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Isivivane Game of Knowledge, Transformation and Cooperation


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From Steve Bagnegyi: "These are the cards with which the game is played - the questions on the cards are used to create knowledge by the participants - all centering around the central theme or 'organising principle' or 'strange attractor' the answer to the question : "what do we want?"

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Art and Science of Change
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Isivivane Game of Knowledge, Transformation and Cooperation

  1. 1. The Game of Knowledge, Transformation and Co-operation
  2. 2. Harness individual and group energy to manifest a shared dream The Isivivane Game of Knowledge, Transformation and Co-operation gets diverse people to focus their energies on manifesting a collective vision. It helps participants think, talk and act in ways that generate desired outcomes. In corporations, government and NGOs, the Isivivane Game provides a framework for strategic planning, change management, KM, team building, conflict management, innovation, product development and the design of sus- tainable systems and cultures. Isivivane works well with a variety of audiences, from children to world leaders. Page 2
  3. 3. Instructions for playing The Isivivane Game 1. Assemble the disks To be read out by facilitator Roles Participants (players) are there to provide honest Print out pages 4 to 21 of this book on A3 paper, choosing These are the rules of the game: responses to the questions and play the game. 220gm recycled card or plastic for durability. The disks are • Everyone agrees to provide input approximately the size of dinner plates. • We all agree that this is a safe space and that The facilitator holds the safe-space, reads the Cut the disks out so that they are circular and stick the two sides we are all free to voice our deeply-held opin- instructions and ensures everybody gets their say. of each direction together.. The front of the disk gives clues ions without fear of witch-hunts or repercus- The facilitator records votes and decisions made about the active qualitites of the direction, while the back sup- sions afterwards and is responsible for providing feedback to all plies questions to be explored. • Lively discussion is encouraged participants following the event. • When everyone agrees that they have provid- You will now have ten disks; the central disk, the facilitator’s disk and 8 directional disks, that can be laid out on a table or floor ed input, then all input is read out to the col- The scribe records participants’ answers to the according to the points of the compass. lective questions. The scribe can change roles and be- • Voting by show of hands is encouraged come a participant in order to contribute to the • We commit that feedback will be written questioning process. down and circulated to all participants with- in 24 hours of the session The presenter reads the collective input for each disk to all participants. Should there be disagree- ment, decisions can be taken via a show of hands, Process recorded by the facilitator. Usually the presenter is someone who is a scribe who volunteers to 1. Discuss the central theme. This could take a present for a specific disk. It could also be some- long time, in which case it is advisable to set one who is spontaneously chosen by the group. aside two sessions; the first to decide the cen- For example, the facilitator may ask the group: tral theme and a second session to provide Who will present the answers for the North-East? input on the questions on the other 8 disks. 2. With a small group of people (less than 15), participants engage with each disk’s questions 2. Players until everyone has supplied input. If there are more than 15 people, you need to assign each Ideas The game can be played by one person, a couple, or an entire card to a scribe, who becomes responsible for team. Play as a boardroom or after-dinner conversation guide or recording input from all participants. (Scribes Use the Isivivane Game to to stimulate participation at conferences. examine an issue can become normal participants and normal from different points of view, or to participants can become scribes.) ensure all abilities are functioning really well. Playing the Isivivane Game has the effect of suspending normal 3. When everybody is happy that they have pro- You can also use the Game for reality. This allows players to reflect on key questions using a strategic planning to work out your best options. broader perspective than their position in the organisation vided input to all the questions, presenters normally gives them. read the responses back to all participants, For change management applications, ask participants to voting and updating where necessary. describe (a) the game that has been played up till now, and (b) 4. Once there is agreement, summarise under- the game we want to play in the future. The difference between 3. Facilitator standings reached and close the session. the two games represents the changes that need to be made. 5. To close the session, the facilitator asks each Take photos during the session and feed back to the group as a The facilitator’s task is to guide the process, allowing players to participant to summarise what they have collage – it creates a wonderful memory of the event. generate and record ideas in a safe space. learned and what they now commit to as a Hand the disks around so that everybody can become Focus must always return to the central idea defined by the result of the process. This is recorded by a familiar with the different directions and questions. players, to prevent going off on tangents. It is important that scribe and will form part of the final feedback. everyone provides answers to the questions on the back of the 6. The facilitator commits to provide feedback to Encourage discussion. disks and that these answers are recorded. When all information participants within 24 hours of the session. Encourage fun. has been gathered, it is read out to participants who may then vote on key issues. This keeps the initiative moving and refreshes memory of the important agreements reached. The facilitator compiles the results into a feedback document 7. Refer to the plan and agreements going forward that players can refer to as a reminder of the event and agreed on an on-going basis to keep the process going. actions going forward. Find ways of reflecting the agreements reached using innovative media. Page 3
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  5. 5. THE CENTRE Naming the Game What is the name of the game we want to play? What is this game designed to achieve? What tells us we’re playing the game really well? Why is this game worth playing? Page 5
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  7. 7. EAST: GOALS Every game has a goal, even if the goal is to simply continue playing. While soccer, rugby and cricket matches come to an end with winners and losers, the game itself continues; season after season. Goals of deliberately created games might include long-term success, sustainability, profitability, happiness, positive impact and having rewarding interpersonal relationships. QUESTIONS: What are the goals of the game? How do we ensure that they work in harmony with each other? How do we achieve agreement, clarity and shared understanding about the goals? Page 7
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  9. 9. SOUTH-EAST: LANGUAGE AND STORIES Each game has its own unique language which allows participants to share common experience. The stories we tell and the way we tell them inspire and create a collective vision of the intended future. We talk the future into becoming. Language can also create a barrier to entry. QUESTIONS: What stories and words will get this system working really well? Which words and stories do not have a place in this game? Page 9
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  11. 11. SOUTH: RESOURCES Resources can mean anything from money and equipment to the talents and abilities of participants, financial support, emotional support, specialised know-how and intellectual property, process knowledge, networks, ac- cess to information, support systems, ‘people you know’ and well-designed visions and goals. QUESTION: What resources do we need to make the game work really well? Page 11
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  13. 13. SOUTH-WEST: STYLE Style is the unique way in which we play the game. Style embodies ‘difference’ in behaviours, thoughts, stories, dress, artefacts, symbols and words. We bring our unique personal style to each game we play. The game itself has a unique style. Designing style is a creative process that is developed over time and is strongly influenced by role models, self-perception and feedback and reflection. QUESTIONS: What is unique about our style of playing the game? From where do we get feedback about our style? How does our style of game play help us to achieve the desired results? How does our style differentiate our game from other games? Page 13
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  15. 15. WEST: VALUES Values are standards or qualities considered worthwhile or desireable. They are abstract ideas about what an organisation, society or community believes to be good, right and desireable. Values reflect our most deeply held beliefs, demonstrated through day-to-day behaviours and are the fundamental principles that guide com- munity-driven processes. Values provide a basis for action and communicate expectations for participation and how the organisation expects everyone to behave. Values should endure over the long-term and provide a con- stant source of strength and inspiration for the individual or organisation that holds them. QUESTIONS: What values do we need to play this game really well? How can these values be reinforced and expressed in both word and deed? What behaviours and attitudes need to be transformed? What needs to change and what do we want to have instead? Page 15
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  17. 17. NORTH-WEST: RULES In order to play a game well, we need to be clear about what the rules and patterns of success are; both written and unwritten. Rules stipulate what can and cannot be done and not playing by the rules means penalty or even exclusion from the game. QUESTIONS: What are the key rules of this game? Which rules could stimulate innovation and creativity? How can everyone be clear about the rules of the game? Page 17
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  19. 19. NORTH: ROLES Some organisational theories suggest that organisational job and role titles are similar in many ways to the roles performed by actors on the stage or in soap operas. The difference is that we interpret, direct, script and perform the roles ourselves. QUESTIONS: What roles do we need to play this game really well? How do the role-players work together to achieve the desired results? Page 19
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  21. 21. NORTH-EAST: RITUALS A ritual refers to speech, action, singing and other performances which contain symbolic meaning. Rituals provide a way for participants to step out of the game temporarily, let off steam, then rejoin the game with renewed energy and fresh perspective. QUESTIONS: What rituals do we need to make this game work really well and when do they happen? What rituals would inspire us and generate enthusiasm and commitment to the game? Page 21
  22. 22. Place Your Stone Upon the Pile