TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL DISTRICT 51 DIVISION P PRESENTS DISTRICT 51 DIVISION P PRESENTS DISTRICT 51 DIVISION P PRESENTS DISTRICT 51 DIVISION P PRESENTS “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL EMCEE” WORKSHOP EMCEE” WORKSHOP EMCEE” WORKSHOP EMCEE” WORKSHOP VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. DATE: 3 NOV 2012 DATE: 3 NOV 2012 DATE: 3 NOV 2012 DATE: 3 NOV 2012 PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN) WWW.BRANDJONTAN.COM
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How to be professional emcee - brandjontan Jon Tan
The Secret To Being A Reputable Proficient Emcee, Is To "Engage The Audience With SEX". S = Shine Like A Diamond (Without Outshining The Stars). E = Effective Command (Of The Brand Image, Objective and Theme Of An Event). X = X-Factor Persona.
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TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL TOASTMASTERS INTERNATIONAL
DISTRICT 51 DIVISION P PRESENTSDISTRICT 51 DIVISION P PRESENTSDISTRICT 51 DIVISION P PRESENTSDISTRICT 51 DIVISION P PRESENTS
“HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL
EMCEE” WORKSHOPEMCEE” WORKSHOPEMCEE” WORKSHOPEMCEE” WORKSHOPVENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR.
DATE: 3 NOV 2012DATE: 3 NOV 2012DATE: 3 NOV 2012DATE: 3 NOV 2012
NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…
NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW...
GET INTO THE RIGHT STATEGET INTO THE RIGHT STATEGET INTO THE RIGHT STATEGET INTO THE RIGHT STATE%%%%OFOFOFOF%%%%BEING, AND…BEING, AND…BEING, AND…BEING, AND…
GIVE YOUR LIFE’S
BEST PERFORMANCE
TODAY!
PRO EMCEE
PRINCIPLES AND
CONCEPTS
ENGAGE
YOUR AUDIENCE
WITH S E X
SEX ACRONYM: NEXT SLIDE
SEX ACRONYM, STANDS FOR:
SSSSHINE (LIKE A DIAMOND)…WITHOUT OUTSHINING THE STARS
EEEEFFECTIVE COMMAND
XXXX%FACTOR PERSONA
SHINE LIKE A DIAMONDSHINE LIKE A DIAMONDSHINE LIKE A DIAMONDSHINE LIKE A DIAMOND
WITHOUT OUTSHINING
THE STARS
“THE REAL ROLE
OF THE EMCEE”
THE REAL ROLE OF THE EMCEE:
CLARIFICATIONS OF MISCONCEPTIONS
(A) WHO IS THE STAR? (A) WHO IS THE STAR? (A) WHO IS THE STAR? (A) WHO IS THE STAR?
(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…
(I) (I) (I) (I) RESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENT: : : :
(a) PROBABLE PROBLEMS/CRISES ARISING.
(b) LESS%THAN%PROFICIENT PEOPLE DIRECTLY, OR
INDIRECTLY INVOLVED IN RUNNING OF EVENT.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(II) (II) (II) (II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR: : : :
(a) BRIDGE BETWEEN SPEAKERS/PERFORMERS
OF AN EVENT, TO THE AUDIENCE.
(b) HELP TO INSPIRE “STARS” OUT OF SPEAKERS AND
PERFORMERS, ESPECIALLY THE LESS%CELEBRATED ONES.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
((((II) II) II) II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR::::
(c) BE AN EMOTION%METER:
PRE%SET THE ALREADY%DEFINED/DECIDED MOOD AND
TONE OF A PARTICULAR EVENT.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(II) (II) (II) (II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR: : : :
(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND
INSPIRING.
(e) ALSO, CONTINUALLY “EQUALIZE” THE AMBIENCE/
ATMOSPHERIC MOOD AND TONE.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(III) (III) (III) (III) DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES): : : :
(a) AUDIENCE AND AUDIENCE.
(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.
(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.
(d) AUDIENCE AND ENVIRONMENT.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(IV) (IV) (IV) (IV) RESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCY: : : :
“BE THE COOL, PERSONABLE HOST/HOSTESS,
DURING CRISIS MANAGEMENT.”
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(IV) (IV) (IV) (IV) RESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCY: : : :
NOTE: THE PRO EMCEE DOES NOT “LEAVE CONTROL” OF
THE FORT, TO HANDLE ANY CRISIS OR PROBLEM.
THIS IS TO BE EFFECTED BY THE RESPECTIVEPERSON%IN%CHARGE, WHO SHALL THEN REPORT TO THE
ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON
THE ISSUE AT HAND.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(V) (V) (V) (V) CATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENT::::
(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED…
NO MATTER WHAT.
(b) BE AN ENERGIZER…SO THAT AUDIENCE CAN FULLY
ENJOY THE EVENT.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(V) (V) (V) (V) CATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENT::::
(c) BE A CHEERLEADER, ALWAYS
“LEADING THE APPLAUSE”.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…
(I) (I) (I) (I) THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:
“YOU ARE THE STAR%MAKER.”
(II) (II) (II) (II) AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”::::
YOU PLAY A “HIGHLY IMPORTANT” ROLE.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…
(III) A GLAMOUR(III) A GLAMOUR(III) A GLAMOUR(III) A GLAMOUR%%%%ROLE ROLE ROLE ROLE PER SE.PER SE.PER SE.PER SE.
(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…
(V) (V) (V) (V) A SMARTA SMARTA SMARTA SMART%%%%ALEC / KNOWALEC / KNOWALEC / KNOWALEC / KNOW%%%%ITITITIT%%%%ALL / ALL / ALL / ALL /
…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:
(1) GET HIGH ON ALCOHOL.
(2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROL
AREA.
(3) UNPREPARED OR ILL%PREPARED.
EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:
(4) RUDE, UNCOUTH, DISRESPECTFUL.
(5) OUT%OF%LINE. NOT AGREEABLE TO EVENT OBJECTIVE,
OR ORGANIZATION.
(6) GLUTTON.
(NOTE: MANY TOP PRO EMCEES DO NOT EAT AT ALL, AT
EVENT, OR DURING EVENT.)
THE REAL ROLE OF THE EMCEE :
CLARIFICATIONS OF MISCONCEPTIONS
(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:
“THE EMCEE IS “THE EMCEE IS “THE EMCEE IS “THE EMCEE IS NOTNOTNOTNOT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT
IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE
OF THE EVENT.”OF THE EVENT.”OF THE EVENT.”OF THE EVENT.”
YOU MUST LOVE TO WORK HAND%IN%HAND, WITH THE
ORGANIZING CHAIR AND COMMITTEE.
AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLE
OF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZING
PERSON ~ TO COORDINATE AND SEE THINGS TO
FRUITION.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(A) IT’S A START(A) IT’S A START(A) IT’S A START(A) IT’S A START%%%%TOTOTOTO%%%%FINISH INVOLVEMENT.FINISH INVOLVEMENT.FINISH INVOLVEMENT.FINISH INVOLVEMENT.
(I) START: INITIAL ORIENTATION TO EVENT.
(II) MID%WAY: PROGRAM FINALIZATION STAGE.
(III) FINAL STAGE: DRY%RUN / REHEARSAL /
LAST%MINUTE CHANGES. PLUS FINAL DRY%RUN.
(IV) ACTUAL DAY TILL COMPLETION OF EVENT.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(I) “PERSON” ELEMENTS.
(II) “NON%PERSON” ELEMENTS.
(III) OVERALL BRAND IMAGE.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(I) (I) (I) (I) “PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT::::
(1) ORGANIZING CHAIR.
(2) ORGANIZING COMMITTEE.
(3) SUB%COMMITTEES, INCLUDING “PROTOCOL”.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(I) (I) (I) (I) “PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT::::
(4) SPEAKERS, PERFORMERS.
(5) AWARD PRESENTERS/RECIPIENTS.
(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(I) (I) (I) (I) “PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT::::
(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.
(8) STAGE PERSONNEL
(INCLUSIVE OF AV, SOUND & LIGHTING, ETC).
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(II) (II) (II) (II) “NON“NON“NON“NON%%%%PERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENT::::
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(II) (II) (II) (II) “NON“NON“NON“NON%%%%PERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENT::::
(4) PROMOTIONAL ASPECTS AT VENUE.
(5) ADVERTISING & PROMOTIONS.
(6) PUBLICITY & PR.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(II) (II) (II) (II) “NON“NON“NON“NON%%%%PERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENT::::
(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT
(THAT YOU ARE TO EMCEE).
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(III) (III) (III) (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING
THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA
EVENT”EVENT”EVENT”EVENT”::::
EXAMPLE: “BRAND IMAGE” AND SELECTED CONCEPTUAL
THEME FOR PARTICULAR OLYMPICS, COMMONWEALTH
GAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBAL
CORPORATION, ASIA%IN%MALAYSIA POSITIONING, ETC.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(III) (III) (III) (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING
THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA
EVENT”EVENT”EVENT”EVENT”::::
(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.
(2) KNOW THE “BIG PICTURE”, LEADING TO
SIDEWAY%EXTENSION, DOWNWARD%CASCADING.
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY
OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:
(III) (III) (III) (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING
THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA
EVENT”EVENT”EVENT”EVENT”::::
(3) IS THIS EVENT (THAT YOU ARE TO EMCEE)
PART OF A LARGER ENTITY/SCHEME?
EMCEE’S LOVE RELATIONSHIP WITH THE EVENT
(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY
ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO
EMCEE):EMCEE):EMCEE):EMCEE):
(1) ACTIVITIES THAT SURROUND THE EVENT.
(2) PROGRAM ELEMENTS.
(3) ANY AREAS OF SIGNIFICANCE,
OR SENSITIVITY?
XXXX%%%%FACTOR PERSONAFACTOR PERSONAFACTOR PERSONAFACTOR PERSONA
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X%%%%FACTOR FACTOR FACTOR FACTOR
POSITIONING.POSITIONING.POSITIONING.POSITIONING.
(a) ESSENCE: WHAT DO YOU STAND FOR?
(b) INTRINSIC EMOTIONAL CONNECTORS:
WHAT SPECIAL TALENTS/SKILLS?
QUALITY TRAITS: EMCEE PAR EXCELLENCE
(c) SOCIAL CAUSE:
CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS,
WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR
INSPIRING, OR PROMOTING?
QUALITY TRAITS: EMCEE PAR EXCELLENCE
(d) PERSONALITY:
(i) OUTLOOK: HOW DO YOU THINK?
HOW DO YOU DRESS? HOW DO YOU GROOM YOUR
PERSONAL BRAND?
(ii) STYLE: HOW DO YOU DO THINGS, YOUR UNIQUE WAY?
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT:
CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(D) (D) (D) (D) HALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCE::::
PROPENSITY WITH THE “FEEL%GOOD” FACTOR, AND THE
ABILITY TO HARMONIZE OVERALL ENERGY, AS WELL AS
TO OPTIMIZE THE ENERGY%LEVEL AND ENTHUSIASM OF
THE AUDIENCE.
QUALITY TRAITS: EMCEE PAR EXCELLENCE
(D) (D) (D) (D) HALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCE::::
(1) SHARP, FOCUSED, ALERT. PLUS, PRE%EMPTIVE OF CRISIS.
(2) ADDING%VALUE, WITHOUT WASTING WORDS.
(STAR%MAKER.)
(3) ARTICULATE WITH IMPROMPTU
SITUATIONAL SPEAKING PERSUASION.
QUALITY TRAITS: EMCEE PAR EXCELLENCE
(D) (D) (D) (D) HALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCE::::
(4) EMOTION%METER AND ENERGY BUILDER
FOR AUDIENCE.
(5) PR%SAVVY.
(6) TIME%MANAGEMENT.
SCRIPTING GUIDEINTRODUCTORY GUIDE
I. USE OF HUMOUR
II. AWARD PRESENTATION
III. PROTOCOL/DECORUM/FORMALITIES
IV. INTRODUCING SPEAKER
V. INTRODUCING PERFORMER
VI. PROGRAM
VII. CONTESTS
VIII. JUDGES/JUDGING
IX. ORGANIZING CHAIRPERSON/COMMITTEE
SCRIPTING GUIDE ~ INTRODUCTORY GUIDE
HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT
INTRODUCTION:
THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING,
IN TANDEM WITH ORGANIC PREPARED SCRIPT.
PARAPHRASE, NOT SCRIPT%FIXATED.
SCRIPTING GUIDE ~ INTRODUCTORY GUIDE
CHECKPOINTS:
(1) ORIGINAL SCRIPT FRAMEWORK:
FOUNDATION/ESSENCE. KEEP TO THE ESSENCE.
(2) HOW ORGANIC? THE LESS FORMAL,
THE MORE ORGANIC. KEEP IT SITUATIONAL.
(3) SEAMLESS BRIDGING, FROM START TO FINISH.
SCRIPTING GUIDE
WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?
(1) BUILD RAPPORT WITH AUDIENCE.
(2) RELAX THE AUDIENCE. (REDUCE AUDIENCE “TENSION”).
(3) UPLIFT SPIRIT AND SUPPORTIVENESS OF AUDIENCE.
IMPORTANT NOTE: MAKE FUN OF SELF OR SPECIFIC
INDIVIDUAL, BUT NOT THE AUDIENCE.
SCRIPTING GUIDE
TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:
(1) SLAPSTICK.
(2) GENERAL HUMOUR:
(a) ONE%LINER. (b) ANECDOTE. (c) VERY SHORT STORY.
(d) PREPARED JOKES. (e) ETC.
(3) PUN OR PUNNY PHRASES/STATEMENTS.
SCRIPTING GUIDE
TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:
(4) WIT.
(5) “ROAST”.
(6) SATIRE.
(7) ETC.
NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE
OF HUMOUR.
SCRIPTING GUIDE
TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:
NOTE ON WHAT TYPE OF HUMOUR TO USE:
IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSIC
INTEREST OR PASSION FOR TYPE OF HUMOUR.
THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO
“STRUGGLE” TO DISPENSE HUMOUR, OR LOOK
ARTIFICIAL.
SCRIPTING GUIDE ~ I. HUMOUR
WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:
ANSWER: WHENEVER APPROPRIATE.
BUT THE HUMOUR MUST BE RELEVANT.
EXAMPLES:
(1) GOOD START (WITH RELEVANT SUITABLE HUMOUR).
(2) LIVEN UP ATMOSPHERE.
(3) JOLT PEOPLE OUT OF “SEDATIVE STATE”.
SCRIPTING GUIDE ~ I. HUMOUR
(4) “BRIDGING” DEVICE.
(5) REPARTEE.
(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)
(7) ALLEVIATE CRISIS.
(8) BREAK “MONOTONY”.
SCRIPTING GUIDE ~ I. HUMOUR
WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:
ANSWER: *WHEN NOT APPROPRIATE,
OR *WHEN IT IS CONFLICTING WITH THE INTENTION OR
GENRE OF PERFORMER.
EXAMPLES:
(1) WHEN YOU’RE NOT GOOD AT HUMOUR!
(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL
EULOGY SERVICE, “SERIOUS” CHURCH WEDDING, ETC.
SCRIPTING GUIDE ~ I. HUMOUR
(3) OFFICIOUS EVENTS, SUCH AS ROYALTY%PATRONAGE,
BLACK%TIE AFFAIR.
(4) SPEAKER WITH SERIOUS MESSAGE.
(5) PERFORMER OF SERIOUS NATURE.
SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:
INTRODUCTION: TYPES OF AWARDS
(1) CONTEST.
(2) EXCELLENCE IN SERVICE. | LONG%SERVICE.
(3) RECOGNITION. (4) ACHIEVEMENT.
(5) ETC.
SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:
DOs:
(1) (A) FORMAT:
(a) NAME OF AWARD. PURPOSE OF AWARD.
(b) PROCEDURE OR STAGES OF SELECTION/CONTEST.
(c) CRITERIA FOR SELECTION/JUDGING.
(d) ANNOUNCE NAME OF RECIPIENT: FROM WHERE
(DEPT/DIVISION/ORGANIZATION, COUNTRY, ETC).
SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:
DOs:
(1) (B) INTRODUCING/CONDUCTING AWARD
PRESENTATION:
(a) DO STAY IN “NEUTRAL MODE” (PERSONA) ~
TOWARDS RESULTS OF NOMINATIONS OR WINNERS.
(b) DO BE “DIGNIFIED”.
SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:
DO NOTs:
(2) (A) INTRODUCING/CONDUCTING AWARD
PRESENTATION:
(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT,
DISAGREEMENT TO RESULTS.
(b) DO NOT PRAISE THE WINNER.
SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:
FROM EVENT FROM EVENT FROM EVENT FROM EVENT ENTIRELY!
HOW TO PREPARE
FOR EVENT
I. INVOLVE FROM START%TO%FINISH.
II. PHASE%BY%PHASE PREPARATION.
(A) PRE%PREPARATION PHASE.
(B) FINAL PREPARATION PHASE.
(a) ONE DAY BEFORE.
(b) DAY OF EVENT.
HOW TO PREPARE FOR EVENT ~
I. INVOLVE FROM START%TO%FINISH
KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
(2) VENUE & LOGISTICS:
(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL,
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
(3) KNOW THE TEAM:
ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN
EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUB%
COMMITTEES.
IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONS%
(ii) (ii) (ii) (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES::::
SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURING
THE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BE
THE “HANDYMAN” AND SHOULD NOT BE, SO INSIST ON
THE FOLLOWING:
*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTO
CIRTICAL ROLES DURING THE RUNNING OF THE EVENT,
SUCH AS:
HOW TO PREPARE FOR EVENT~
II. PHASE BY PHASE PREPARATION
(ii) (ii) (ii) (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES::::
(ii) (ii) (ii) (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES::::
(ii) (ii) (ii) (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES::::
(ii) (ii) (ii) (ii) FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:
(a) RECONFIRM PROGRAM ELEMENTS WITH
ORGANIZER/CLIENT.
(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.
(iv) (iv) (iv) (iv) FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT,
TO GET ENDORSEMENT:TO GET ENDORSEMENT:TO GET ENDORSEMENT:TO GET ENDORSEMENT:
(v) (v) (v) (v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:
EVALUATION FOR SELFEVALUATION FOR SELFEVALUATION FOR SELFEVALUATION FOR SELF%%%%IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW
STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.
* CELEBRATION FACTOR: AFTER GIVING YOUR BEST
EFFORT AT EMCEEING AN EVENT, IMMEDIATELY
CELEBRATE, NO MATTER WHAT THE OUTCOME!
* RATIONAL ANALYSIS: AT PRE%ASSIGNED TIME (SAY, ONE
DAY LATER), THEN ONLY GO THROUGH THE STRENGTHS
AND “AREAS FOR IMPROVEMENT”.
REVIEW FOR FUTURE PROGRESS
(A) (A) (A) (A) LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.
* OWN SELF%EVALUATION.
* AUDIENCE FEEDBACKS.
* ORGANIZER’S/CLIENT’S FEEDBACKS
REVIEW FOR FUTURE PROGRESS
(B) (B) (B) (B) GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.
IDENTIFY STRENGTHS AND WEAKNESSES
(i) SELF:(i) SELF:(i) SELF:(i) SELF:
> PRO EMCEE STRENGTHS
IDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS.
> PRO EMCEE WEAKNESSES
IDENTIFY, AND CLOSE THE GAP.
REVIEW FOR FUTURE PROGRESS
(B) (B) (B) (B) GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.
IDENTIFY STRENGTHS AND WEAKNESSES
(ii) NON(ii) NON(ii) NON(ii) NON%%%%SELF (OTHERS):SELF (OTHERS):SELF (OTHERS):SELF (OTHERS):
EXAMPLE : SLIP%UPS, OVERSIGHTS
(a) ORGANIZER.
(b) LOGISTICS.
(c) MUSIC/SONGS/SOUND/SFX
(d) AUDIO%VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/
STAGE HISTRIONICS/PROPS
REVIEW FOR FUTURE PROGRESS
(C) (C) (C) (C) POSTPOSTPOSTPOST%%%%MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.
(a) EDUCATE YOURSELF FOR FUTURE EMCEE
ASSIGNMENTS.
(b) EDUCATE THE ORGANIZER/CLIENT.
REVIEW FOR FUTURE PROGRESS
(D) (D) (D) (D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:
(a) INTRICATE/COMPLEX THEME%EVENTS.
(b) MEGA EVENTS – AT A BIG STADIUM, ISLAND
RESORT, ETC.
(c) INNOVATIVE EVENTS.
PROGRAMMING
AND TIMING
A. HOW TO PLAN AND TIME THE PROGRAM.
B. MOCK PROGRAM.
APPENDIX 1
PROGRAMMING AND TIMING
(A)(A)(A)(A) HOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAM
(A)(A)(A)(A) HOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAM
(2) TIMING(2) TIMING(2) TIMING(2) TIMING
(i) DOUBLE%CHECK WITH ORGANIZER, AND (TO BE SAFE)
EVEN SPEAKERS AND PERFORMERS, ON THE TIMING
ALLOCATED.
(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.
PROGRAMMING AND TIMING
(A)(A)(A)(A) HOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAM
(2) TIMING(2) TIMING(2) TIMING(2) TIMING
(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM
ELEMENT.
(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGH%
LEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.
PROGRAMMING AND TIMING
(B) (B) (B) (B) MOCK PROGRAMMOCK PROGRAMMOCK PROGRAMMOCK PROGRAM
(REFER TO APPENDIX 1 IN WORKBOOK.)
EMCEE CHECKLIST
A. WHY THE NEED TO PREPARE EMCEE CHECKLIST.
B. HOW TO PREPARE EMCEE CHECKLIST.
C. SAMPLE EMCEE CHECKLIST.
APPENDIX 2
EMCEE CHECKLIST
(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST
(1) SLICKNESS AND PROFESSIONALISM.
(2) OPTIMIZING SUCCESS OF EVENT.
(3) OPTIMIZING SUCCESS OF YOUR PRO EMCEE
PERFORMANCE
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST
(1) FINALIZE PROGRAM ELEMENTS.
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST
(2) CLASSIFY INTO CATEGORIES:
EXAMPLE:
(i) EMCEE PREREQUISITES.
(ii) PROGRAM FLOW AND LOGISTICS.
(iii) ORGANIZING COMMITTEE.
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST
(2) CLASSIFY INTO CATEGORIES:
EXAMPLE:
(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN
AND WITHOUT.
(v) PROTOCOL/DECORUM/FORMALITIES.
(vi) SPEAKERS AND PERFORMERS.
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST
(2) CLASSIFY INTO CATEGORIES:
EXAMPLE:
(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.
(viii) AWARD PRESENTATION CEREMONY.
(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST
(2) CLASSIFY INTO CATEGORIES:
EXAMPLE:
(xi) CONTESTS.
(xii) LUCKY DRAW/CONTEST DRAW.
(xiii) FOOD & BEVERAGE.
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST