALL “COMPLAINTS”, ANNOUNCEMENTS, CHANGES, TO BE CHANNELED THROUGH ONE PERSON.



(b) STATE OF PERSONA OF EMCEE

* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS, PERFORMERS, AUDIENCE.

* STAY IN “RELAXED AND RESOURCEFUL” STATE.




* CHARISMA: “PRESENCE”, POSITIVE ENERGY, POISE, CHARM-PERSONALITY, SELF-ESTEEM (SELF-COFIDENCE & SELF-RESPECT), BEING IN COMMAND.




* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONE-LINERS, SHORT QUIPS, TO BRIDGE SPEAKERS OR PERFORMERS. BUT, NOT TO REHASH SPEAKERS’ WORDS.

* NEVER OVERTALK.

* DO NOT STEAL THE LIMELIGHT FROM THE STARS.




* FOCUS ON THE EVENT’S OBJECTIVE/THEME:MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIA CONGRUENT SCRIPT, KEY MESSAGE AND BRIDGING PHRASES…ENHANCED BY WORD-MASTERY, VOCAL TONALITY SPECTRUM AND PURPOSEFUL BODY LANGUAGE.




* RESONATE EHTHUSIASM FROM START TO FINISH.

* KEEP THE AUDIENCE’S ENERGY UP.




* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOK INTO “PROBLEM AREAS”…) THE EMCEE SHOULD KEEP AN EYE ON DISSATISFACTION AREAS, AND ADDRESS THEM SOONEST.




* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS. YOU ARE TO BE NEVER AFFECTED BY “PROBLEMS” OR “TECHNICAL HITCH-UPS, ETC.



(c) LET THE SHOW BEGIN!

* HOLD ON TO YOUR SCRIPT!

* STAY TO THE PREPARED SCRIPT, OR THE “ESSENCE” OF THE PREPARED SCRIPT.




* (IF YOU ARE ALREADY VERY PROFICIENT…) YOU CAN GET INTO THE “IMPROMPTU PERSUASIVE SPEAKING” MODE.

BUT ALWAYS KEEP TO THE “ESSENCE”, WHEN YOU SPEAK EXTEMPORANEOUSLY.




* KEEP TO YOUR OWN TERRITORY.

* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEE TERRITORY.

* DO NOT SOCIALIZE.




* DO NOT BE A GLUTTON. (SHOULD YOU NEED TO EAT, DO SO WAY BEFORE THE START OF THE EVENT.)

* DO NOT BE A BUSYBODY: STAY TO YOUR ROLE AS EMCEE, WHICH IS TO BE ON “CONSTANT ALERT”.




* YOU ARE AT THE FUNCTION, NOT PRINCIPALLY TO “ENJOY YOURSELF”. YOUR PRIMARY PURPOSE IS TO KEEP THE AUDIENCE ENTERTAINED, AND TO KEEP THEIR SPIRITS HIGH.




* IN FACT, SHOULD UNFORESEEN OR UNEXPECTED HITCHES OCCUR, YOU HAVE TO ENSURE THAT THAT THE SPIRIT OF THE AUDIENCE WOULD NOT BE DAMPENED. ENSURE THAT THE AUDIENCE COULD STILL ENJOY THE EVENT.

ALWAYS SAVE THE OCCASION, TO YOUR BEST ABILITY.

REVIEW FOR FUTURE PROGRESSINTRODUCTORY GUIDE:EVALUATION FOR SELF-IMPROVEMENT, AND TO SET NEW STANDARDS OF PERFORMANCE FOR FUTURE.A. LEARN FROM EXPERIENCES AND FEEDBACKS.B. GROW FROM EXPERIENCES AND FEEDBACKS.C. POST-MORTEM WITH ORGANIZER/CLIENT.D. LOOK FOR NEW BIGGER CHALLENGES.

REVIEW FOR FUTURE PROGRESS

INTRODUCTORY GUIDE:EVALUATION FOR SELF-IMPROVEMENT, AND TO SET NEW STANDARDS OF PERFORMANCE FOR FUTURE.

* CELEBRATION FACTOR: AFTER GIVING YOUR BEST EFFORT AT EMCEEING AN EVENT, IMMEDIATELY CELEBRATE, NO MATTER WHAT THE OUTCOME!

* RATIONAL ANALYSIS: AT PRE-ASSIGNED TIME (SAY, ONE DAY LATER), THEN ONLY GO THROUGH THE STRENGTHS AND “AREAS FOR IMPROVEMENT”.


(A) LEARN FROM EXPERIENCES AND FEEDBACKS.

* OWN SELF-EVALUATION.

* AUDIENCE FEEDBACKS.

* ORGANIZER’S/CLIENT’S FEEDBACKS


(B) GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(i) SELF:> PRO EMCEE STRENGTHSIDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS.

> PRO EMCEE WEAKNESSESIDENTIFY, AND CLOSE THE GAP.


(B) GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(ii) NON-SELF (OTHERS):EXAMPLE : SLIP-UPS, OVERSIGHTS

(a) ORGANIZER.(b) LOGISTICS.(c) MUSIC/SONGS/SOUND/SFX(d) AUDIO-VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/STAGE HISTRIONICS/PROPS


(C) POST-MORTEM WITH ORGANIZER/CLIENT.

(a) EDUCATE YOURSELF FOR FUTURE EMCEE ASSIGNMENTS.

(b) EDUCATE THE ORGANIZER/CLIENT.


(D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:

(a) INTRICATE/COMPLEX THEME-EVENTS.

(b) MEGA EVENTS – AT A BIG STADIUM, ISLAND RESORT, ETC.

(c) INNOVATIVE EVENTS.

PROGRAMMING AND TIMINGA. HOW TO PLAN AND TIME THE PROGRAM. B. MOCK PROGRAM.

APPENDIX 1

PROGRAMMING AND TIMING

(A)HOW TO PLAN AND TIME THE PROGRAM

(1) THEME-FOCUS

(i) PLAN TO THE THEME. (a) MIND-MAP ALL POSSIBLE ACTIVITIES, A-Z,

INCLUSIVE OF BRIDGING, MUSIC, ETC.

(b) DOUBLE-CONFIRM THE EXACT TIMING FOR EACH PROGRAM ELEMENT.



(1) THEME-FOCUS

(ii) START WITH A BANG. (a) AN AROUSING OPENING GAMBIT, ESTABLISHES A

QUICK BONDING WITH THE AUDIENCE.



(1) THEME-FOCUS

(iii) BUILD UP EXCITEMENT INTEREST LEVEL. (a) INTERSPERSE PROGRAM WITH ELEMENTS THAT PROVIDE

THE HIGHEST-EXCITEMENT APPEAL.

(b) PRO EMCEE TO CREATE AND BUILD UP SUSPENSE LEVEL, AT ACTUAL EVENT.



(1) THEME-FOCUS

(iv) “FINALE”: BRING ON THE MAIN EVENT. (a) AWARDS PRESENTATION. PROVIDED THIS HAS GREAT

APPEAL TO ALL OF AUDIENCE, OR A HUGE MAJORITY OF AUDIENCE.

(b) PERFORMANCE. THIS HAS TO BE OF HIGH APPEAL TO AUDIENCE.



(1) THEME-FOCUS

(v) ALTERNATE TO “FINALE”. (a) A PROGRAM ELEMENT OF “SELFISH-INTEREST”/PERSONAL

MATERIAL GAIN TO INDIVIDUALS WITHIN AUDIENCE.

(b) GREATEST APPEAL FOR MOST OF THE AUDIENCE, TO STAY TILL THE END OF EVENT. EXAMPLE: GRAND LUCKY DRAW.



(2) TIMING

(i) DOUBLE-CHECK WITH ORGANIZER, AND (TO BE SAFE) EVEN SPEAKERS AND PERFORMERS, ON THE TIMING ALLOCATED.

(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.



(2) TIMING

(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM ELEMENT.

(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGH-LEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.


(B) MOCK PROGRAM(REFER TO APPENDIX 1 IN WORKBOOK.)

EMCEE CHECKLISTA. WHY THE NEED TO PREPARE EMCEE CHECKLIST.B. HOW TO PREPARE EMCEE CHECKLIST.C. SAMPLE EMCEE CHECKLIST.

APPENDIX 2

EMCEE CHECKLIST

(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST

(1) SLICKNESS AND PROFESSIONALISM.

(2) OPTIMIZING SUCCESS OF EVENT.

(3) OPTIMIZING SUCCESS OF YOUR PRO EMCEE PERFORMANCE

EMCEE CHECKLIST

(B) HOW TO PREPARE EMCEE CHECKLIST

(1) FINALIZE PROGRAM ELEMENTS.

EMCEE CHECKLIST


(2) CLASSIFY INTO CATEGORIES:

EXAMPLE: (i) EMCEE PREREQUISITES.

(ii) PROGRAM FLOW AND LOGISTICS.

(iii) ORGANIZING COMMITTEE.

EMCEE CHECKLIST



EXAMPLE: (iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN AND WITHOUT.

(v) PROTOCOL/DECORUM/FORMALITIES.

(vi) SPEAKERS AND PERFORMERS.

EMCEE CHECKLIST



EXAMPLE: (vii) LAUNCHING CEREMONY DEVICE/GIMMICK.

(viii) AWARD PRESENTATION CEREMONY.

(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.

EMCEE CHECKLIST



EXAMPLE: (xi) CONTESTS.

(xii) LUCKY DRAW/CONTEST DRAW.

(xiii) FOOD & BEVERAGE.

EMCEE CHECKLIST



EXAMPLE: (xiv) AUDIENCE’S AND GUESTS’ COMFORT.

(xv) ETC.

EMCEE CHECKLIST

(C) SAMPLE EMCEE CHECKLIST(REFER TO APPENDIX 2 IN WORKBOOK.)

PROFESSIONAL EMCEE WORKSHOP PRACTICALSI. AUDIENCE BAROMETER.II. PROTOCOL, DECORUM, FORMALITIES.III. PSYCHOGRAPHICS: PSYCHOLOGY OF COMMUNICATION.IV. EMCEEING ETHICS AND PROFESSIONALISM.

APPENDIX 3

PROFESSIONAL EMCEE WORKSHOP PRACTICALS

PROFESSIONAL EMCEE WORKSHOP PRACTICALS(REFER TO APPENDIX 3 IN WORKBOOK.)

“HOW TO BE A PROFESSIONAL EMCEE”Copyright © 2002 by Author BRANDJONTAN Jon Tan

All Rights Reserved.

[email protected]

www.brandjontan.com

Documents

"How To Become A Professional Master of Ceremonies" Workshop-17 Aug 2013