Your SlideShare is downloading. ×
How to be professional emcee - brandjontan Jon Tan
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

How to be professional emcee - brandjontan Jon Tan

6,726
views

Published on

The Secret To Being A Reputable Proficient Emcee, Is To "Engage The Audience With SEX". S = Shine Like A Diamond (Without Outshining The Stars). E = Effective Command (Of The Brand Image, Objective …

The Secret To Being A Reputable Proficient Emcee, Is To "Engage The Audience With SEX". S = Shine Like A Diamond (Without Outshining The Stars). E = Effective Command (Of The Brand Image, Objective and Theme Of An Event). X = X-Factor Persona.

Published in: Career

0 Comments
1 Like
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total Views
6,726
On Slideshare
0
From Embeds
0
Number of Embeds
2
Actions
Shares
0
Downloads
138
Comments
0
Likes
1
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. TOASTMASTERS INTERNATIONALDISTRICT 51 DIVISION P PRESENTS “HOW TO BE A PROFESSIONAL EMCEE” WORKSHOP VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. DATE: 3 NOV 2012 PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN) WWW.BRANDJONTAN.COM
  • 2. “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. brandjontan@brandjontan.com www.brandjontan.com
  • 3. NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER HOW YOU FEEL RIGHT NOW...GET INTO THE RIGHT STATE OF BEING, AND… GIVE YOUR LIFE’SBEST PERFORMANCE TODAY!
  • 4. PRO EMCEEPRINCIPLES ANDCONCEPTS
  • 5. ENGAGEYOUR AUDIENCE WITH S E X SEX ACRONYM: NEXT SLIDE
  • 6. SEX ACRONYM, STANDS FOR:SHINE (LIKE A DIAMOND) …WITHOUT OUTSHINING THE STARSEFFECTIVE COMMANDX FACTOR PERSONA
  • 7. SHINE LIKE A DIAMOND WITHOUT OUTSHINING THE STARS “THE REAL ROLE OF THE EMCEE”
  • 8. 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 SHOULDEQUAL TO, BUT NOT INTENTIONALLY HIGHER THANPERFORMANCE OF SPEAKERS/PERFORMERS.
  • 9. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA ANDSTANDARD OF PERFORMANCE THAT EQUATES TO THEEVENT.
  • 10. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(B) WHAT AN EMCEE IS… EVENT:(I) RESPONSIBLE FOR SUCCESS OF EVENT:(a) PROBABLE PROBLEMS/CRISES ARISING.(b) LESS THAN PROFICIENT PEOPLE DIRECTLY, ORINDIRECTLY INVOLVED IN RUNNING OF EVENT.
  • 11. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS STAR:(II) MAIN PLAYER: STAR MAKER, NOT THE STAR:(a) BRIDGE BETWEEN SPEAKERS/PERFORMERSOF AN EVENT, TO THE AUDIENCE.(b) HELP TO INSPIRE “STARS” OUT OF SPEAKERS ANDPERFORMERS, ESPECIALLY THE LESS CELEBRATED ONES.
  • 12. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(II) MAIN PLAYER: STAR MAKER, NOT THE STAR: STAR:(c) BE AN EMOTION METER:PRE SET THE ALREADY DEFINED/DECIDED MOOD ANDTONE OF A PARTICULAR EVENT.
  • 13. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS STAR:(II) MAIN PLAYER: STAR MAKER, NOT THE STAR:(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING ANDINSPIRING.(e) ALSO, CONTINUALLY “EQUALIZE” THE AMBIENCE/ATMOSPHERIC MOOD AND TONE.
  • 14. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS TYPES):(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.
  • 15. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS EMERGENCY:(IV) RESCUEMAN FOR EMERGENCY:“BE THE COOL, PERSONABLE HOST/HOSTESS,DURING CRISIS MANAGEMENT.”
  • 16. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS EMERGENCY:(IV) RESCUEMAN FOR EMERGENCY:NOTE: THE PRO EMCEE DOES NOT “LEAVE CONTROL” OFTHE FORT, TO HANDLE ANY CRISIS OR PROBLEM.THIS IS TO BE EFFECTED BY THE RESPECTIVEPERSON IN CHARGE, WHO SHALL THEN REPORT TO THEORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ONTHE ISSUE AT HAND.
  • 17. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS EVENT:(V) CATALYST FOR AN EVENT:(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED…NO MATTER WHAT.(b) BE AN ENERGIZER…SO THAT AUDIENCE CAN FULLYENJOY THE EVENT.
  • 18. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS EVENT:(V) CATALYST FOR AN EVENT:(c) BE A CHEERLEADER, ALWAYS“LEADING THE APPLAUSE”.
  • 19. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(C) WHAT AN EMCEE IS NOT…(I) THE MAIN STAR OR HERO OF AN EVENT: “YOU ARE THE STAR MAKER.” ROLE”:(II) AN “UNIMPORTANT ROLE”: YOU PLAY A “HIGHLY IMPORTANT” ROLE.
  • 20. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(C) WHAT AN EMCEE IS NOT…(III) A GLAMOUR ROLE PER SE.(IV) A “PRIMA DONNA”.
  • 21. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(C) WHAT AN EMCEE IS NOT…(V) A SMART ALEC / KNOW IT ALL / PERSON. STOPPED LEARNING TYPE OF PERSON.(VI) A “LAST MINUTE JOHNNY”. JOHNNY”.
  • 22. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(C) WHAT AN EMCEE IS NOT…(VII) A “KNIGHT IN SHINING ARMOUR”: ARMOUR”: MAKING FIRST APPEARANCE EVER AT AN EVENT, WITHOUT GOING THROUGH PRE PREP AND PREP STAGES.
  • 23. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(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.
  • 24. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(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.
  • 25. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(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.
  • 26. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(iii) CATALYST FOR EVENT: ENERGIZER(CONDUIT FOR AUDIENCE) AND CHEERLEADER(d) LIGHTEN UP AUDIENCE, WITH WIT/HUMOUR,OR WHATEVER ENTERTAINING WAY.(e) REMAIN RELAXED AND CALM, EVEN WHENUNDER PRESSURE.
  • 27. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(iii) CATALYST FOR EVENT: ENERGIZER(CONDUIT FOR AUDIENCE) AND CHEERLEADER(f) NO MATTER WHAT, RAISE SPIRIT ANDSUSTAIN ENTHUSIASM OF AUDIENCE.(g) NO MATTER WHAT, STAY CHEERFUL.NEVER BE FLUSTERED, EVEN WHEN DURING DEEP CRISIS.
  • 28. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(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.
  • 29. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(v) BE IN COMMAND:(a) BE IN “CONTROL” OF AUDIENCE, AND NOTTHE OTHER WAY AROUND.(b) UPKEEP QUALITY, AND INCREASE QUALITY.(c) HOLD THE FORT, AT SPEAKING/PERFORMANCE AREA.(d) TIMING OF PROGRAM ELEMENTS, IS YOURJURISDICTION/DECISION, NOT OTHERS’.
  • 30. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(vi) TIME MANAGEMENT:(a) START ON TIME, END ON TIME.(b) CATCH UP, IF BEHIND TIME.(c) INTELLIGENTLY CUT OUT OR SHORTENINTRA PROGRAM ELEMENT, OR WHOLE PROGRAMELEMENT.
  • 31. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(vii) BE IN CONSTANT LIAISON WITH ORGANIZINGCOMMITTEE HEAD:(a) ENSURE THAT THE ORGANIZING HEAD, HASEMPOWERED THE INDIVIDUAL COMMITTEE PERSONS INCHARGE, AND SUB COMMITTEE HEADS, TO BE “ON THEJOB”, ON TIMING AND EXECUTION.
  • 32. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.(a) THE FLOOR MANAGER (LIAISING WITH THE MUSIC/AVMANAGER, SOUND & LIGHTING MANAGER, OR ICT &MULTIMEDIA MANAGER) SHOULD BE YOUR ONLY LIAISONPERSON FOR STAGE, PRESENTATION AREA, AND MUSIC,AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, ORGIMMICKS.
  • 33. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(I) PERSONAL QUALITIES:(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.(b) IN LIEU OF A FLOOR MANAGER, IF APPLICABLE, THEMUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, ORICT & MULTIMEDIA MANAGER SHOULD BE THE RESPECTIVELIAISON PERSON FOR STAGE, PRESENTATION AREA, ANDMUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, ORGIMMICKS.
  • 34. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(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 DIFFERENTPERSONALITY TYPES, CULTURAL TYPES, HIERARCHY,LEVELS OF EXPERIENCE, ETC.
  • 35. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(III) RESPECT:ALSO, BE SOCIALLY AND POLITICALLY CORRECT.(i) NAMES AND TITLES.(ii) SENSITIVITY TO:(a) RACE/CULTURE.(b) RELIGION.(c) POLITICS.
  • 36. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULDs”:(IV) RAPPORT:(i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOUHAVE THE AUDIENCE’S INTEREST AT HEART.(ii) ALWAYS AIM TO HAVE A GREAT START.(iii) SUSTAIN BONDING THROUGHOUT.
  • 37. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(I) RESPONSIBILITIES:(i) SHOULD NOT BE LOOKING AFTER SOUND AND MUSICSYSTEM, MIKE/LAPEL MIKE, ETC, ORLIGHTING/TECHNOLOGY, OR EFFECTS/GIMMICKS.(ROLE OF FLOOR MANAGER.)(ii) SHOULD NOT BE IN CHARGE OF OPERATION OFPROJECTOR, LAPTOP OR OTHER PRESENTATIONFACILITIES. NOT EVEN ASSISTING.
  • 38. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(I) RESPONSIBILITIES:(iii) SHOULD NOT BE THE HANDYMAN, OR “JACK OF ALLTRADES”. (TO FOCUS ON SOLELY BEING THE EMCEE.)(iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS,PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OFSTAGE DÉCOR/SCENARIO.
  • 39. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(I) RESPONSIBILITIES:(v) SHOULD NOT SOURCE FOR SOUND SYSTEM/LIGHTINGSYSTEM.(vi) SHOULD NOT BE SOURCING FOR PERFORMERS ORENTERTAINERS.(vii) SHOULD NOT BE LOOKING AFTER F&B, NOR STARTINGTIME AND FLOW OF F&B AT EVENT.
  • 40. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(I) RESPONSIBILITIES:(viii) SHOULD NOT BE TAKING CHARGE OF ANY OTHERELEMENTS/HAPPENINGS ON ACTUAL DAY, AND/ORDURING THE EVENT. EXAMPLE: PRIZES CEREMONY,AWARDS CEREMONY, GAMES PARAPHERNALIA, ETC.
  • 41. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(I) RESPONSIBILITIES:(ix) SHOULD NOT BE COORDINATING THE EVENT,OR EVENT PREPARATION.(x) SHOULD NOT BE COORDINATING THE “NEXT TOAPPEAR” AVAILABILITY OF SPEAKERS, PERFORMERS ORRELEVANT PERSONNEL, FOR EFFECTING THE NEXTELEMENT ON THE PROGRAM.
  • 42. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(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.
  • 43. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(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.
  • 44. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(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 DURINGEVENT. (THIS IS TO SUSTAIN YOUR “STATE OFPOSITIVITY” PRESENCE.)
  • 45. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(V) MOOD & TONE:(MUST: YOU SET THE MOOD & TONE, MOULDING IT ASAND WHEN NECESSARY: WHEN THE AUDIENCE’S MOOD ISDOWN, YOU RAISE IT…WHEN THE MOOD IS UP, YOURAISE IT EVEN HIGHER.)
  • 46. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(D) THE “SHOULD NOTs”:(V) MOOD & TONE:(i) SHOULD NOT BE “CONTROLLED” BY AUDIENCE.(ii) SHOULD NOT “GRAVITATE” TO THE DESCENDING ORLOW MOOD OF AUDIENCE.(iii) SHOULD NOT GO WITH THE FLOW OF AUDIENCE.ESPECIALLY WHEN AUDIENCE HAS SHIFTED TO ACONTRADICTORY MOOD & TONE.
  • 47. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(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:
  • 48. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(E) PRO EMCEE TABOOS:(1) GET HIGH ON ALCOHOL.(2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROLAREA.(3) UNPREPARED OR ILL PREPARED.EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.
  • 49. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(E) PRO EMCEE TABOOS:(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, ATEVENT, OR DURING EVENT.)
  • 50. THE REAL ROLE OF THE EMCEE :CLARIFICATIONS OF MISCONCEPTIONS(E) PRO EMCEE TABOOS:(7) SOCIALIZE “BIG TIME”.(SOCIAL, BUSINESS, CASANOVA.)(8) FLAUNTING YOURSELF.
  • 51. EFFECTIVE COMMAND “EMCEE’S LOVE RELATIONSHIP WITH THE EVENT”
  • 52. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT“THE EMCEE IS NOT ONE WHO APPEARS, LIKE A KNIGHTIN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENEOF THE EVENT.”YOU MUST LOVE TO WORK HAND IN HAND, WITH THEORGANIZING CHAIR AND COMMITTEE.AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLEOF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZINGPERSON ~ TO COORDINATE AND SEE THINGS TOFRUITION.
  • 53. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(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.
  • 54. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(I) “PERSON” ELEMENTS.(II) “NON PERSON” ELEMENTS.(III) OVERALL BRAND IMAGE.
  • 55. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT: EVENT:(I) “PERSON” ELEMENTS OF THE EVENT:(1) ORGANIZING CHAIR.(2) ORGANIZING COMMITTEE.(3) SUB COMMITTEES, INCLUDING “PROTOCOL”.
  • 56. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT: EVENT:(I) “PERSON” ELEMENTS OF THE EVENT:(4) SPEAKERS, PERFORMERS.(5) AWARD PRESENTERS/RECIPIENTS.(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.
  • 57. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT: EVENT:(I) “PERSON” ELEMENTS OF THE EVENT:(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.(8) STAGE PERSONNEL (INCLUSIVE OF AV, SOUND & LIGHTING, ETC).
  • 58. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(II) “NON PERSON” ELEMENTS OF THE EVENT: EVENT:(1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY,GADGETS, GIMMICKS.(2) PRESENTATION FACILITIES.(3) VENUE DÉCOR & LAYOUT.
  • 59. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(II) “NON PERSON” ELEMENTS OF THE EVENT: EVENT:(4) PROMOTIONAL ASPECTS AT VENUE.(5) ADVERTISING & PROMOTIONS.(6) PUBLICITY & PR.
  • 60. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(II) “NON PERSON” ELEMENTS OF THE EVENT: EVENT:(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT(THAT YOU ARE TO EMCEE).
  • 61. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(III) THE NEED FOR CONSISTENCY IN COMMUNICATINGTHE OVERALL “BRAND IMAGE” OF THE “UMBRELLAEVENT”:EVENT”:EXAMPLE: “BRAND IMAGE” AND SELECTED CONCEPTUALTHEME FOR PARTICULAR OLYMPICS, COMMONWEALTHGAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBALCORPORATION, ASIA IN MALAYSIA POSITIONING, ETC.
  • 62. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(III) THE NEED FOR CONSISTENCY IN COMMUNICATINGTHE OVERALL “BRAND IMAGE” OF THE “UMBRELLAEVENT”:EVENT”:(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.(2) KNOW THE “BIG PICTURE”, LEADING TO SIDEWAY EXTENSION, DOWNWARD CASCADING.
  • 63. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYOF THE EVENT:(III) THE NEED FOR CONSISTENCY IN COMMUNICATINGTHE OVERALL “BRAND IMAGE” OF THE “UMBRELLAEVENT”:EVENT”:(3) IS THIS EVENT (THAT YOU ARE TO EMCEE)PART OF A LARGER ENTITY/SCHEME?
  • 64. EMCEE’S LOVE RELATIONSHIP WITH THE EVENT(C) UNDERSTAND THE PURPOSE OF EACH AND EVERYELEMENT OF AN EVENT (THAT YOU ARE GOING TOEMCEE):(1) ACTIVITIES THAT SURROUND THE EVENT.(2) PROGRAM ELEMENTS.(3) ANY AREAS OF SIGNIFICANCE, OR SENSITIVITY?
  • 65. X FACTOR PERSONA “QUALITY TRAITS: EMCEE PAR EXCELLENCE”
  • 66. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(1) STAND OUT WITH YOUR UNIQUE X FACTORPOSITIONING.(a) ESSENCE: WHAT DO YOU STAND FOR?(b) INTRINSIC EMOTIONAL CONNECTORS: WHAT SPECIAL TALENTS/SKILLS?
  • 67. QUALITY TRAITS: EMCEE PAR EXCELLENCE(c) SOCIAL CAUSE:CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS,WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, ORINSPIRING, OR PROMOTING?
  • 68. QUALITY TRAITS: EMCEE PAR EXCELLENCE(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?
  • 69. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(2) STAY RELEVANT TO PEOPLE AND EVENT:CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.(a) IN TUNE WITH THE CHANGING TIMES.(b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFICAUDIENCE.
  • 70. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(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?
  • 71. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.(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.
  • 72. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.(c) CHARISMA WITH HUMILITY.
  • 73. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(1) HOW TO ENHANCE YOUR CHARISMA:BE A PEOPLE MAGNET,GIFTED WITH ART OF PERSUASION.
  • 74. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(2) HOW TO ACQUIRE “STAGE PRESENCE”:“OWN THE STAGE.”
  • 75. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(III) GET INTO “BEINGNESS”:(1) PSYCHOGRAPHICS COMMUNICATION:UNDERSTAND, THEN EMBRACE THE THEME, THE PRECISECONTEXT, AND THE PSYCHOGRAPHICS OF THE SPECIFICAUDIENCE, AS WELL AS THE SPECIFIC OCCASION (ANDSITUATION/S WITHIN).
  • 76. QUALITY TRAITS: EMCEE PAR EXCELLENCE PERSONA:(A) X FACTOR PERSONA:(III) GET INTO “BEINGNESS”:(2) DECLARE “STATE OF BEING”:INTERNALIZE , TO GET INTO THE RIGHT STATE OF MINDAND STATE OF HEART.THEN, FLOW FROM YOUR UNCONSCIOUS.
  • 77. QUALITY TRAITS: EMCEE PAR EXCELLENCE(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.
  • 78. QUALITY TRAITS: EMCEE PAR EXCELLENCE(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.
  • 79. QUALITY TRAITS: EMCEE PAR EXCELLENCE(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.
  • 80. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:PRE EMPT PROBABLE “TWISTS AND TURNS”, AHEAD OFEVENT, SO AS TO BE MENTALLY AND EMOTIONALLYPREPARED.PLUS, STRATEGIZE AHEAD OF AN EVENT, HOW TOADDRESS THESE PRE EMPTIVE PROBABLE “TWISTS ANDTURNS”.
  • 81. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(I) NEED FOR PERSUASIVE, UNIFYING IMPROMPTUSPEAKING. ARTICULATE THE SITUATION.EMPATHISE WITH AUDIENCE. BRING MOOD OF AUDIENCEUP AGAIN.(II) BE INVENTIVE, WITH CONTINGENCY ARRANGEMENT,IN TANDEM WITH ORGANIZING HEAD.
  • 82. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(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 HEADSAND ROLE PLAYERS.
  • 83. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(ii) TAKE CONTROL OF THE SITUATION.TAKE RESPONSIBILITY FOR DECIDED ACTION.(iii) STAY COOL, AND COURTEOUS.
  • 84. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(IV) HOW TO DEAL WITH POSSIBILITY OF LAST MINUTECHANGES TO PROGRAM, OR EMERGENCY ADJUSTMENTTO PROGRAM:STAY FOCUSED AND ALERT, GET INTO “FAST THINKING”MODE:(i) COME UP WITH FAST DECISIONS, ON HOW TO RESCHEDULE OR REORGANIZE THE PROGRAM.
  • 85. QUALITY TRAITS: EMCEE PAR EXCELLENCE(C) CRISIS MANAGEMENT:(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.)
  • 86. QUALITY TRAITS: EMCEE PAR EXCELLENCE EXCELLENCE:(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:PROPENSITY WITH THE “FEEL GOOD” FACTOR, AND THEABILITY TO HARMONIZE OVERALL ENERGY, AS WELL ASTO OPTIMIZE THE ENERGY LEVEL AND ENTHUSIASM OFTHE AUDIENCE.
  • 87. QUALITY TRAITS: EMCEE PAR EXCELLENCE EXCELLENCE:(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:(1) SHARP, FOCUSED, ALERT. PLUS, PRE EMPTIVE OF CRISIS.(2) ADDING VALUE, WITHOUT WASTING WORDS. (STAR MAKER.)(3) ARTICULATE WITH IMPROMPTU SITUATIONAL SPEAKING PERSUASION.
  • 88. QUALITY TRAITS: EMCEE PAR EXCELLENCE EXCELLENCE:(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:(4) EMOTION METER AND ENERGY BUILDERFOR AUDIENCE.(5) PR SAVVY.(6) TIME MANAGEMENT.
  • 89. SCRIPTING GUIDEINTRODUCTORY GUIDEI. USE OF HUMOURII. AWARD PRESENTATIONIII. PROTOCOL/DECORUM/FORMALITIESIV. INTRODUCING SPEAKERV. INTRODUCING PERFORMERVI. PROGRAMVII. CONTESTSVIII. JUDGES/JUDGINGIX. ORGANIZING CHAIRPERSON/COMMITTEE
  • 90. SCRIPTING GUIDE ~ INTRODUCTORY GUIDEHOW/WHAT/WHEN TO SAY AT ACTUAL EVENTINTRODUCTION:THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING,IN TANDEM WITH ORGANIC PREPARED SCRIPT.PARAPHRASE, NOT SCRIPT FIXATED.
  • 91. SCRIPTING GUIDE ~ INTRODUCTORY GUIDECHECKPOINTS:(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.
  • 92. SCRIPTING GUIDEWHY 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 SPECIFICINDIVIDUAL, BUT NOT THE AUDIENCE.
  • 93. SCRIPTING GUIDETYPES 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.
  • 94. SCRIPTING GUIDETYPES OF HUMOUR AND MERITS OF EACH TYPE:(4) WIT.(5) “ROAST”.(6) SATIRE.(7) ETC.NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPEOF HUMOUR.
  • 95. SCRIPTING GUIDETYPES OF HUMOUR AND MERITS OF EACH TYPE:NOTE ON WHAT TYPE OF HUMOUR TO USE:IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSICINTEREST OR PASSION FOR TYPE OF HUMOUR.THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO“STRUGGLE” TO DISPENSE HUMOUR, OR LOOKARTIFICIAL.
  • 96. SCRIPTING GUIDE ~ I. HUMOURWHEN 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”.
  • 97. SCRIPTING GUIDE ~ I. HUMOUR(4) “BRIDGING” DEVICE.(5) REPARTEE.(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)(7) ALLEVIATE CRISIS.(8) BREAK “MONOTONY”.
  • 98. SCRIPTING GUIDE ~ I. HUMOURWHEN NOT TO USE HUMOUR:ANSWER: *WHEN NOT APPROPRIATE,OR *WHEN IT IS CONFLICTING WITH THE INTENTION ORGENRE OF PERFORMER.EXAMPLES:(1) WHEN YOU’RE NOT GOOD AT HUMOUR!(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERALEULOGY SERVICE, “SERIOUS” CHURCH WEDDING, ETC.
  • 99. SCRIPTING GUIDE ~ I. HUMOUR(3) OFFICIOUS EVENTS, SUCH AS ROYALTY PATRONAGE,BLACK TIE AFFAIR.(4) SPEAKER WITH SERIOUS MESSAGE.(5) PERFORMER OF SERIOUS NATURE.
  • 100. SCRIPTING GUIDE ~ AWARD PRESENTATIONAWARD PRESENTATION:INTRODUCTION: TYPES OF AWARDS(1) CONTEST.(2) EXCELLENCE IN SERVICE. | LONG SERVICE.(3) RECOGNITION. (4) ACHIEVEMENT.(5) ETC.
  • 101. SCRIPTING GUIDE ~ AWARD PRESENTATIONAWARD 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).
  • 102. SCRIPTING GUIDE ~ AWARD PRESENTATIONAWARD PRESENTATION:DOs:(1) (B) INTRODUCING/CONDUCTING AWARDPRESENTATION:(a) DO STAY IN “NEUTRAL MODE” (PERSONA) ~TOWARDS RESULTS OF NOMINATIONS OR WINNERS.(b) DO BE “DIGNIFIED”.
  • 103. SCRIPTING GUIDE ~ AWARD PRESENTATIONAWARD PRESENTATION:DO NOTs:(2) (A) INTRODUCING/CONDUCTING AWARDPRESENTATION:(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT,DISAGREEMENT TO RESULTS.(b) DO NOT PRAISE THE WINNER.
  • 104. SCRIPTING GUIDE ~ AWARD PRESENTATIONAWARD PRESENTATION:(c) DO NOT POKE FUN.(b) DO NOT COMMENT ON JUDGING/JUDGES.
  • 105. SCRIPTING GUIDE ~PROTOCOL/DECORUM/FORMALITIESPROTOCOL /DECORUM / FORMALITIES:DOs:(1) INSIST ON ONE PERSON IN CHARGE OF PROTOCOL:(a) DO CHECK/RECHECK PROTOCOL ACCURACY ANDHIERARCHY. VIA INFO MINISTRY, OR ROYAL HOUSEHOLD.(b) DO RESPECT HIERARCHY OF POSITIONS, RESOCIETY/CLUB/ASSOCIATION/CORPORATE PROTOCOL.
  • 106. SCRIPTING GUIDE ~PROTOCOL/DECORUM/FORMALITIESPROTOCOL /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.
  • 107. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(1) FORMAT: FORMAT:(a) MENTION NAME OF SPEAKER.(b) SEMBLANCE OF SUBJECT.(c) CREDENTIALS: CREDIBILITY.PERSONAL BACKGROUND, ONLY WHERERELEVANT TO THE SUBECT TO BE PRESENTED.
  • 108. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(d) FINAL ANNOUNCEMENT FLOW:NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION.(PAUSE.) TITLE AGAIN. NAME OF SPEAKER.(e) LEAD APPLAUSE.
  • 109. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(2) DOs:SETTING THE MOOD AND TONE. PRE EMPT THE SAMEMOOD AND TONE OF NEXT SPEAKER/PERFORMER.(a) FIND OUT FROM SPEAKER: “TITLE” AND CONTEXTOF SPEECH.
  • 110. SCRIPTING GUIDE ~ INTRODUCING SPEAKER(b) BRIEF INTRO (MAXIMUM 1 2MIN).CREATE ENOUGH INTEREST OR EXCITEMENTAND CREDIBILITY FOR AUDIENCE TO WANTTO LISTEN TO SPEAKER.
  • 111. SCRIPTING GUIDE ~ INTRODUCING SPEAKER(c) CREATE IMAGE OF A COMPETENT, WELL QUALIFIEDPERSON TO SPEAK ON SELECTED SUBJECT OR TOPIC.CREDIBILITY CHECKPOINTS:(i) EXPERIENTIAL SUCCESS OR ACADEMIC/ PROFESSIONALQUALIFICATION.(ii) FORMAL OR INFORMAL KNOWLEDGE.(iii) “SERIOUS” PART TIMER OR HOBBYIST.(iv) INTRINSIC INTEREST, MATCHING LEVEL OFSPEECH/PRESENTATION.
  • 112. SCRIPTING GUIDE ~ INTRODUCING SPEAKER(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.
  • 113. SCRIPTING GUIDE ~ INTRODUCING SPEAKER(f) USE “INTRO CREDENTIALS” PROVIDED BY SPEAKER,IF HE/SHE WISHES TO, PROVIDED THAT THE “INTROCREDENTIALS/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.
  • 114. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(2) DO NOTs:(a) DO NOT GIVE LIFE HISTORY, ESPECIALLY WHENNOT RELEVANT, TO THE THEME OR CONTEXT OF THESPEECH/PRESENTATION. (DO NOT WASTE ANY WORDS, ORDILUTE THE CREDENTIALS.)
  • 115. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(b) DO NOT “OUTSTAGE” SPEAKER, OR TRYTO SHARE THE SPOTLIGHT, BY:(i) GIVING SPEECH OF YOURSELF.(ii) BEING A COMEDIAN OR “CLOWN”.(iii) OVERSHADOWING THE SPEAKER SOMEWHAT.
  • 116. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(c) DO NOT “EXTRACT” SOME OF SPEAKER’S SCRIPT.(d) AT INTRODUCTION, OR PRIOR TO INTRODUCINGSPEAKER, DO NOT:(i) OFFER LENGTHY OPINION, OR,(ii) MAKE A SPEECH ON THE SPEAKER’S SAME SUBJECTOR TOPIC.
  • 117. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(e) DO NOT “STEAL THE THUNDER”OR LIMELIGHT FROM THE SPEAKER.YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE,AND KEEP PROCEEDINGS SMOOTH.
  • 118. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(h) DO NOT DISCLOSE CONTENTS OF SPEECH.(i) DO NOT SHOCK SPEAKER WITH IRRELEVANTOR CONTRADICTORY INTRO.
  • 119. SCRIPTING GUIDE ~ INTRODUCING SPEAKERINTRODUCING SPEAKER:(f) DO NOT PUT SPEAKER, ON A PEDESTAL.(g) DO NOT PUT UNDUE PRESSURE ON SPEAKER,BY SETTING VERY HIGH EXPECTATIONS,OR UNREALISTIC EXPECTATIONS.
  • 120. SCRIPTING GUIDE ~ INTRODUCING PERFORMERINTRODUCING 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 OFPERFORMANCE, SYNOPSIS OF ACT.
  • 121. SCRIPTING GUIDE ~ INTRODUCING PERFORMERINTRODUCING PERFORMER:(d) DO BE “IN TUNE” WITH THE NATUREOF PERFORMANCE, OR TYPE OF PERFORMANCE.* SHOW YOUR INTEREST (EVEN IF YOU ARE PERSONALLYNOT KEEN WITH THE NATURE OF PERFORMANCE,OR TYPE OF PERFORMANCE).* STAY NEUTRAL, IF YOU CANNOT GET EXCITEDABOUT IT!
  • 122. SCRIPTING GUIDE ~ INTRODUCING PERFORMERINTRODUCING PERFORMER:(e) BETTER STILL, “FAKE” YOUR INTERESTOR EXCITEMENT FOR THE NATURE OF PERFORMANCE, ORTYPE OF PERFORMANCE.
  • 123. SCRIPTING GUIDE ~ INTRODUCING PERFORMERINTRODUCING PERFORMER:(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 DOWNGRADINGTHIS PARTICULAR PERFORMANCE.(c) DO NOT TELL AUDIENCE OF LACK OF PREPARATION BYTHE PERFORMER/S.
  • 124. SCRIPTING GUIDE ~ INTRODUCING PERFORMERINTRODUCING PERFORMER:(2) DO NOTs:(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH,INEXPERIENCED.(e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.
  • 125. SCRIPTING GUIDE ~ PROGRAMPROGRAM:(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.
  • 126. SCRIPTING GUIDE ~PROGRAMPROGRAM:(c) DO MENTION “HIGHLIGHTS” EARLY, AS A MEANSTO GET AUDIENCE TO STAY THROUGHOUT THEPROGRAM.(d) DO DRUM UP EXCITEMENT OF UPCOMING HIGHLIGHTS,TO INCREASE “SUSPENSE” AND ENTHUSIASM, AND TOKEEP AUDIENCE STAYING BACK.
  • 127. SCRIPTING GUIDE ~ PROGRAMPROGRAM:(e) DO KEEP “FINALE” TO BE THE MOST IMPORTANTTO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZEAUDIENCE STAYING TILL THE END.
  • 128. SCRIPTING GUIDE ~ PROGRAMPROGRAM:(2) DO NOTs:(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUTNOTICE.(b) DO NOT INTERCHANGE PROGRAM ELEMENTS,WITHOUT NOTICE.
  • 129. SCRIPTING GUIDE ~ CONTESTSCONTESTS:(1) DOs:(a) DO STAY NEUTRAL.(b) DO ENCOURAGE ALL PARTICIPANTS.(c) DO PRACTISE “FAIRNESS OF COMMENT”, AS WELLAS TIME SPENT WITH EACH.
  • 130. SCRIPTING GUIDE ~ CONTESTSCONTESTS:(2) DO NOTs:(a) DO NOT RIDICULE ANY CONTESTANT.(b) DO NOT GET PERSONAL.(c) DO NOT VICTIMIZE.(d) DO NOT DISCUSS WITH OTHERS, ANYTHINGRELATED TO PARTICIPANTS OR THE CONTEST.
  • 131. SCRIPTING GUIDE ~ JUDGES/JUDGINGJUDGES/JUDGING:(1) DOs:(a) DO SHOW DECORUM TO JUDGING SYSTEM.(b) DO RESPECT ALL JUDGES ALIKE.(NOT TO CREATE ANY DOUBT ABOUT INTEGRITYOF ANY ONE OF THE JUDGES.)
  • 132. SCRIPTING GUIDE ~ JUDGES/JUDGINGJUDGES/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.
  • 133. SCRIPTING GUIDE ~ JUDGES/JUDGINGJUDGES/JUDGING:(d) DO NOT BE OPINIONATED.(e) DO NOT JUDGE THE JUDGES.
  • 134. SCRIPTING GUIDE ~ORGANIZING COMMITTEE/ORGANIZING CHAIRORGANIZING COMMITTEE/ORGANIZING CHAIR:(1) DOs:(a) DO ACKNOWLEDGE EFFORT/COMMITMENT OF WHOLEORGANIZING COMMITTEE (AND ALL SUB COMMITTEES)ALIKE.
  • 135. SCRIPTING GUIDE ~ORGANIZING COMMITTEE/ORGANIZING CHAIRORGANIZING COMMITTEE/ORGANIZING CHAIR:(2) DO NOTs:(a) DO NOT CRITICIZE INEFFICIENCY OF COMMITTEE ORPART OF THE COMMITTEE, OR SHOW YOUR DISDAIN.(b) DO NOT DISASSOCIATE FROM THE COMMITTEE.(AS A PRO EMCEE, YOU ARE “PART OF THE EVENT”.)
  • 136. SCRIPTING GUIDE ~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 THECOMMITTEE (WHO MAY FEEL UNAPPRECIATED, SLIGHTED,DISAPPOINTED). NOT GOOD FOR YOUR FUTUREREPUTATION (OR BUSINESS) AS A PRO EMCEE.
  • 137. ENHANCEMENT GUIDEI. MUSIC, SONGS, SOUND, SFX.II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,TECHNOLOGY, STAGE HISTRIONICS, PROPS.
  • 138. 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 SCENARIOSOR INDIVIDUALS.(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.
  • 139. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(2) WHEN (TO USE) ?WHEN APPROPRIATE TO PROGRAM SEGMENTOR PARTICULAR SCENARIO, AND THE EVENT THEME.EXAMPLES:(A) ACCOMPANYING MUSIC FANFARE TO INTRODUCING:(i) VIP.(ii) SPEAKER.(iii) PERFORMER OR ENTERTAINER
  • 140. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(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.
  • 141. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(3) WHAT (SELECTION) ?(i) IN TANDEM WITH THE OVERALL THEME/CONCEPTOF EVENT.(ii) SUITED TO SPECIFIC MOOD AND TONE OF APARTICULAR PROGRAM ELEMENT, AS WELL AS IN SYNCWITH THE TEMPO AND PACE.
  • 142. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(4) WHERE (TO USE) ?(i) STAGE.(ii) NEAR STAGE ~ FRONT.(iii) CEILING.(iv) AND AS A SURPRISE FACTOR, ANYWHERE!
  • 143. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(5) WHO (TO EXECUTE) ?(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.(ii) PROFESSIONAL MUSIC/AV DIRECTOR, ORSOUND & LIGHTING (& TECHNOLOGY) DIRECTOR, ANDTHEIR CREW.
  • 144. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(5) WHO (TO EXECUTE) ?(iii) IN LIEU OF ABOVE PROFESSIONALS,EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS AFLOOR MANAGER FOR THIS ROLE, PLUS A MUSICMACHINE MANAGER.
  • 145. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(6) HOW (TO EXECUTE) ?PURPOSE: TO ENHANCE THE PROGRAM ELEMENTSAND 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.
  • 146. ENHANCEMENT GUIDE ~I. MUSIC, SONGS, SOUND, SFX(6) HOW (TO EXECUTE) ?…OTHERWISE, TO DROP IT(USE OF MUSIC, SONGS, SOUND, SFX)FROM EVENT ENTIRELY!
  • 147. 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 SCENARIOSOR INDIVIDUALS.(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.
  • 148. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(2) WHEN (TO USE) ?WHEN APPROPRIATE TO PROGRAM SEGMENTOR PARTICULAR SCENARIO, AND THE EVENT THEME.(i) AUDIO VIDEO, MULTIMEDIA, ICT:FOR VISUAL PRESENTATION, AND FORDRAMATIZING EFFECT.
  • 149. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(2) WHEN (TO USE) ?(ii) LIGHTING, TECHNOLOGY:FOR STYLIZED IMPACT.(iii) STAGE HISTRIONICS, PROPS:TO HEIGHTEN EXCITEMENT LEVEL.
  • 150. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(3) WHAT (SELECTION) ?(i) IN TANDEM WITH THE OVERALL THEME/CONCEPTOF EVENT.(ii) SUITED TO SPECIFIC MOOD AND TONE OF APARTICULAR PROGRAM ELEMENT, AS WELL AS IN SYNCWITH THE TEMPO AND PACE.
  • 151. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(4) WHERE (TO USE) ?(i) STAGE.(ii) NEAR STAGE ~ FRONT.(iii) CEILING.(iv) AND AS A SURPRISE FACTOR, ANYWHERE!
  • 152. 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 TECHNOLOGYDIRECTOR, AND THEIR CREW.(iii) IN LIEU OF ABOVE PROFESSIONALS,EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS AFLOOR MANAGER FOR THIS ROLE.
  • 153. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(6) HOW (TO EXECUTE) ?PURPOSE: TO ENHANCE THE PROGRAM ELEMENTSAND 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 REPRODUCTIONSTRATEGY.(iv) SLICK EXECUTION.
  • 154. ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,STAGE HISTRIONICS, PROPS(6) HOW (TO EXECUTE) ?…OTHERWISE, TO DROP IT(USE OF AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,TECHNOLOGY, STAGE HISTRIONICS, PROPS)FROM EVENT ENTIRELY!
  • 155. HOW TO PREPAREFOR 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.
  • 156. HOW TO PREPARE FOR EVENT ~I. INVOLVE FROM START TO FINISHKEY 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.
  • 157. 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.
  • 158. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(1) THE PROGRAM/THEME/OBJECTIVE:MEET UP WITH ORGANIZER/CLIENT TO DISCUSS PROGRAMAND ALL PERSON ELEMENTS (INCLUDING PROTOCOL) ANDNON PERSON ELEMENTS, AS WELL AS OVERALL BRANDIMAGE.
  • 159. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(2) VENUE & LOGISTICS:(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL,RESORT, WHATEVER PLACE), TO ALIGN TO THEME ANDOBJECTIVE OF THE EVENT.EXAMPLE: TROPICAL JUNGLE THEME.
  • 160. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(2) VENUE & LOGISTICS:(b) LOGISTICS: TO RECCE TO CONFIRM WHETHERFACILITIES (SUCH AS STAGE, BACKDROP, HALL DESIGN,SOUND & LIGHTING SYSTEM, PRESENTATION FACILITIES,ETC, CAN “SUPPORT” THE THEME AND OBJECTIVE.EXAMPLE: TROPICAL JUNGLE THEME.
  • 161. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(3) KNOW THE TEAM:ENSURE THE RESPECTIVE AREAS OF ORGANIZING ANEVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUBCOMMITTEES.IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONSIN CHARGE…TO CHECK WHETHER THEY HAVE THEEXPERIENCE TO HANDLE THEIR AREAS OFRESPONSIBILITIES.
  • 162. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE RESPONSIBILITIES:(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURINGTHE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BETHE “HANDYMAN” AND SHOULD NOT BE, SO INSIST ONTHE FOLLOWING:*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTOCIRTICAL ROLES DURING THE RUNNING OF THE EVENT,SUCH AS:
  • 163. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION RESPONSIBILITIES:(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 PLAYINGOF SPECIFIC FANFARES/MUSIC/SFX.
  • 164. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE RESPONSIBILITIES: (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:(d) STAGE LOGISTICS.(e) PRESENTATION FACILITIES.(f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS,INCLUDING HANDLING/OPERATING COMPUTERNOTEBOOKS, ETC.
  • 165. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(A) PRE PREPARATION PHASE RESPONSIBILITIES:(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:(g) PERSON COORDINATING WITHPRESENTERS/SPEAKERS/PERFORMERS.(h) FOOD & BEVERAGE.(i) AWARD PRESENTATION/SOUVENIR PRESENTATION.
  • 166. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:ALIGNING EVERYTHINGTO CONFIRMED OBJECTIVE AND THEME,TO ACHIEVE CONGRUENCY.
  • 167. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(i) EVENT DETAILING(a) DEFINITION OF:* OBJECTIVE OF EVENT.* THEME OF EVENT.
  • 168. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(i) EVENT DETAILING(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.
  • 169. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(i) EVENT DETAILING(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,OUTFITS, PROPS, MATERIALS:* SPEAKERS/PERFORMERS/ENTERTAINERS.* LAUNCH IDEAS/OPENING GAMBIT.
  • 170. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(ii) FINALIZING PROGRAM ELEMENTS AND FLOW:(a) RECONFIRM PROGRAM ELEMENTS WITHORGANIZER/CLIENT.(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.(c) PROCEED WITH SCRIPTING STRUCTURE.
  • 171. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(iii) EMCEE GROOMING AND APPEARANCE:(a) DRESSING GUIDE:* DRESS TO THE OCCASION/THEME.* SAME LEVEL AS AUDIENCE, OR HIGHER.
  • 172. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(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 FINALADJUSTMENTS.(d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUALEXECUTION OF PROGRAM ACTIVITIES ~NO SURPRISE FOR ORGANIZER/CLIENT.
  • 173. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:(v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:WAY BEFORE ACTUAL DAY/EVENT:COUNTERCHECK, “SUPERVISE”, OVERSEE THAT ALLRELEVANT PERSONS IN CHARGE HAVE PERFORMED THEIRDUTIES OR COORDINATIONS.
  • 174. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> ONE DAY BEFORE: BEFORE:(a) FINAL CHECK: USING THE EMCEE CHECKLIST.(REFER TO APPENDIX 2 IN WORKBOOK.)(IF YOU ARE LUCKY, A TOP RATE ORGANIZER/CLIENT WILLACTUALLY BE VERY CONCERNED, TO ENSURE THE “FINALCHECK” IS EFFECTED. BUT BE “PROFESSIONAL” – BE THERE.
  • 175. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE: BEFORE:> ONE DAY BEFORE:(b) DRY RUN AT VENUE: TEST OUT FINAL SCRIPT,THROUGH SOUND SYSTEM.(c) STAY THROUGH THE FULL DRESS REHEARSAL, TOCHECK AND DOUBLE CHECK TIMING AND LOGISTICS.
  • 176. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(a) VENUE/LOGISTICS CHECK* ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUREMCEE CHECKLIST.PLUS:* GET ORIENTED TO ENVIRONMENT, AUDIENCE ANDGOINGS ON.
  • 177. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:* ENSURE KEY PEOPLE ARE READY TO COORDINATE FASTWITH YOU, TO UPKEEP THE ATMOSPHERE AND SMOOTHRUNNING OF PROGRAM.* PREFERABLY, LET ALL “COMPLAINTS”,ANNOUNCEMENTS, CHANGES, TO BE CHANNELEDTHROUGH ONE PERSON.
  • 178. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS,PERFORMERS, AUDIENCE.* STAY IN “RELAXED AND RESOURCEFUL” STATE.
  • 179. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* CHARISMA: “PRESENCE”, POSITIVE ENERGY, POISE,CHARM PERSONALITY, SELF ESTEEM (SELF COFIDENCE &SELF RESPECT), BEING IN COMMAND.
  • 180. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONELINERS, SHORT QUIPS, TO BRIDGE SPEAKERS ORPERFORMERS. BUT, NOT TO REHASH SPEAKERS’ WORDS.* NEVER OVERTALK.* DO NOT STEAL THE LIMELIGHT FROM THE STARS.
  • 181. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* FOCUS ON THE EVENT’S OBJECTIVE/THEME:MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIACONGRUENT SCRIPT, KEY MESSAGE AND BRIDGINGPHRASES…ENHANCED BY WORD MASTERY, VOCALTONALITY SPECTRUM AND PURPOSEFUL BODYLANGUAGE.
  • 182. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* RESONATE EHTHUSIASM FROM START TO FINISH.* KEEP THE AUDIENCE’S ENERGY UP.
  • 183. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOKINTO “PROBLEM AREAS”…) THE EMCEE SHOULD KEEP ANEYE ON DISSATISFACTION AREAS, AND ADDRESS THEMSOONEST.
  • 184. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(b) STATE OF PERSONA OF EMCEE* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS.YOU ARE TO BE NEVER AFFECTED BY “PROBLEMS” OR“TECHNICAL HITCH UPS, ETC.
  • 185. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* HOLD ON TO YOUR SCRIPT!* STAY TO THE PREPARED SCRIPT, OR THE “ESSENCE” OFTHE PREPARED SCRIPT.
  • 186. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* (IF YOU ARE ALREADY VERY PROFICIENT…) YOU CANGET INTO THE “IMPROMPTU PERSUASIVE SPEAKING”MODE.BUT ALWAYS KEEP TO THE “ESSENCE”, WHEN YOU SPEAKEXTEMPORANEOUSLY.
  • 187. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* KEEP TO YOUR OWN TERRITORY.* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEETERRITORY.* DO NOT SOCIALIZE.
  • 188. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* 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 ASEMCEE, WHICH IS TO BE ON “CONSTANT ALERT”.
  • 189. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* YOU ARE AT THE FUNCTION, NOT PRINCIPALLY TO“ENJOY YOURSELF”. YOUR PRIMARY PURPOSE IS TO KEEPTHE AUDIENCE ENTERTAINED, AND TO KEEP THEIR SPIRITSHIGH.
  • 190. HOW TO PREPARE FOR EVENT~II. PHASE BY PHASE PREPARATION(B) FINAL PREPARATION PHASE:> DAY OF EVENT:(c) LET THE SHOW BEGIN!* IN FACT, SHOULD UNFORESEEN OR UNEXPECTEDHITCHES OCCUR, YOU HAVE TO ENSURE THAT THAT THESPIRIT OF THE AUDIENCE WOULD NOT BE DAMPENED.ENSURE THAT THE AUDIENCE COULD STILL ENJOY THEEVENT.ALWAYS SAVE THE OCCASION, TO YOUR BEST ABILITY.
  • 191. REVIEW FOR FUTUREPROGRESSINTRODUCTORY GUIDE:EVALUATION FOR SELF IMPROVEMENT, AND TO SETNEW 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.
  • 192. REVIEW FOR FUTURE PROGRESS GUIDE:INTRODUCTORY GUIDE:EVALUATION FOR SELF IMPROVEMENT, AND TO SET NEWSTANDARDS OF PERFORMANCE FOR FUTURE.* CELEBRATION FACTOR: AFTER GIVING YOUR BESTEFFORT AT EMCEEING AN EVENT, IMMEDIATELYCELEBRATE, NO MATTER WHAT THE OUTCOME!* RATIONAL ANALYSIS: AT PRE ASSIGNED TIME (SAY, ONEDAY LATER), THEN ONLY GO THROUGH THE STRENGTHSAND “AREAS FOR IMPROVEMENT”.
  • 193. REVIEW FOR FUTURE PROGRESS(A) LEARN FROM EXPERIENCES AND FEEDBACKS.* OWN SELF EVALUATION.* AUDIENCE FEEDBACKS.* ORGANIZER’S/CLIENT’S FEEDBACKS
  • 194. REVIEW FOR FUTURE PROGRESS(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.
  • 195. REVIEW FOR FUTURE PROGRESS(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
  • 196. REVIEW FOR FUTURE PROGRESS(C) POST MORTEM WITH ORGANIZER/CLIENT.(a) EDUCATE YOURSELF FOR FUTURE EMCEEASSIGNMENTS.(b) EDUCATE THE ORGANIZER/CLIENT.
  • 197. REVIEW FOR FUTURE PROGRESS(D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:(a) INTRICATE/COMPLEX THEME EVENTS.(b) MEGA EVENTS – AT A BIG STADIUM, ISLANDRESORT, ETC.(c) INNOVATIVE EVENTS.
  • 198. PROGRAMMINGAND TIMINGA. HOW TO PLAN AND TIME THE PROGRAM.B. MOCK PROGRAM.APPENDIX 1
  • 199. 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 EACHPROGRAM ELEMENT.
  • 200. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(1) THEME FOCUS(ii) START WITH A BANG.(a) AN AROUSING OPENING GAMBIT, ESTABLISHES AQUICK BONDING WITH THE AUDIENCE.
  • 201. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(1) THEME FOCUS(iii) BUILD UP EXCITEMENT INTEREST LEVEL.(a) INTERSPERSE PROGRAM WITH ELEMENTS THAT PROVIDETHE HIGHEST EXCITEMENT APPEAL.(b) PRO EMCEE TO CREATE AND BUILD UP SUSPENSE LEVEL,AT ACTUAL EVENT.
  • 202. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(1) THEME FOCUS(iv) “FINALE”: BRING ON THE MAIN EVENT.(a) AWARDS PRESENTATION. PROVIDED THIS HAS GREATAPPEAL TO ALL OF AUDIENCE, OR A HUGE MAJORITY OFAUDIENCE.(b) PERFORMANCE. THIS HAS TO BE OF HIGH APPEAL TOAUDIENCE.
  • 203. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(1) THEME FOCUS(v) ALTERNATE TO “FINALE”.(a) A PROGRAM ELEMENT OF “SELFISHINTEREST”/PERSONAL MATERIAL GAIN TO INDIVIDUALSWITHIN AUDIENCE.(b) GREATEST APPEAL FOR MOST OF THE AUDIENCE, TOSTAY TILL THE END OF EVENT.EXAMPLE: GRAND LUCKY DRAW.
  • 204. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(2) TIMING(i) DOUBLE CHECK WITH ORGANIZER, AND (TO BE SAFE)EVEN SPEAKERS AND PERFORMERS, ON THE TIMINGALLOCATED.(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.
  • 205. PROGRAMMING AND TIMING(A) HOW TO PLAN AND TIME THE PROGRAM(2) TIMING(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAMELEMENT.(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGHLEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.
  • 206. PROGRAMMING AND TIMING(B) MOCK PROGRAM(REFER TO APPENDIX 1 IN WORKBOOK.)
  • 207. EMCEE CHECKLISTA. WHY THE NEED TO PREPARE EMCEE CHECKLIST.B. HOW TO PREPARE EMCEE CHECKLIST.C. SAMPLE EMCEE CHECKLIST.APPENDIX 2
  • 208. 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 EMCEEPERFORMANCE
  • 209. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(1) FINALIZE PROGRAM ELEMENTS.
  • 210. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(2) CLASSIFY INTO CATEGORIES:EXAMPLE:(i) EMCEE PREREQUISITES.(ii) PROGRAM FLOW AND LOGISTICS.(iii) ORGANIZING COMMITTEE.
  • 211. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(2) CLASSIFY INTO CATEGORIES:EXAMPLE:(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHINAND WITHOUT.(v) PROTOCOL/DECORUM/FORMALITIES.(vi) SPEAKERS AND PERFORMERS.
  • 212. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(2) CLASSIFY INTO CATEGORIES:EXAMPLE:(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.(viii) AWARD PRESENTATION CEREMONY.(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.
  • 213. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(2) CLASSIFY INTO CATEGORIES:EXAMPLE:(xi) CONTESTS.(xii) LUCKY DRAW/CONTEST DRAW.(xiii) FOOD & BEVERAGE.
  • 214. EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(2) CLASSIFY INTO CATEGORIES:EXAMPLE:(xiv) AUDIENCE’S AND GUESTS’ COMFORT.(xv) ETC.
  • 215. EMCEE CHECKLIST(C) SAMPLE EMCEE CHECKLIST(REFER TO APPENDIX 2 IN WORKBOOK.)
  • 216. PROFESSIONAL EMCEEWORKSHOP PRACTICALSI. AUDIENCE BAROMETER.II. PROTOCOL, DECORUM, FORMALITIES.III. PSYCHOGRAPHICS: PSYCHOLOGY OF COMMUNICATION.IV. EMCEEING ETHICS AND PROFESSIONALISM.APPENDIX 3
  • 217. PROFESSIONAL EMCEE WORKSHOP PRACTICALSPROFESSIONAL EMCEE WORKSHOP PRACTICALS(REFER TO APPENDIX 3 IN WORKBOOK.)
  • 218. “HOW TO BE A PROFESSIONAL EMCEE” brandjontan@brandjontan.com www.brandjontan.com