121209 games icebreakers energizers

GETTING TO KNOW EACH OTHER
Introduction
Any work that asks people to look at topics of a controversial kind or to use imagination and explore feelings can only
succeed if people feel comfortable with each other. So, time spent on getting to know each other, even if it seems
'wasted' (not on the topic), is actually vitally important. A variety of activities can be used. Only a few of them are
mentioned here.
Activities
1. First Names
Ask each person in turn to come and write their name on the board or paper and tell something about it - the origin; why
they are named it; whether they like it; if they prefer. shorter or longer versions etc.
2. Talking in Pairs
People are asked to speak with one other person that they don't know, or don't know well, to introduce themselves to
each other. They are encouraged to spend five minutes each. It is possible to give more specific questions to talk about.
Afterwards each person in the pair could introduce the other to another couple or to the whole group.
3. Ball of wool
People stand in a circle. The first person throws a ball of wool to another (anywhere in the circle) saying their first name
and where they are from (or any other single thing that you decide on). The next person does the same. The wool should
crasscross the circle. A point could be made at the end about the fact that everybody in the group is connected in some
way by the wool and their being together right now.
4. What I would rather do
Sitting in a circle each person says their name and what they would do with their life Oob perhaps) if they could
change. For example: 'llaria - Actress'. The next person then introduces their neighbour, saying their own name and
what they would rather do. This continues until the last person introduces everybody and then themselves. This is not
only a way for people to learn the names of others but to discover something more about them at the same time.
5. I AM...
Each person is given the 'I AM...' sheet (copy attached) and asked to write largely and clearly three things about
themselves that are not obvious. So not, I am female or wear spectacles or have red hair. They can be as revealing or
ordinary as each person wants them to be. Then they attach the sheet to their front. Stand. Walk around and introduce
themselves to all the other participants by shaking hands; exchanging names; looking at the sheet of the other person
and briefly commenting or asking a question. This allows a real personal connection between each person at the start.
Conclusion
The Personal Shield and Human Bingo, also in the pack, can be used as getting to know each other exercises or later as
re-connection ones. The value of all of them is that they stress that each individual matters and is being valued for
themselves, before anything is done in groups or on the content. This is essential for this work that looks at respecting
others and accepting difference. It sends a very clear signal right from the start.
PERSONAL SHELD
Introduction
A short exercise for people in a group who do not know each other very well or who have not seen each other for a
while. To encourage easier communication between -group members.
A B
C D
...There is no path. Take the chance and make your own"

MOTTO
Each person draws - or makes - their own shield including the following:
A - 3 Favourite things to do in leisure time (drawn);
B - 3 Ambitions (drawn);
C - 3 People you admire (drawn);
D - 3 Places you like or would like to visit (drawn);
Alternatively: A Three depictions of your family, personal life.
B Three depictions of your work or study life.
C Three spare time activities.
D Three places you like or would like to visit.
Other variations are possible.
They also adopt a phrase that's applicable to them which will be their motto.
Once complete, with a partner each person talks about their shield and motto for ten minutes and then listens as their
partner explains their's for ten minutes.
They can then be put on the wall of the meeting room for people to look at and guess which belongs to each person or
with names on the top.
HUMAN BINGO
Introduction
A game best used as an energizer, after lunch or a break away from each other. Not advised as an icebreaker. A short,
fun inter-active exercise to help re-establish a sense of being in the group.
Process
1. Each person is given a copy of the sheet with the Bingo grid. It is suggested that twelve boxes form the grid, with
statements that group members must find the answer to. Therefore, statements like 'is a woman' or 'is wearing a watch'
are not appropriate, as these things can (usually) be clearly seen.The statements should cover a variety of topics,
suitable for the group you are working with. See enclosed sheet as an example.
2. Ask the group to stand, push chairs away and retain only the Bingo sheet and a pen. The object of the game is to get a
full house (all twelve boxes completed) by funding one other person from the group for each box. They should do this
by mingling, forming pairs quickly, to ask one question each way. If they get a positive response they put the name of
that person in the box and circulate to find the next positive response.
3. 7he winner is the person who fills all twelve boxes first. It is not allowed to put your own name in any box. At the
end, have a show of hands to test responses to each statement. The leader of the group should usually join in.
Conclusion
Variations are possible. There can be more boxes or less. The statements can be on a theme. They can be deliberately
controversial, provocative or risque. If this latter option is chosen, then you may need to allow more time to de-brief the
exercise afterwards. In other words, although the main aim is as a group-bonding exercise, it can also be used as a
discussion starter.
FIND SOMEONE WHO:
KNOWS WHO BARBARA
STANWYCK WAS
IS A CAR-DRIVER HAS BEEN ON HOLIDAY IN
THE LAST MONTH

IS A VEGETARIAN IS A SPORTS FAN HAS A PET
LIKES THE SAME MUSIC AS
YOU
IS A PARENT HAS NEVER SMOKED
IS WEARING WHITE
UNDERWEAR
LIKES SCIENCE
FICTION FILMS
WEARS CONTACT
LENSES
THE TREASURE, THE PIRATE AND THE KEY
Introduction: Show a picture of a Treasure Chest being locked by a Pirate. Inside, treasure should
be seen.
Explain that some treasure is going to be locked inside and that only one key will then be able to open
the chest. Show some copies of keys drawn on paper (all with seven different sized teeth). Give each
person a copy of the key and tell them that they will have to design a key that will open the chest.
The treasure: Could be one of the following -
1. Future generations of young people with an understanding of, and sympathy for, the work of the
Red Cross and Red Crescent Movement.
2. Human contentment.'
The key: In these two cases it would be:
1. In our dissemination work, the seven main things young people need to be educated about.
2. The seven main things that a human being needs to be content.
The clues: Some clues can be written on stickers and placed around the room. These are possible answers.
Participants can look at them, or not, as they wish.
The exercise: 1. Alone, each person comes up with the seven most important things that would unlock the treasure.
They must put them in order of priority (largest tooth = top priority).
2. Small groups should be formed (at least three, preferably not more than seven). Each group is given
one different coloured copy of the key. They are told to somehow, someway, reach a group consensus
of the seven in order of priority.
3. The keys can then be put on the wall or the'seven priorities written on a grid on a large sheet of
paper. Each group should be asked:
- Was it easy or difficult to reach consensus?
Did everybody get to express their views?
Why did your first choice have top priority?
4. Either the large group should then be encouraged to discuss and come to a large group decision or a
general discussion should take place on the issues that arose.
Conclusion: The discussion will largely depend in the nature of the treasure and the key that you originally chose.
Some points may well apply in every situation:

- Is it necessary to have a large group key? Or, are the individual and/or small groups ones enough?
Will any key work?!
- Is it useful, or not, to prioritize in this way?
- Are there cultural differences of perspectives involved?
- How did people feel during the various stages of the task?
- Can anything be learnt from this exercise about difference and communication as well as the official
content?
Under no circumstances should the person running the exercise tell the group at the end that they have
the one and only correct key to the treasure. This would rather ruin the point of the whole exercise.
Note: Depending on the topic and the structure you choose and the group and the level of discussion this
exercise can take a short time (45 minutes minimum) or it can provide the material for a 1/2 day
session.
An example of the treasure, key and possible clues that could be used follows:
The Treasure A world without violence and war.
The Key The seven main things that individuals can do to achieve this.
The Clues Learn to accept differences;
Gain wider knowledge of people and the world;
Show tolerance and respect;
Develop empathy and understanding for the views and actions of others; Read widely;
Challenge prejudice and discrimination - even in friends and family;
Write to, and lobby, politicians and other leaders;
Actively encourage more equal distribution of the world's resources; Consume less, so that others
may consume more;
learn to deal with our own anger and fear in a constructive way;
Talk about problems rather than hiding from them;
Live non-violently and non-aggressively - be a good example;
Pretend it is the problem of everyone else but you;
Use your own knowledge and skills to convince others in your own life;
Support - by membership, fumce or promoting them - organizations working towards conflict
prevention and peace;
Complain, campaign, march and demonstrate if necessary;
Boycott companies and governments which actively encourage violence and war;
Support the death penalty for violent criminals and the assassination of religious and political leaders
who encourage violence;
Protect yourself and those you care about - and ignore the chaos and suffering elsewhere;
Feel it as all hopeless and rum to sex or drugs or materialism or career or...
These clues should be placed on slips of paper all around the room. People should be told that, like all clues, some may
be helpful and others not. Nobody has to look at them, they can choose whether to look at them, before doing their own
key, or after, or not at all.
THE TEN SYMBOLS OF THE PACK METHODOLOGY
The methods used in the pack are very simple. They are mostly not difficult and not dangerous. They are, though,
harder work for those running them and those participating. They will be for some people a change from what they are
used to. (For a description of people's varying reactions to change, see the exercise Change). The following ten
symbols explain something about the methods and their rationale.
1. The lecturer or expert style of telling people what they need to know is not encouraged. Nor is sitting in rows or
behind desks. Sitting in circles, so that everyone can see each other with no barriers, is encouraged. Also, breaking up

into smaller groups of two, three or five people gives everybody the opportunity to contribute, as well as providing
variety.
2. Any activity or session or workshop or pack cannot provide everything for people. It is, rather, like building blocks.
It can add some more blocks to whatever the individual is building (a wall, a house, a palace etc). Some things can be
offered which some people will find useful and others may find less so. Some people may reject any kind of blocks
which are different shapes to the ones they expected. Others can transform blocks into shapes suitable for their own
building.
3. Although strengths and positive aspects are concentrated on, weaknesses and more negative things should not be
ignored. All people can learn new things if they are open to do so. By facing difficulties and problems and less pleasant
things about ourselves, we can learn and develop.
4. Any activity/session/course/pack can stay on a safe, secure level and people will, of course, learn and move forward.
If, however, things move beneath the surface a little... if some risks are taken.… if participation and dealing with real
issues and feelings are promoted, then difficulties and some unhappiness can occur. The chances are much greater
though, that real learning and development will take place at a much higher level.
5. If the left-side of the brain only is engaged then learning can only possibly reach a certain level. This side is the
logical, rational one that controls reading, writing, number, tasks. If, however, the right-side is also engaged (the side of
imagination and feelings and creativity) than the whole person is involved and learning can reach a much higher level.
So colour; visual, musical and dramatic aspects; emotions and creativity, should be used and stimulated.
6. The educational theory underlying this work is based on Dale's Cone of Experience. This suggests that people only
remember 10 to 20% of what they read or hear. If they see and hear then it approaches 50%. To get higher they need
to see, hear, say and do. If they are actively involved they can integrate up to 90%. These methods all involve active
participation and experiencing to encourage the greatest learning possible.
7. Sharing and equality are two of the key elements of the approach. Not the patronizing Adult telling Child; Man
telling Woman; North telling South; West telling East or Geneva telling everybody, what to do and how to do. Instead,
a belief that everybody can learn from each other, if they are open to receive as well as to give.
8. Accepting difference, in the world at large and within the group, are stressed. It means accepting people from
different cultures and backgrounds; those with different lifestyles and opinions; those who want to be a part of
everything and those who sometimes want to withdraw; that people are individuals as well as members of a Society. It
means giving quite a lot of responsibility - including for their own learning or lack of it - to people themselves and not
trying to lead, control or shape too much.
9. The hope of this work is that people will feel motivated to do something about it themselves in their own
local/personal situation. It can then have a snowball effect. gathering pace and momentum and increasing in size. First
comes some awareness and sharing together and then can come some action with solidarity. Like light, weak
snowflakes joining together until they form a formidable snowball.
10. People - whether on a course; in school; at work; in a refugee camp; in a relationship etc - can be treated like one of
three vegetables.
The Green Bean: the grower tightly controls its growth, to make it perfect. The grower knows what size, shape, colour
and texture it should be to make it marketable. It becomes perfect but at a cost: no freedom.
People treated this way are controlled to ensure that they have the right/best information, skills, etc.
The Mushroom: the grower places them in a dark place (a dungeon, under a box) and leaves them to grow. They might
occasionally be given some manure. They grow or they don't.
People treated this way are given nothing. They are ignored, not told anything, except on occasions, something useless.
The Tomato: the grower prepares the ground well; protects them from birds, waters them and cares for their growth,
especially at first. After a while some may grow smaller/larger; greener/redder; sweeter; different shapes etc. All are
considered worthwhile.
This way of treating people, is to offer some things, especially at first, but then they are free to grow and develop
themselves.

The whole ethos of this pack is that it is better to try to treat people like tomatoes, rather than green beans or
mushrooms. Neither perfection nor total freedom are the goals. The goal is to offer something, to share and to
encourage real awareness and responsibility.
IDENTIFYING NEEDS
ASSESSING: COMMUNITY NEEDS EXERCISE
Purpose
This exercise is designed to help us see how the priorities set by professional workers and newcomers to a community
are not always those that the community members would choose.
QUESTIONNAIRE
Priorities of Mathari Valley People
The Nairobi City Council recently made a survey of over 2,000 families in Matliari Valley. They asked the people what
problems the people saw as most important in their lives in the valley. They then asked the people to rank those
problems in order of priority.
Instructions: Rank in order of what you think the people in the Valley answered as their first, second, third
priorities etc. Place a number 1 by the one you think they ranked first, a number 2 by the one you think they ranked
second, etc. up to 10.
Write your numbers in the left hand column.
Your Ranking
----------- Land
----------- Clean water
----------- Shelter
----------- Clothing
----------- School Fees
----------- Money to expand business
----------- Educational facilities
----------- Food.
----------- Better standard of housing
----------- Sanitation
Taken from "Health Care Together" by Mary Johnson and Susan Rifkin (1987), published by Macmillan Publishers,
London.
HUMAN SCULPTURE
Introduction
An inter-active activity to demonstrate cooperation and acceptance of difference. This is often the hidden aim. The
introduction can state this or it can be billed as a warm-up activity or one on a completely different topic.
Process
1. Ask people to form groups of three or four. Then ask them to demonstrate, by forming a human sculpture,
something on the topic you give them. The topic can be:
the benefit of cooperation
accepting the difference of others
how this group or class works
conflict
nightlife in the area
cats

(Clearly almost any topic can be chosen, depending on the group, situation and your aim).
2. The group are told they cannot talk at all during the exercise. They are given a set amount of time and told they
will then present their sculpture to all the other groups. Only after this will talking be allowed.
3. One person in each group is given a 'disability' by the leader. They must keep their hand behind their back or in
their pocket. Alternatively they must stand on one leg or stay bent over. Other variations are possible. No reasons
are given for this, however they must stay this way until the end of the presentations.
4. After each group has made their presentation, allow each group some time to talk about what they achieved, how
they felt about it and what, if anything, they learnt from it.
5. Open this out to a general discussion. Some specific questions should also be posed:
What did it feel like working without words?
How well did the group work together?
What helped or hindered this working together?
How did the individual wish the imposed 'disability' feel?
How did the group react to this person and how did they feel about them?
What did you learn about: human sculptures; the topic you were asked to sculpt; cooperation; difference?
(Many other questions could be posed depending on the group, the time and the nature of your work. For
larger groups, or even for smaller ones, these questions could be raised with small groups first before the large
group discussion).
Conclusion
Some difficult issues could arise during this exercise and time will need to be allowed to look at them properly. The
leader will probably need to make choices about which questions to focus on.
MY HERO
Introduction
The world of fantasy can be a useful tool in helping young people discover and express their thoughts and feelings. For
this exercise, we will use the notion of the 'hero figure' as another tool for helping young people to look at their personal
values in more depth.
In order to have a clearer understanding of the nature of the activity, the following remarks should be taken into
consideration:
1. Consciously or unconsciously, almost everyone has one or more 'hero figures';
2. Hero figures play an important role in the lives of young people since they normally serve as a centre of
attraction or as a figure with which to identify and in this way they help young people to adopt a number of
values;
3. It is therefore important to realize that hero figures are not 'neutral', they have a certain image and convey a
number of values;
4. Viewed from a collective dimension, hero figures can also play a very important role in the life of larger
communities, such as a racial or ethnic group or a country.

For this reason, a hero figure can be a most important factor in national unity (when it is shared by the whole population
of a country), but it can also cause division when it is shared by a particular sector of the society, community or ethnic
group and not recognized by other sectors of the population.
This aspect must be carefully taken into account for this exercise. Only the general setting is given here, but it can and
should be adapted to local circumstances.
The main aim is to encourage people to realize that other people in the same country, community or city may have other
'heroes' and to understand and respect their choices.
Process
1. A few volunteers should be asked to give their definition of a hero. It is not important to give a dictionary
definition. Some of the following aspects may possibly emerge:
A hero is: a noble person admired for his or her achievements of noble qualities, someone with superhuman
qualities, someone who has special talents, someone who has dedicated his or her life to the service of others,
etc.
2. Give out the MY HERO form. State that:
a) A hero (for the purposes of this exercise) could be a real or fictitious character. It could be a patriot
of the country, a religious figure, a popular character from a TV series or commercial, an historical
figure, a hero from a book or film, etc;
b) Each person may have one or several heroes, but for the purpose of the exercise participants are asked
to concentrate on only one hero. They should therefore select the hero who is the most important to
them.
3. Each person completes their form individually. There should be no communication between people.
4. Having completed the form, each person finds a partner and shares their answers with them. It is
recommended that each partner gives their answer to question No. 1 before going on to question No. 2 and so
on. This will make any comparison easier and keep the dialogue between partners flowing.
People should be ready to answer questions asked by their partner, e.g. At what age did you chose your hero?
Have you changed your hero figure many tiines? What were the reasons for your choice of hero figure? etc.
Questions that appear critical or threatening should not be allowed, e.g. Don't you think it is wrong for
someone to have a war hero? etc.
5. Back in the large group ask people to name some of the qualities that their hero has. These can be written on a
board. Striking similarities between the qualities of very different heroes, both historical and fictitious
characters will probably be seen.
The names of heroes can be shared. If this happens, criticism of the choices should not be allowed.
6. Comments can be made about the positive and negative qualities of heroes in general and questions raised
about their influence. Discussion can also take place about the value of having hero figures for individuals and
communities. Points could also be made about the dangers of blindly accepting everything about somebody
you admire as opposed to keeping some kind of critical distance from them.
Conclusion
This activity can prove quite thought-provoking for people as it asks them to reveal a great deal about themselves and
their personal values. It then links this with the effects of hero identification on groups of people and communities.
The power of these personal and shared values can then be seen. Further work on these aspects and the need to
recognize and accept different values can follow.
MY HERO

1. if you were asked to select ONE hero, who would you chose?
2. a) What qualities of your hero do you admire the most?
Why?
b) Are there any qualities/characteristics of your hero that you dislike?
Why?
3. a) Which of your hero's actions gives you the most joy?
Why?
b) Which of your hero's actions disappoints you the most? Why?
4. Has your hero taught you what you consider to be a very valuable lesson as far as your own life is concerned?
If YES, briefly describe the lesson.
ME AND MY ENEMY
Introduction
An activity that looks at links between our "enemies" and ourselves and how our view of our "enemies" can tell us a lot
about ourselves.
Process
1. Ask all participants to write down three things that they hate or fear about their enemy. They should try to
think of someone or a group of people that they really dislike, either for themselves or for what they represent.
If they find it impossible to think in those terms, they can use as an enemy someone or a group of people they
were taught to hate or fear as a child. (5 min).
2. Then participants should draw up a list of things they dislike.about themselves. Ask them to find things that
they are genuinely uncomfortable about, or would really rather not acknowledge. They then add to the list
things that they feel they are not, and would like to be. This list will not be shared with the whole group. (5
min).
3. In pairs, partners look at their lists, stating the three things that they dislike about their enemy. Ask them to see
how many links they can make between the two lists. What do their enemies have in common with
themselves? Can they see in them anything they reject in themselves, or anything they would like to be and
are not? Make sure that pairs spend time on the lists of both partners - five minutes each. (10 min).
4. Back in the large group, people are told that they do not have to share all the information they wrote
themselves or discussed in pairs. However, open out the discussion by asking questions like:
Did people find links between what they do not accept in themselves and what their enemies represent? Does
this tell them anything about themselves or the nature of "enemies"? What can we learn from facing up to our
own fears and hates?
It might prove useful to reform the pairs to consider these questions or to ask two pairs to join together to form small
groups of four. Some general comments or discussion in the large group should draw out some of the main learning
points from the exercise.
Conclusion
Some self-awareness and empathy for others are the main aims of this exercise as is an introduction to the nature of
projection.
Cari Jung, an influential psychologist, suggested that we project what we dislike or fear about ourselves onto others and
disassociate ourselves from it, thereby creating enemies. It is a tough concept to apply to ourselves because it requires
us to see ways in which our enemies and we are the same. A good starting point is to look at what we have in common

on a practical level, such as families, lifestyle, expectations, dreams and children. These links can be a good
introduction to breaking down some psychological barriers.
Further exercises on the results of projection, in the form of hate and fear and prejudice and discrimination could
follow.
HUMOUR AND STEREOTYPES
Introduction
A few activities to encourage people to consider the nature and power of humour and to look at the necessity and
danger of humorous stereotypes.
Process
1. In small groups, investigate some of the following:
- What makes each of us laugh/smile?
- Are there many different things?
- Does it depend on mood? situation? company?
- Do we laugh at things we are afraid of or don't know anything about?
- Is it easy/difficult to make others laugh?
- How do you make others laugh?
2. Ask each group to prepare something for the other groups. The aim is to make them laugh. They may prepare
a story, a drawing, a drama, anything as long as it makes people laugh. After some planning time, give each
group the opportunity to make the others laugh.
Following this, have a discussion on how each group made decisions about what to do and whether they were
successful. Get people to consider what factors they took into account, for example, type of audience, how
well they know each other, etc.
3. Ask people to form pairs. Firstly alone, using a sheet of paper, get them to think of a time when they found
something really funny. Ask them to analyze it. Why they found it funny? What was it actually about? They
should then turn the paper over and think of a time when they didn't find something funny at all, but they still
laughed or smiled or joined in with the joke. This time they should analyze: why didn't they find it funny?
why did they still laugh/smile? who else was there? Encourage people to be honest with this, even if it quite
difficult. (Many people may well claim.at first not to be able to think of any situation like this. If they cannot,
ask them to think of a situation where they found something funny and others clearly didn't). They should then
share these two situations with their partner and discuss them a little further.
Back in the large group, ask people not to share the situations but any general reflections on what this showed
about humour.
4. Many jokes and people's abilities to find things humorous depend on knowing the person or understanding the
situation or belonging to a certain group of people. Much humour makes little sense to those who are not 'in'
on them.
In small groups, ask people to do the following:
Firstly, consider:
What are in jokes? How people not 'in' react to them?
What do the mass media have to do to make us laugh at the same time at the same thing?
(Consider studio audiences, canned laughter, stereotypes, etc.)

Secondly, ask people to watch some TV entertainment programmes or listen to radio DJ's. Read some
cartoons. Look at advertisements. Then list some of the stereotypes that are frequently used.
Thirdly, ask groups to consider that stereotypes must be finstantly recognisable and allow for no individual
differences. Think about hospital nurses, upper class women, radical trade union leaders,. gay men and
lesbians or any other groups that you have thought of. Then encourage them to discuss the following:
• How real are the stereotypes?
• Why do you think that they started?
• Why are stereotypes sometimes very useful?
• How would you feel if you were a member of the group talked about in this way? Or, if a member of your
family was?
• How would you be affected if you didn't know anyone who was a member of that group?
• How might you react if you met or heard of someone in that group after years of listening to the
stereotype?
• Why are some groups singled out for more jokes than others?
• Why is it more worrying when jokes are directed at a whole community, rather than rich people or those
doing a specific job, like politicians?
Fourthly, ask groups to choose one group who are shown in a fairly negative, stereotypical way. Ask them to
collect examples of these stereotypes together. They should consider how these stereotypes happened. They
should think about how members of this group might feel about it. They could even ask members of the group
or read things from members of the group to see how they feel. They could think about whether anything
could, or should, be done to try to alter the stereotype.
After some time working on this in small groups they should present/demonstrate their findings to the large
group.
Some discussion should take place comparing the types of stereotypes, and reactions to them, as well as
possible strategies for changing them.
Conclusion
One or all of these activities could be used. Their purpose is to get people to think a little bit more about whether some
'harmless fun' really is so harmless if it is directed at certain individuals or groups. It also highlights how humour can
be used as a propaganda weapon. Becoming conscious of it, and trying to minimize its harmful effects, is something
very practical that all individuals can do. Any work on vulnerable groups, respecting difference and conflict can benefit
from some attention to humour.
THE MEDIA AND OUR LIVES
Mass Media: Means (especially newspapers, radio, television) of imparting information to, influencing the ideas
of, enormous number of people.
Oxford Dictionary
There is no doubting the power and the influence of the media on most of our lives. Many of us live in a media-
saturated society. From the moment we wake, our day is penetrated by pictures and sounds from the audio-visual
media. At night our dreams are touched by the images of the day.
It has been suggested that the average adult of some countries spends approximately 75 hours per week in contact with
the mass media, however casual that consumption may be - a glance at a poster or a half heard radio programme. Many
governments have statistics showing that children spend more time with the mass media than they do in the classroom.
Only sleep takes up more time.
YOU AND THE MIEDIA
Keep a diary for one week of your own contact with the media.
Note the type of media and the length of time you were in contact with it.
(Remember you could have contact with several types of media at the same

time).
At the end of the week discuss in groups the type and length of media
consumption.
Design a bar graph illustrating the results.
As we spend so much time in contact with the media, it 'naturally' provides us all with a potent source of information,
values, pleasure and meaning. This helps shape our attitude to ourselves and the world in which we live.
"The mass media do not determine attitudes but they do -structure and select information we may use on which to base
decisions about what attitude is appropriate... (this) means that it tends to maintain, cultivate and exploit beliefs and
attitudes already held, rather than undermine or alter existing perceptions.'
Gajeara Venna
The Black and White Media Book
The selection procedures used by the media to determine what we read, hear and see are critical to our own
understanding of the reality around us.
THE FAMILY ALBUM
In pairs or smafl groups:
Look at your own, or your family's photo album.
Talk about some of the events shown with your partner or group.
Consider:
What are the photos of ? (Parties, marriages and holidays?) How many are
there of fights, everyday drudgery, divorces, funerals, bad times?
We are very selective in what we choose to take a photo of initially. We
then select what to put in the album or on display.
What you are likely to take pictures of - where and when.
Which you choose to display or put in an album.
Which you reject - and why.
For a few photos, try to remember what happened before and after the photo-
was taken.
Is the album a 'true' record? Does it reflect reality?
Why do we rarely keep a record of unpleasantness?
To a person that did not know us, how might our selection process for our
album affect the way we are viewed?
Our own photography is probably conservative and follows a set pattern. The kind used by the mass media is no less
so. All the visual images we see in the media have been chosen to express a particular point of view and to conform to
set patterns. Just as we don't display the photo where we were caught picking our nose, so the media carefully selects
the visual images it provides us with. These selection processes will affect the opinions of those receiving the images.
It will influence our opinions about: politics, possessions, wealth and poverty, strikes, demonstrations, the world
generally.
The power of visual images and of the selection processes used by the media will be better understood by attempting
some of the following activities:
ANALYSIS

Using a photograph, slide, or still, start by showing a small section of it. Then
increase to a larger section and finally the whole of it.
The group should call out what they see and must decide whether they are
describing the image (objective) or interpreting it (subjective).
Individuals or groups could prepare their own photographs for analysis. This
exercise indicates how photographs can be % used', how responses to images
have been 'learned' collectively and how they might be varied
PHOTO ANALYSIS
Each person has a photograph and a piece of paper. They write a brief
comment about the image, fold the paper and pass it on. When all the group
have commented the group should discuss their responses and the reasons for
making them, noting similarities and differences.
CAPTIONING
"The photograph of a couple locked in embrace may be captioned Love or it
may be captioned Rape". Harold Evans
Using a selection of photographs students should write a caption to
accompany the image. The photograph and text should then be passed to
another member of the group who is asked to write a caption interpreting the
image from a different point of view.
A CHIILD ON TELEVISION
Introduction
An activity showing the power of the selection of images and words for television. Allows consideration of some
practical, creative and ethical issues about the Media. It is also about the importance of education and upbringing in
early childhood.
Process
Start either by introducing the topic of the child or by the method of television story-boarding (a plan of the words,
images and timing of a television broadcast).
1. The child
"Childhood is a time of innocence" "Give me a child until he is seven and I'll create
the Man"
Say or give out these old quotations about children, (You can explain that it is about women also, but in older times
they were not mentioned). Say that they may seem contradictory to some people and complementary to others.
Split people in small groups of, perhaps, four or five. Give some groups the Six Statements and some the Seven
Statements. Ask them not to talk with, or show their statements to, other groups.

Six Statements
A child who is criticized - learns to condemn
A child who is punished - learns to fight
A child who is insulted - learned to be shy A
child who experiences shame - learns to feel
guilt
A child who is abused - learns self-loathing
A child who sees loved ones killed - learns to
fear and hate
Seven Statements
A child who meets tolerance - learns patience
A child who is encouraged - learns confidence
A child who experiences security - learns trust
A child who experiences fair play - teams justice
A child who feels friendship - ]cams to show
kindness
A child who is accepted - learns self respect
A child who receives care and love - learns to love
Ask each group to discuss the meaning of their statements and what they think about them.
2. Television story-boarding
Explain that story-boarding is a planning grid. People working on a television programme or advertisement use
storyboards to organize themselves. (Show them the Picture, Time and Sound diagrams). The storyboard shows what
pictures the viewer will see at any point during the progrannne or advert and the words and sound effects that will go
with the images. A useful tip is that it takes about 1 second to say 3 words. Images and sounds should match.
3. The task
Explain that each group needs to create a two minute news item, advertisement or small feature for television about
their six or seven statements by story-boarding. They can either have many copies of the Picture, Time and Sound
diagrams from you or create their own. They need to sketch the images, estimate the number of seconds and write in
any words or sound effects.
The following points need to be discussed:
• What do you want to communicate with the audience?
• What are the three main points you want to make?
• How are you going to explain what is happening?
• Are there any images or words you cannot or will not use?
• How are you going ten keep your audience interested?
• How can you compete with an action-adventure film, a football match or a prize-winning show?
Give a time limit for the group to discuss and prepare. An hour or an hour and a half at least. Explain that at the end
the groups will display their storyboards for others to see and will give other groups a brief description.
4. The show
Put all the sequences on the wall. Ask people to look at the storyboards of all other groups. They should try to notice if
there are similarities and/or differences. They should see if each one makes an impression on them. After some time
for this, ask people if there are any questions they have for a certain group. What something means? Why they chose
it? (Ensure that questions are directed at all groups, not just one or two). Ask if differences can be seen between the
groups who had the six statements and those that had the seven? Consider why this might be. You may need to ask
someone from each group to read the six and seven.
Ask each group whether they were able to agree on their storyboard easily and about their discussion on which images
and sounds could be used and how they were going to interest their audience in this topic.
There can then be a broader discussion on whether any of these sequences would be likely to be broadcast; the
difficulty of interesting people in topics like this; the need for television to be entertaining and whether it is possible to
remain true to your principles and to compromise with the reality of the Media.
5. Variations
You could make a competition between the groups. This would clearly reflect the reality of the media. The best one
being judged on how it grabs and holds the interest of the viewers. A small prize, of some kind, could be offered.

Such an exercise can be done with any topic. Refugees. Gypsies. Disaster relief. Famine. In each case some visual or
verbal input needs to introduce the topic.
Instead of television story-boarding, a front-page of a newspaper could be laid out or a cassette recording of a two-
minute radio spot made. The structure of the exercise would be the same.
Conclusion
Humanitarian work needs the Media and vice versa. The relationship between the two is not always easy because they
have very different goals and practices. Some understanding of this reality can prove useful and illuminating.
VICTIMS
Introduction
An exercise exploring the ways of the Media, and people's reactions to it, especially in relation to vulnerable groups.
Process
1. Have a large and varied collection of newspapers and magazines and/or ask participants to gather some
together. Ensure that some of them have some clear reference to your chosen topic. Scissors, sellotape, glue,
colored paper, crayons and pens should also be available.
Split people into small groups, with four to six in each. Give each group a large sheet of paper. Ask them to
create a collage of words and images that show how the Media portray "victims". It might be a good idea to
ask people to start with what they understand by the word first. It could be victims of disaster or conflict or
circumstance. In groups they should look at, and think about, how the Media shows the ”victims".
As well as creating the collage, they should discuss their reactions to the word "victims" and the media attitude
towards "victims' and why this might be so.
After a set amount of time, maybe thirty minutes, ask each group to show and explain their collage to everyone
else.
2. Open up a general discussion by asking how people reacted to the task, the word, the media messages and
others in their group. Encourage some analysis of the Media: its ways of working; its views of vulnerable
groups; its reasons for being as it is; how influential and powerful it is; how it could be changed or modified.
Some strong feelings may also be stirred up. Allow time for them to be expressed but also time for some
analysis and positive as well as negative aspects to be considered.
Conclusion
This is a deliberately provocative exercise to stir up some thoughts and feelings about the influence of the Media on
people and the world. It also provokes people to consider their own attitudes - and those of Society in general - towards
vulnerable groups. Similarly provocative variations would be to change the title to: vulnerable groups or helping the
needy. More specific, and perhaps less controversial, would be to have the name of a specific group as the title or
disasters or conflict or, even, the Red Cross.
IN EVERY CASE
Introduction
An activity about basic human rights. which asks whether there are ways of treating people which are always wrong, no
matter what the situation..
Process
1. People should be split into small groups of four or five and given three cards marked:
IN SOME CASES
IN MOST CASES
IN EVERY CASE

They should be placed next to each other with plenty of space underneath them to place other cards.
2. Each group should be given a set of cards with some statements written on them. Some suggestions follow.
Six or eight for each group. They should be shuffled and placed facing down. In turn they should be turned
over and the group should discuss where to place them. They then put them underneath one of the three
headings.
3. Once completed - or when a certain amount of time has passed - give each group member two blank cards.
Ask them now to write two of their own statements about topics that could be categorized in this way. They
should place them face down and shuffle. They are then read out, discussed and classified as before.
4. Once completed - or again, when a certain amount of time has passed - ask the groups to leave their statements
on view. They should all move round to look at a neighbouring group's responses. Within their group they
can discuss whether there are any things they would not agree with. They should not move any of this new
group's cards, but make a note of any points they want to question.
5. If there are only two or three groups, each group can in turn ask the other any questions they have. The group
who placed the cards should explain their thinking. The questioning group can then give their viewpoint.
(If more than four groups, then pair up groups for this part of the exercise).
6. Allow time for groups to look at the responses of remaining groups. However, there will be no discussion on
this.
7. Back in original places, some questions can be asked and comments made. Groups could be asked:
Was it easy or difficult to reach group agreement?
Did they feel that each group member had an equal amount of speaking time?
What does this have to say about what are essential (i.e. in every circumstance for every person) basic human
rights?
Does there seem to be agreement about what should be a right in every case?
Does this teach anything about the task of defining and promoting human rights?
8. Variations are possible. People could be asked to do their own cards from the beginning, for example.
Conclusion
This activity could be used as an introductory one to the theme of human rights. Clearly, the exercise could be used in
similar ways about many other topics also. Its value is in encouraging people to think and talk about an issue in an
active, participatory manner.
Possible Statements
Killing is wrong People should be allowed to criticise the
government
Torture is wrong.
People should be allowed to talk to and meet
anyone they wish.
It is wrong to keep someone as a slave. It is wrong to force a person to work.
After a certain age people should be able to marry
or live with anyone they wish
A person accused of crime should be tried by
someone who has nothing to do with the case.
People should be allowed to say or write what
they wish.
People should be allowed to travel and leave their
country if they wish.
All people should be treated equally. It should
not depend on such things as their sex, appearance
or the country that they are from.
Private letters and telephone calls should not be
intercepted.
People in prison should be told why they are
being held.
People should be allowed to have, or not have,
whatever religious beliefs they wish.

COMMUNICATION WITHOUT WORDS
Introduction
Several exercises exist which can help people to consider some of the ways of communicating without words. Non-
verbal communication can be powerful at any tirne. It becomes all the more important when working in an inter-
cultural or multi-cultural context. Also, when working with those for whom language is difficult. Some people are
very aware of it and for others it is quite unconscious. It can be a real revelation for some people to see the usefulness
and power of such communication.
Activities
1. Birthday line
Ask people to stand. They are then told to form a line, from one end of the room to the other, based on their
birthday. At one end is January and the other December. They have to do this without speaking in any
language. (Variations can be: first letter of first name, place of birth or living place: north to south, etc).
2. Star sign act
People should form groups based on their astrological sign. They are given a set amount of time - maybe three
to five minutes - to prepare a ten to twenty second demonstration of some characteristic of their sign. They
must prepare without words and demonstrate without words also. (Variations are possible: people from the
same region perhaps).
3. Walking together
Ask each person to find a partner. Then ask them to stand at opposite sides of the room from each other. They
should concentrate on their partner and not on any other people. They should not speak. Tell them to walk
towards each other and stop at a point that feels comfortable in relation to each other. Ask them to stay in that
position for 15 seconds to see how it feels. Then ask them to take one step back from that position. They
should stand for 15 more seconds to see how that feels. Then ask them to move forward to where they were
before and then take another step closer to each other. Stand in that position for 15 seconds and see how it
feels. Then ask them to sit with their partner and discuss what it felt like; if it was comfortable or not and
anything else that they noticed. Do not ask too many other questions at this time.
After some time, come back together as a large- group and ask for any reflections. Many issues will probably
be raised, if not you may like to raise them. For example:
• Were both people comfortable with the first position?
• Did height, gender, friendship, culture affect the feelings?
• What was the eye contact and body language like?
You should then make some comments based on what you observed. Further discussion can take place on
what has been leamt about eye contact, body language, individual and cultural differences and whether one can
observe and interpret correctly.
4. The Three Minute Story
Ask people to form pairs. One person in each pair is person A and the other, person B. Explain that you will
give a card to each person, they should read it but not show or tell their partner. They will then do what is on the card.
Give person A card 1 and person B card 2.
CARD A CARD B
Please talk for the next three minutes to
your partner about your most recent
holiday.
While your partner speaks to you for the
next three minutes, please show non-
verbally (without speaking) these two
things:

1. 2.
that you like them very much
and
that you are sad
(About half the time showing each one)
3.
Please talk to your partner for the next
three minutes about a film, or a book,
that you like very much.
4.
While your partner speaks to you for the
next three minutes, please show non-
verbally (without speaking) these two
things:
Nervousness
And
Anger
(About half the time showing each one)
At the end of the three minutes ask people to stop and talk with each other about how they both felt
and whether they could work out what was happening. Then give person A card 4 and person B card
3, so that the positions are reversed. Follow the
same procedure. Three minutes, then discussion.
At the end, back in the large group, ask for any general reflections and comments. Some points to
draw out include:
• Is it easy or difficult to correctly see how another person is feeling?
• Can things be expressed non-verbally, without words?
• Does gender or culture affect any of these things?
• Can people learn to be more observant of non-verbal signals or is it intuitive?
Some people may well still be stuck with some of the feelings they had during the exercise, so you
should get people to de-role (talk about something from their own life; move around and sit in a
different place; do a light-hearted exercise and/or talk to a partner about these feelings to clear them).
These cards can, of course, be changed. However less dm three minutes is not advised as real
feelings cannot then arise.
Conclusion
These are just four exercises amongst many on communication without words. They can raise many thoughts on the
usefulness - and limitations - of this form of communication. They do highlight the impact that non-verbal signals have
on people and therefore the importance of striving to understand them.
HEARING AND SEEING
Introduction
An exercise designed to consider how much we really see of another person or hear from them and how much we are
influenced by our own preconceptions and preoccupations.
Process
1. Do not alert people at the start to the nature of the exercise or they will not behave in a natural way.
2. Ask people to form pairs. Ask each person in turn to talk for TWO minutes, without interruption, about the
same topic. You should chose the topic and tell them what it will be. It could be: your last holiday; what your
journey was like today; your favourite film; refugees; drugs, your childhood etc.

3. Ask each pair to sit away from other people. Time the exercise. Tell them when two minutes has passed and
when to finish after four minutes.
4. At the end, ask them to turn back to back and give them the Observation Sheet. Allow time to complete the
form. Do not allow people to turn around or to talk.
5. Ask people to stop writing and either stay back to back and tell each other how they have answered each
question or turn and face each other and do the same. (No further writing is allowed). They can correct some
things and discuss.
6. Back in the large group ask some questions:
How many correct answers did most people get?
Were some things generally easier for people to see than others?
Do they think they noticed more or less than they usually do this time?
If so, why might that have been?
Was it easy to talk for two minutes without interruption?
Was it easy to listen for that long without interrupting?
What does the exercise say about the value of real listening and real seeing? What conclusions about personal
inter-actions could be make?
Conclusion
This exercise is a good introduction to any work on conflict or communication or any other topic relating to people and
inter-actions. In a simple way it makes some very strong points about what we see and hear and what we don't and why
that might be so.
OBSERVATION EXERCISE
WHAT DID I OBSERVE WHEN LISTENING TO MY PARTNER?
Fill in the answers to the following questions, do not turn around and look at your partner, do this on your own.
1. What colour was your partners hair?
2.· What length was his/her hair?
3. Did you notice anything about what your partner did with his/her hands? If yes, say what.
4. What colour were their eyes?
5. What kind of shoes were they wearing?
6. What colour were their socks?
7. How were they sitting? Did they change position? If so, describe the change as well as how they were sitting.
8. Describe any jewellery your partner was wearing.
9. Did you notice any facial mannerisms?
10. Describe the tone of voice and anything you noticed about their use of voice.
LOOKING THROUGH FILTERED EYES
Introduction
An activity to get people thinking about and questioning some of their own perceptions.

Process
1. Explain that the purpose of the activity is to draw a mental map which will generate discussion about why we
have different impressions of places.
2. Split into small groups of three or four who should complete the task together.
3. Depending on the-group, ask each group to draw a map from memory of:
a) a named country in the world;
b) the area within a kilometre of the room you are in;
c) the country you are in;
d) a named place that people have some knowledge of.
All groups should be given the same task, not different maps. You may choose to show them an example, like
the one enclosed here or one of your own making.
4. Once completed, get groups to circulate to look at the maps of other groups. They should then discuss what
differences they noticed and why there were such differences.
5. Back in the large group, use the experience of doing these drawing to discuss why different people see the
same things differently. Some of the possible reasons are:
experience
family
background
culture
beliefs
priorities
personality
age
media etc..
6. Then it may be possible to ask each person to draw an individual pair of glasses on large sheets of paper.
Within the lenses of the glasses they should write what affects their own point of view. This acknowledges the
fact that we each have our own perceptions. Our eyes are our filter through which we see the world.
7. Variations are possible, for example, instead of doing the maps in groups, they could be done individually and
then shared in small groups.
Conclusion
This exercise can be used as an introductory one or after doing some other work on images and perceptions. It could
also be used on its own as a trigger for people to consider some of the ways in which they view the world.
THE BRIDGE
Introduction
A complex and interesting exercise that asks people to do a practical activity in groups to explore some issues of
communication and group dynamics.
Process
1. The Building:
Ninety minutes is needed for the exercise and sixty minutes for the feedback and discussion. One person
should lead. People are split into two teams, preferably four to seven people in each. Volunteers are asked for,

to be observers, one or two in each team. Two separate rooms are needed and a third neutral place. Each team
or room is equipped with:
One ruler
One pair of scissors
One roll of sellotape
One stick of glue
Several sheets of White Paper
Several small sheets of card (varied thicknesses and colours)
An old newspaper
Some coloured crayons or pencils
Two or three buttons (or other round objects)
A pencil
A small piece of coloured material
Just before giving the instructions, explain that there is no right or wrong; good or bad way of doing this and
that people will not be judged. The observers will be there to observe how the task is completed and how
people inter-act. Explain the rules.
The rules
You will work in two different teams. Together you must build one bridge, each team will build one half of it. At the
end of the exercise we will put the two halves together to make the bridge.
The two teams will work in two separate rooms and will not see each other.
Contacts between the two teams can be made by a delegate of each team. The two delegates will meet in a neutral
place for 3 minutes maximum. They can have 3 meetings in total.
The two halves of the bridge must meet in the middle of the bridge span.
The bridge span must be at least 15 cm long. When the two halves are put together it will not be possible to use glue or
any kind of material to stick them together.
The quality of the bridge will be judged according to its STABILITY, BEAUTY AND CREATIVITY. It shall hold a
pencil laid in the middle.
You can only use the materials which are on your table.
You can not put questions to the observers or the leaders of the exercise.
You have 90 minutes to do this exercise.
When a delegate wants to meet another he/she must announce him/herself by knocking at the door or at the wall of the
other team or by asking the leader of the exercise to arrange the meeting. Only the leader may attend this meeting. It
should be strictly timed.
The observers
You will observe one team.
You shall not talk to the participants or anyone else or answer any questions they may put to you.
It is recommended that you take notes.
Observe in particular the following:
- How did the group start its work?
- Who took the initiative?
- How was the delegate chosen?

- How does the group manage time? Who keeps track of the watch?
- Is there a facilitator in the group, or someone who moderates the discussion,
proposes solutions or consensus?
- How are the tasks shared?
- Is everybody doing something? Are there people who are not interested or have
nothing to do/to say?
At the end of the ninety minutes announce that the Bridge will be put together, in the neutral place, in two minutes. Put
it together and test with a pencil. A thirty minute break is recommended before proceeding to the feedback and
discussion.
2. The Feedback:
At the start stress again that judgments of good/bad and right/wrong are not the aim. This feedback needs to
be fairly tightly structured. Start by asking one team to speak, then their observers, then the other team and
observers. Finally open to a broader discussion. The questions should follow this kind of pattern:
Individuals in each team
How did it feel? (Being asked to do;
Doing;
Working together)
Do you think you were a good team?
Did you each share?
Did someone lead?
Did anyone withdraw? Say nothing?
Did different people have different roles? and tasks?
Who started things?
How was the delegate chosen?
Did anybody watch time?
Who proposed solutions/compromises?
Was anybody bored or disinterested?
Did you focus on task all the time or ever talk about relationships?
Was communication good? Were there arguments?
Were you pleased with the end result?
Was it a success? Why, do you think?
Observers
How did you feel as observers?
What did you observe about group dynamics, communication, working as a team etc?
Eye contact? Body language?
Did you try to be involved and a part of things even though you couldn't speak?
General
How much time was spent planning?
How much time was spent constructing/doing?
How much time was spent evaluating/assessing?

Have you learnt anything about:
yourself?
others in your group?
group dynamics?
exercises like this?
being observed?
Conclusion
Encouraging people to be honest about their reactions to the exercise and to others will not only make the feedback
more interesting but will bring to life the whole point of the activity. about the diversity of individual needs and skills
and reactions and how these can be blended together or not - in a team, a group or a society. Different people have
different roles. Some may become leaders, others followers, others outsiders. These may change over a period of time.
Really accepting difference, even if it is difficult is vital in the exercise, but also in Society at large.
Variations are possible. The task can be different. With larger groups, thirty maybe, two groups should be formed with
a leader for each and then two teams created within each group. More than seven working as a team and two observing
is not recommended. The time should not be shortened, otherwise it becomes just a task and the relationships and
group dynamics cannot develop.
Much may well be stirred up by this exercise, providing people with motivation to explore some of the issues further.
SILENT WALL OR FLOOR DISCUSSION
Introduction
A way of getting a group to consider some issues by interacting with each other without talking. This exercise can be
especially helpful for people who take some time to consider their reactions or for whom speaking in a large group is
difficult. It can be a very useful introductory exercise to a topic.
Task
Everybody sits in a U-form in front of the paper on the wall or in a circle around the paper on the floor. An image or
cartoon or photograph is placed in the centre. People are told to react to it in any way they wish to.
After the explanation everybody is silent. If you want to express an opinion you have to do this in writing. All your
ideas, opinions, etc. have to be put on paper. You can also respond to something that has been written by somebody
else. You can give counter-arguments, make links, ask questions etc.
It is alright if two or more people are writing at the same time. The ground rule is: NOBODY SPEAKS!
Material
- large pieces of cardboard or paper;
- thick markers or pens;
- paper tape;
- slogan, photograph, cartoon or some other stimulus to discussion.
Task of facilitator
- Explain the aim and the method;
- Indicate that the discussion ends after ten minutes or at the moment that nobody is writing any more;
- After the silent session it is possible to continue by a verbal discussion;
- Put the image/cartoon/quotation in the centre.
For example: CHILD SOLDIER PHOTOGRAPH.
or INTEGRATION CARTOON

Conclusion
Some questions can be posed, and a verbal discussion could take place, afterwards. These can explore the topic of the
session and people's thoughts and feelings about it and/or their thoughts and feelings about the silent discussion
approach.
STEREOTYPES
Introduction
An activity designed to allow people to consider the power and influence of stereotypes as well as their legitimacy.
Also to consider something of the feelings minority and majority groupings may have in relation to these stereotypes.
Process
1. The group should be asked to take a sheet of paper each and divide it into four squares.
Participants are then asked to write down four items relating to Cultural Differences, Stereotypes and
Minorities.

a) Stereotypes of 'majority' people(s) in your home country;
b) Stereotypes of Minorities in your home country;
c) A time where you felt as a minority and how did it make you feel;
d) A thne when you felt like a majority (and there were minorities present) and how did that make you
feel.
2. Ask people to form small working groups of 3 or 4 people to share and discuss their answers to these
questions. Suggest that maybe each person should do part a) first, then part b) etc, to encourage a flow of
opinions in the group. People can ask further questions of each other if they wish.
3. Back in the large group some general feedback can be taken and/or a few questions could be posed. For
example:
- What might be the root of stereotypes?
- Do they have any validity?
- What are the positive and negative results of them?
- Can minorities and majorities learn anything from the way the other group feels?
- How can communication between groups be improved?
Conclusion
Some further investigation of the power of stereotypes and the feelings of a minority group can follow, perhaps
focussing specifically on one minority group as an example. It is important to draw out positive aspects and to develop
ideas for improvements as well as looking at the difficulties and problems.
BLAME
Two participative exercises, that link together, exploring the consequences of blaming others.
Introduction
An example, perhaps from a family, school or youth group situation, could be given to introduce the topic of blame.
This may involve blaming an individual continually, or a group of people repeatedly, for things that go wrong.
Activity 1: The silent Act
Small groups - of 3 to 5 people - should be formed. Each group is asked to prepare a short presentation - or act - to
everyone else of a situation from ordinary life that shows something of a person or group of people being blamed
unfairly. They will have to give a 1-2 minute presentation with no talking. They, therefore, must act out the situation
clearly enough for people to see what is happening. Ten to fifteen minutes should be enough for the preparation time.
Following the presentations some points could be made about the type of situations shown. Some links could also be
made to the larger-scale problem of blaming in the national or global context. Group members themselves should be
encouraged to do this.
Inter-linking discussion
Some questions could be asked:
Which groups of people are most likely to be blamed for problems in this locality/region/country/other
countries?
What might be the consequences of constant blaming?

This could be done in the form of a brainstorm. All answers are written down on a board or sheets, without discussion.
Alternatively, it could be done in the form of an open discussion in the large group or smaller ones.
A poster or image - such as 'Us and Them' - could be shown for pair or small group or large group discussion.
Activity 2: The story of blame
Pairs should be formed and given five or ten minutes to prepare a one minute story, to be told to the rest of the group.
The story should describe a situation in which someone or some people are blamed for something. It should focus
mostly on the consequences of the blaming. A sheet of images like the Sheet of Blame, from the Federation Youth
Department pack: 'What have 1 done to deserve this?', as clues to the type of consequences that could result, may also
be given out at this time.
Each pair should be allowed to make their presentation of their story in turn. Time should be available for all pairs to
do their one minute. Some pairs may,wish to dramatize their stories.
Afterwards, some points could be made about the types of consequences illustrated by the stories.
Conclusion
These two activities could open the way for some further exploration about the treatment of minority groups and the
roots of conflict. Images like 'Us and Them' could be used to stimulate further discussion.
CAR PARK
Introduction
This exercise is designed to explore the ways in which prejudice affects our options in
everyday life. In this context it addresses issues specifically related to HIV infection and
sexual orientation.

Methods
In a large room or car park (hence the title) ask participants to line up, and give each
participant a card on which is written one of the following roles. They are not to disclose
this until the end of the exercise.
- a gay man who is HIV antibody positive
- a gay man with AIDS
- a 34 year old male white wealthy occasional cocaine user
- a 32 year old white female prostitute who is HIV antibody positive
- a heterosexual married man
- a heterosexual married woman
- a 24 year old black female prostitute
- a lesbian
- a pregnant HIV antibody positive woman
- a pregnant woman
- an IRV antibody positive bisexual married man
- a single woman with AIDS
When they are lined up and in role, read out each of the following questions explaining that
if they can answer "yes" to that question they are to take one step forward. If "no" they are
to remain where they are. They must answer "yes" or no.
Suggested questions
Are you able to:
• join a health insurance scheme?
• become a political candidate?
• obtain life insurance?
• expect sympathy from your doctor when you are ill?
• lead an active social life?
• adopt a child?
• go abroad on holiday?
• work abroad?
• obtain a loan to buy a house?
• expect fair treatment from the police?
• work in a children's nursery?
• have the sex you want when you want it?
• kiss your lover in public?
• plan 20 years ahead?
• get medical help when you need it?
• feel safe walking the streets after dark?
• get support from society?
• get free condoms if you want them?
• have a home help if you need one?
• expect sympathy from your family?

• be honest with your colleagues?
• have security in your employments plan a family?
• get dental care when you want it?
• marry your partner?
• expect to die where and as you would like?
Stay in role and in place. One by one ask participants to disclose the role they had assumed and to
talk about how they felt. About themselves and about the people in front of, and behind, them.
You may also ask if there were any particular questions which struck them or made them feel
something in particular.
Allow some tirne to de-role (see Communication without words) and then, back in seats, open to a
broader discussion. The following could be discussed:
• How different people react to similar circumstances and why.
• The restrictions imposed on them by those roles defmed in terms of sexual orientation
and HIV infection.
• What they have learned about the restrictions imposed on individuals by sexual
orientation and HIV infection.
Conclusion
This can be a powerful awareness-raising exercise on disadvantage and discrimination. Variations
are possible: the characters and questions can change according to the group and what you are
trying to achieve. This one focuses on HIV/AIDS, it could focus more on racism or disability for
example.
CREATURES OF CONFLICT
Introduction:
The word conflict means many different things to different people.
This exercise will help to see what it means to people here.
The Exercise:
1 . Each person should be given a large (flipchart size) sheet of paper. Various paints, crayons, pens, pencils,
newspapers, magazines, glue, etc, should be placed in the middle of the room.
Encourage people to use their imagination, creativity, feelings to create an image of a creature that represents
how they see conflict. It can be a real or imaginary creature. They should try not to think too much about it
but just do something and see what happens. (They do not have to be artists and they will not have to show
their creations to everyone).
2. Once complete, form pairs. People can choose whether to show their creature to their partners or not. They
should, however, discuss what images came to mind and what feelings it brought up for them. They can then
go on to discuss what thoughts this leads them to have about conflict.
3. Back in the large group, some general questions can be asked:
- How did it feel being asked to do the task?
- How did it feel doing it?
- How did it feel talking/sharing about it?
- How many had positive and negative elements in their creatures?
- What insights do you now have about conflict and yourself'.)

(People can show their creatures if they so wish).
4. Show the group the other creatures and ask them whether they can see how each creature might say something
about conflict. (This can also be done in pairs or maybe small groups of three or four people).
Conclusion
Some of the issues to raise include: the broad meaning of the word; personal and global conflict; positive as well as
negative forms of conflict; how we each respond to conflict situations and what can reasonably be done in a conflict
situation.
This exercise should precede an exercise looking at strategies for action. It should not stand alone.
UNDERLYING ANGER
Introduction
A written exercise about what underlies anger. To encourage participants to consider and express what lay beneath an
instance of personal anger.
Process
1. Ask everyone to write down (in one sentence) a situation in their life where they felt really angry. For
example: 'I felt angry when my contribution in a meeting was ignored.' (2 min).
2. Explain that a layer of hurt very often underlies anger. Ask everyone to write a sentence about the hurt behind
their anger in the instance they have thought of.
Example:'I felt hurt because it seemed that nobody valued my opinion.' (2 min).
3. The reason for the hurt is often an unmet need. Ask everyone to write a sentence covering their needs in the
same instance. For example: 'I need to be accepted and valued by my colleagues.' (2 min).
4. Alongside the need are often fears. Ask participants to think about what fears might have been behind their
anger and write a sentence about them. For example: 'I have a fear that 1 won't be able to win my colleagues'
respect.' (2 min).
5. Participants turn to a partner and share their sentences with them. If anyone has had difficulty with the
exercise, their partner can help them unravel their feelings. (10 min).
6. Some questions can be posed afterwards: What is the value of understanding the substructure of anger? In
what ways could it help you? How might communities or groups have the same sub-structure of anger? (15
min).
(Anger and hurt are often two sides of the same coin. It is an important step in facing the anger of others to
know what lies beneath our own anger. This exercise is a way of discovering some of the hurt, needs and fears
underlying a personal experience of extreme anger. If we can identify the fears that lie at the roots of anger,
either our own or that of others, we can begin addressing those fears rather than remaining caught up in the
outward emotion).
Conclusion
Exercises, like this one, that link personal reflection with broader issues can be a useful tool in developing some
empathy for the situation of others as well as offering people a chance to look a little more deeply at some of the roots
of conflict.
STATES OF TENSION
Introduction
Individual, pair and group work exploring how situations are influenced by personal energy levels. To explore the
range of energy levels any individual can utilize, and how these levels can change the way people respond to us. To
look at ways of using the energy we have, and exploring levels that we find difficult to reach.

Process
1. Introduce the purpose of this exercise and describe the six different levels of tension:
a. SLOTH/COLLAPSE. A state of no energy, just about awake but unable to move or speak clearly.
b. LAID BACK/VERY COOL. Using the least energy possible for the situation: slow speech and movement.
C. EVERYDAY/ONE OF THE CROWD. A "normal" energy level: you wouldn't be noticed walking down the
street - nothing unusual about you at all.
d. BUSINESSLIKE/ORGANISED. Slightly unrelaxed, slight tension: going about a task that needs to be
completed.
e. WORRY/TENSION. Unrelaxed and tense, slight panic creeping in: things are not going according to plan.
f. PANIC/HYPERACTIVITY. Growing into real panic - pulling out all the stops.
Ask each participant to explore for themselves what their idea of each level is. Using all the space, get the group to
stand up and give them a specific task such as walking to the station to catch a train. Start from level a. and remind
them of each level as you slowly take them through to f.
In groups of six or as the whole group, depending on confidence levels, ask two volunteers to role-play to the rest. The
group decides what level of tension each character is at and gives them a situation in which to interact, such as standing
in a queue hoping to get tickets. During the role-play, the group can freeze the actors and change the tension levels,
then unfreeze them and observe what effect the change has.
In groups of six, the participants are given a line on a card - for example, "what do you think you are doing?" In turn
they enter the space and say the line, each using a different energy level.
2. Feedback and discussion: What moods came across using the same line six times? What effect could energy
levels have on a specific situation? When are certain levels more appropriate than others?
Try to find out which levels people found easiest to use, and why they found certain levels difficult to reach or
uncomfortable to use. Different people will have different ideas about each energy level and what it means to
them. There are no rights or wrongs.
3. This exercise can be developed further by considering, or acting out, how people's response may be different
according to the energy level used. Small groups could be asked to prepare and show a situation where
different energy levels produce different reactions and end results.
Conclusion
These states of tension are often noticed subconsciously by people and they can produce remarkably different effects.
Any communication between people can be improved by some understanding of these
forces.
UNDERSTANDING CONFLICT
A short introductory exercise to the theme of conflict, looking at some of the underlying causes; some of the positive
and negative aspects and possible ways of reacting.
Introduction
This activity combines some imaginative elements with other more theoretical inputs as a way of getting a group to start
understanding conflict, including some of the broad dynamics of conflict, whether on a personal or local level or on a
group or international one.
Materials
Coloured paper; envelopes; large sheets; scissors; sellotape; the Iceberg; little creatures and conflict statements. (The
last three are included in the pack).

Process
1 . An-example should be given - or asked for from the group - of how an individual conflict can escalate from
very small beginnings. It should show how silent dislike, lack of understanding or disrespect can gradually
develop, from ignoring someone, to talking about them or arguing with them, to physical attack, to drawing
others in on either side, to solid, set attitudes and behaviour. An imaginary example could start from
somebody disliking someone based on the clothes they wear or the colour of their hair.
2. The Iceberg of conflict should be shown. The iceberg represents the fact that for every incident of conflict the
causes are often hidden beneath the surface. The group should be asked what the causes might be. A list
including the following will probably result: anger, hurt, fear, lack of knowledge, jealousy, etc. some
explanation should be given that only if the things beneath the surface are looked at will there be a real chance
of resolving the conflict.
3. An envelope should be given to each person. It should contain: one sheet of coloured paper; one of the
thirteen little creatures (these should be used in pairs - if there are 12 participants, six creatures should be used;
if there are 30 participants, all thirteen should be used and four extra ones) and Statements 1 and 2 in two
different languages (the mother tongue of, and languages commonly used by, the participants should not be
used). People are asked not to open the envelope until all the instructions have been given. At least two spare
envelopes should be casually placed on the front table.
4. The three tasks are explained. These are:
1) to create a shape with the piece of paper (by cutting, folding, tearing, drawing etc) that says
something about one of the things that are beneath the surface of conflict. This should then be
attached to a sheet on the wall;
2) to choose Statement 1 or--2 and sign your name under 1 or 2 on a sheet with these numbers written on
the wall;
3) to look at your little creature and think what it says to you about conflict. Then to find the other one
or two people with the same creature and explain to them your thinking about it.
5. Then the three rules are explained. They are:
1) there is to be no talking, in any language, at any time, during the exercise;
2) all three tasks must be completed in ten minutes;
3) everybody in the room must take part.
6. Ten minutes should be allowed for the exercise. You will need to time it and ensure that the rules are kept.
Please note that task 2 will prove difficult because nobody has the statements in their own language and task 3
because they must find ' their partner(s) and explain their thinking without talking. Watch carefully how
people react and behave.
7. At the end of the time, ask each person in turn to come and show their shape and in one sentence explain its
meaning for them. Then show Statements 1 and 2 in their own language(s) - and explain their meaning, if
necessary - and ask why people signed for each. (You could also comment on whether people looked at the
Statements of others or shared them or just struggled on their own. Also, ask whether anyone thought of
looking in one of the extra envelopes at the front? Remind them that there were only three rules - nothing said
they couldn't look at each others statements or in the spare envelopes!). Finally, ask whether people were able
to understand their partner(s) explanation of the creature and whether it was easy or hard to connect it with
conflict and explain it without words?
8. Ask for some reflections on the exercise and make some yourself. These could include comments on the
variety of shapes (and reasons for them). The ease - or not of communicating without words. The feelings
associated with not understanding words/statements/tasks. The usefulness of using imaginative processes as
well as more rational ones. Whether any positive aspects of conflict emerged. If any ways of reacting to
conflict were highlighted. A broader discussion on some of these issues could follow.
Conclusion
Many issues could be raised here that could be developed further, especially in the areas of

conflict prevention or conflict resolution.
IMAGES OF WAR
Introduction
An activity to stimulate thinking and discussion about some of the things that could happen in a war situation and some
of the ways an individual or an organization can react to them.
Process
Have a selection of pictures or photographs, like the ones shown here or others that you have gathered, ready to use to
trigger some thoughts. Either ask people to form pairs or trio's and give each group some different images to look at
and discuss. Alternatively, you could use the Silent Discussion technique explained earlier, this time with people
working silently in small groups or allowing people to move around the room looking at five or six images and
discussion sheets.
Whichever option you choose, ask people to consider some of the following questions:
What is happening in the image?
What do you think happened before?
What do you think should happen now?
Imagine yourself in the situation of one of the characters involved, what might your feelings and thoughts be?
What might an individual or an organization be able to do to ensure fair treatment?
Other questions could be raised depending on the image, the group and the nature of the issues you are trying to deal
with.
After some time in pairs or small groups ask each group to explain something of their image and their thinking to the
rest of the group. (They should have been told at the start that they would be asked to do this). They can do this by
description, story, writing on a board or something more dramatic or creative. The choice is theirs.
A broader discussion on the issues raised can follow.
This could lead into getting people to consider what rules or regulations might be helpful in this situation. This should
not be a test of their knowledge of what already exists but should arise from the discussions that have already taken
place.
Conclusion
An activity like this has the advantage of allowing people to connect themselves with a situation or some individuals
before investigating legalities and rules. If they come to see that legalities and rules might be necessary, and even come
to start thinking what they might be for themselves, before learning which rules already exist, then they will feel far
more connection with, and interest in, them.
BOXING MATCH
Introduction
A variation on the Four Corners activity, to stimulate discussion on specific issues.
Process
1. Write each of the four roles of characters, concerned with Boxing, on flipchart sheets and place one in each
corner. The four are:
Referee
Second (man who mops the brow of the boxer between rounds)
Cleaner (who washes and cleans the ring afterwards)
Anti-boxing agitator

2. Explain the roles to the group in simple terms if necessary. Ask everyone to stand in the middle of the room.
Then ask them which of these four characters most represents the role they think the Red Cross should take in
a time of conflict. Although elements of all four may seem relevant, they must opt for one of the four as the
most appropriate. Nobody can stand in the middle or hover between positions. They must make a decision.
3. When everyone has selected their corner, ask them to form pairs, preferably with someone from another
corner, though if this not possible, someone from their own corner. Get them to discuss with their partner why
they think their choice of role to be most appropriate. Mey can also consider why others may have opted for
their corner, but should focus on their own decision).
4. It is possible, back as a whole group, then to ask one representative from each corner to explain briefly their
choice to others. Further discussion at this time is also possible.
5. This trigger to thinking on the issue can be followed by supplementary statements being read following the
usual Four Corners format. (his has as the four choices: Agree strongly; Agree a little; Disagree a little and
Disagree strongly). A variety of statements can be used on the theme of the role of the Red Cross. However it
is suggested that four to six statements are more than enough for a session.
Other statements could be:
The Movement should much more actively try to prevent wars and disasters as well as react to them.
The ICRC should go public if it knows horrific war crimes are being committu and nobody else knows about
them.
The ICRC should speak out to get prisoners released if it feels they were wrongly imprisoned.
The ICRC should concern itself with conflicts and leave the Federation and National Societies to do disaster
and development work.
The public should be made aware of the differences between the ICRC, Federation and National Societies and
not to be allowed to think of the Movement as one.
The most important work of the ICRC is promoting the rules of war (i.e. Geneva Conventions, Protocols,
emblem protection etc) more than any of its other actions (tracing, messages, visiting and relief).
The ICRC - and the whole Movement - must change according to needs and circumstances or the times, or it
will become a relic of the past.
6. The statements can, of course, be on any topic or range of topics and should be adapted for the particular group
that you are working with.
Conclusion
The Boxing Match analogy adds another - creative and imaginative - element to this exercise. Some further reflection
on the usefulness of thinking more creatively about issues or the appropriateness of the boxing analogy specifically
could also take place.
SCARECROW
Have an image of a Scarecrow for all to see.
Translate into other languages to have a collection of words describing the Scarecrow.
Some cultures may not have scarecrows, so some explanation will need to be given of its basic function.
1 . Individuals are asked to consider what comes to mind for them when they see a scarecrow. They should then
broaden and think how it could be linked to humanitarian education work.

2. Each person should take small cards with the letters of SCARECROW printed on them (or the word in their
own language). They should then split the letters up and find words, starting with each letter, that describe
important elements of the work of the Movement or of humanitarian education work in general.
3 . Form pairs to discuss their images and thoughts and explain their words.
4. Some sharing of this could then take place in the big group, maybe putting words on paper on the wall. This
should bring out points about the essential elements of humanitarian education work and/or the work of the
Movement.
Variations are possible
1 . Another creature, not a Scarecrow, could be chosen. Examples could be: Owl; Phoenix; Teddy Bear; Dove;
Lioness, etc.
2. The topic they are asked to think about could be one of many. For example: conflict; knowledge; prevention;
rights and responsibilities; the world etc.
CHANGE
Introduction
An exercise that provides a short, active demonstration of the effects of change on people.
Methods
1. Ask people to form pairs. They should put down papers, pens etc and move to an open space. They are told to
stand opposite each other to look at the other person and notice things about them.
2. They are told to turn back to back, so that they cannot see their partner. They are asked to change five things
about their appearance. Allow enough time for all individuals to complete this.
3. Each person turns back to their partner and has to discover the five things the other person changed.
4. Once complete, ask people to turn back to back again in the same pairs and to change five more things about
their appearance. Allow enough time for each person.
5. They then turn to face each other again and discover what their partner changed.
6. Once complete, ask people to turn back to back again in the same pairs and to change five more things about
their appearance.
7. Stop the exercise and tell them that you were only joking about changing yet again! Allow everyone to return
to normal and their seats.
Follow up
Tell people - if it is true, and it usually is - that they demonstrated within the exercise the seven dynamics of change. So
called, from a 1970's psychological/sociological study. These state that in any circumstance where people are required
to change (whether in their personal life or within an organization) they will go through seven reactions. Some people
will, of course, react more strongly to some parts than others. They also won't necessarily happen in any order.
The seven dynamics are:
1. People will feel awkward, ill-at-ease and self-conscious;
2. People will think about what they have to give up (more than they will about what they might gain);
3. People will feel alone even if everyone else is going through. the same change;
4. People will be concerned that they don't have enough resources (time, money, skill, etc);
5. People are at different levels of readiness for change;

6. Too much change at once and people will rebel or give up;
7. Take the pressure off, and people will revert back to old behaviour.
Further Development
In pairs or small groups, people could be encouraged to thirik about their own "patterns' of reacting to change. This
might simply be to recognize their own behaviour. It might also be to develop strategies for developing alternatives.
People could be encouraged to think about their own organization or group and consider how people may be reacting in
these ways. Strategies could be developed that could help people to manage change.
Discussions could take place on other exercises that get across complex processes in simple, light-hearted and active
ways. These could be demonstrated or developed.
STOP! LETS START AGAIN!
Introduction
An activity that recreates some situations from real life and explores how we see things from different perspectives. It
then goes on to look at how some changes of behaviour could completely change the end result.
Process
1. This exercise can either be done in small groups or in one big group. Three or four people should be asked -
maybe in advance - to make up a short, simple sketch (or play) of a situation from their own experience to
show something of the way people who are different, are treated. (Alternatively, you can suggest in some way
the situation, though not the exact words and actions, and then they can create from there).
2. The sketch should be presented to the others in the group. It should only take a minute or two. Then it stops
and you, or somebody in the group, says that we can start again if you did not like the words or actions in the
situation of some of the characters. A member from the audience can volunteer to take the place of one of the
actors. (Only one should change at this time). The same situation is then re-played with some changes by the
new actor.
3. After this another person can volunteer to take the place of an actor. After a few times it is possible to change
two or three actors at the same time. The situation however needs to remain the same.
4. At. one point you, or someone else, can add one small change to the situation. The sketch then has to be
played with this change.
5. After a certain amount of time or after enthusiasm fades away, stop the play and open to a general discussion.
The following questions may be helpful:
Were there changes to the end result each time? If so, what do you think happened to cause that?
Did any particular behaviours change events?
How do you think each character behaved?
Would you have behaved like that in this situation?
Are there any learning points from this about individual perspectives; the way people inter-act or anything
else?
6. Variations are, of course, pos!jble. A brief sketch can be presented first, with one or two changes and then one
from the lives of the participants developed. Small groups could develop their own sketches and present them
to the other groups, who become the audience. A particular topic could be stressed. Topics outside the
experience of the participants could be used. Many other adaptations are possible.

121209 games icebreakers energizers

121209 games icebreakers energizers

Recommandé

Recommandé

Contenu connexe

Tendances

Tendances (20)

Similaire à 121209 games icebreakers energizers

Similaire à 121209 games icebreakers energizers (20)

Plus de TrainingArena

Plus de TrainingArena (20)

121209 games icebreakers energizers