EPIC Module

Programme Flow (Draft)
Day 0 Day 1 Day 2 Day 3 Day 4 Day 5 Day 7
08:00 Breakfast
08:45 – 09:15 Morning Routine: Self-care/Yoga/Meditation
09:15 – 09:45 Videoconference with partner city
09:45 – 11:00 S1: Intro, S5: Conflict S9: Conflict and GLOBE (tbc) Working Groups Evaluation of
Arrival of (videocon online) Escalation Communication: S13: Media (Hands-On) the Workshop
Participants Sharing Individual the role of Literacy (critical and Closing
Learning Goals communication in thinking in the
(offline) and Conflict vs. conflict
Violence use of different
Group Contract *group work: 4 media)
(group) (Violence
Triangle: direct, groups of 6. think
structural, of a conflict and
cultural) the role of
communication a) Responsible
(30mins) use of media:
* act out one of what to post,
the conflicts in how to respond
your group
*forum theatre
method (3-4
rounds)
Input on
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EPIC Program: Draft Session Outlines Version 02.08.2017
NVC
Nonviolent
Communication
11:00 – 11:15 BREAK

11:15 – 12:45 S2: Teambuilding S10: GLOBE (tbc)
Pathway Energiser: Protect Energiser: TV S14: Video Presentation of
Tuk-Tuk the Balloons channel Making (Online Outputs
Communication Output/
Campaigns) Departure of
S6: Conflict Skills Session (joint Participants
Dynamics VC)
a. Presentation Viva Video App
Skills - public
Activity: speaking,
XY Game or Toxic -30mins on input
Waste (Balde and plus 30 mins
ball) practice.
b. Listening :
listening exercise
(or drawing)
c. Facilitation of
group dynamics:
role play of
different
characters in a
2
group)
12:45 – 14:00 LUNCH
14:00 – 15:30 S3: Visioning: S7: Conflict Continue: GLOBE (tbc)
Disney Method Management Communication S15: Next Steps
Personal Strategies Skills
App 101
Community b. Listening :
listening exercise How to make an
(or drawing) app.
c. Facilitation of
group dynamics:
role play of
different;
mentoring
15:30 – 16:00 Videoconference with partner city
16:00 – 16:15 BREAK
16:15 – 18:00 Getting to S4: Identity, S8: Peacebuilding S11: Social Media OPEN SPACE Visioning and
Know and Violence, Conflict (Intro to different Commitment
Teambuilding tools) Setting
18:00 – 18:30 Activities SUMMING UP Video Conference with Partner City
18:30 – 19:00 Reflection Groups (4-5 groups facilitated by external facilitators)
19:00 Dinner Dinner
21:00 Social (Videoconference Facebook Lab S12:Blogging Facebook Lab 2: Talent Show and
Introductions ) PeaceTech (Basic) Online Output Countering Hate Graduation
Night (familiarity Speech and
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of PeaceTech (Journalling) Violence Online
tools) Share story the
Talk show style next day
VENUE
Getting to Know Activity (arrival day)

Facebook profile and updates (40 min)
- Participants are each given an A4 paper and asked to draw a box on the upper left corner of the paper, and write their name (or nickname)
right next to the box.
- Using some nice music as background, participants are asked to exchange papers as they walk around (or dance to the music)
- Every time the music stops, the trainer mentions a part of the profile (face), for example: eyes, and participants would draw that part of the
face e.g. nose, eye, mouth, hair on the paper that they have (they should have the paper of another participant, not theirs)
- After 6 rounds, the profile photo should be complete with all parts of the face, and the owner of that paper would get his/ her own A4 paper
with the complete profile photo.
- Then, participants are instructed to think about 3 important updates from the past three months, and write these three updates in ‘facebook
post’ style: for example: I went swimming with dolphins
- When all participants have completed their *post updates* they are asked to walk around and talk to each other; get to know each other; or
ask each other questions.
- Participants also get to LIKE other participants’ posts
Journalism Interview (30 min) (activity option 2)

A nice exercise to break the ice between the participants allowing them to have several one-on-one conversations about different topics. Introduce the
participants to the task by telling them that they will be journalists interviewing each other. Inform them that you will give them the questions for their
interviews, and that every two minutes the question will change. Encourage the participants to interview as many people as possible during each round.
Interview questions:
● What is your dream/ambition?
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● What do you like to do in your free time?
● If you are stuck on an island, what is one thing you would need and why?
● If you won the lottery, what would you do with the money?
● Who is your hero and why?
Form a Line
▪ The participants will be asked to move around the venue and group themselves according to the category given by the facilitator. Each
category the participants will be divided into 2 to 3 groups.
o Age: 18-19, 20-22, 23-24
o Area of representation: Maguindanao, North Cotabato, Cotabato City.
o According to religion: Muslim, Christian, Universal belief/IP
o Number of sibling: 1-3, 4-7, 8-above
o Status: Single, Married, In a Relationship
o Who have tried: alcohol, cigarettes, none
o Who were able to: Hold and see gun, use gun, none

Session Day 1 – Session I
Time 9:15 – 11:00 (1h 45)
Title Welcoming & Course Introduction
Session Objectives ● To break the ice among participants, and for them to ‘officially’ get to know each other
● To introduce PeaceTech, the program and the trainers to participants
● To frame the workshop and explain the methodological approach of the trainers (i.e. give the participants an idea about
the methods that will be used in the next days
● To assess the expectations and contributions of participants towards the course
Methodology, methods
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and detailed 4. Welcoming and opening of the workshop (05 min)
programme The course coordinator welcomes the participants, and introduced the trainers.

2. Warm-up and Hand-shake (10 min)
For starting the workshop, a short and simple warm up exercise was used, before the participants were invited to greet and shake
the hand of everybody in the plenary. Important is that while greeting each other, the participants say their name.

3. Round of names (05 min)
Simple method to get an idea of the names in the group.
Ask everybody to say their name loud and clearly. Start with your own name and then go around in the circle clock-wise or counter
clock-wise.
4. Videoconference with partner city. (60 mins: see breakdown below)

Introduction of the trainers from both sides (05 min)
A short input on the background of the trainers to let the participants know who the trainers are.
The trainers shortly explain their educational and professional background.

Workshop aims and methodology (10 min)
A short input to help the participants to remind the course purpose and the methodological approach.
Give a short visually supported input on the course topics and the methodology you are planning to use
Input:
● Competence Development – Knowledge, skills, attitude
● Experiential Learning – Experience, reflection, conclusion, application
● Diversity in Learning
Tornado (15 min)

An nergizer that makes the participants move, have fun and learn personal things about each other.
Ask the participants to form a circle with their chairs and to take a seat. Make sure that there is one chair less than people in the
circle. Then explain the participants that the person standing in the middle (for the beginning one of the trainers) has to say “The
wind blows to everybody who … “, and that everybody to whom that applies has to swap seats.
Extra rules of the game:
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● You cannot swap seats with your neighbor.
● When the person in the middle says “Tornado” everybody has to swap seats.

Use “Tornado” during the entire workshop so that you can easily re-arrange the seating order of the participants.
Expectations and Contributions (30 min)

Group work: Split the participants into 4 groups of 6. Ask the participants which music instruments they would like to see in their
band, and then invite the people to “play” the instrument of their choice. Group the participants accordingly to form complete
bands.
Once the groups are formed, give every group the following tasks in 10mins:
Please answer the two questions and prepare a short presentation.
● Expectations – What do you expect to learn from the workshop?
● Contributions – What can you bring in to make the workshop a success?

After 10 mins invite the participants back to the plenary and ask each group to present their expectations and contributions. Close
the group work, with a short summary of the participants’ expectations and highlight the importance of their active participation.
Group Contract (20 min)

Plenary: In a flipchart paper, ask participants to share HOW they would like to work together in the next 5 days. Now that they
have heard each others’ expectations and contributions, it´s time for them to agree on certain rules throughout the workshop. Ask
participants to share their thoughts and write everything on the flipchart paper, which they will all sign with their names as a sealed
‘contract.’
** End Videoconference **
Materials needed ● Flipchart paper
● Markers
● Prepared flipchart with methodology input
● Set of questions for the journalist interviews

Session Day 1 – Session II
Title Teambuilding
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Time 11:15 – 12:45 (1h 30)
Session Objectives ● To foster team cohesion among the participants
● To allow participants to be comfortable with working together
and detailed 1. Energiser (10’)
programme
2. My Life Pathway (45 min)

5’ Introduction to the Pathway Exercise
- The trainer introduces the exercise by saying that each of us comes from a different background, and has different stories
and milestones that helped us to become who we are. We all have different ‘journeys’ and these have somehow led us to
become interested in youth work, or peacebuilding, or social work.
- The trainer gives an example by sharing her/ his own ‘pathway’ with milestones from when s/he was introduced to peace
work and the different projects and people s/he met that led her/ him to her/ his current profession. The co-trainer followed
with her/ his own story/ pathway.
10’ Individual reflection on the pathway by the participants: Participants are asked to individually reflect on their life and different
milestones and events that brought them to the workshop.
10’ Drawing of the pathway

- A huge flipchart (6 flipcharts put together) with a drawing of the workshop venue – in our case CDO – in the center is
unrolled in the middle of the room
- Participants are asked to draw or write their own pathway leading towards the centre of the flipchart. They can draw about
their studies, some experience, some events or dreams that they think have contributed to them being in that room today.
They are asked to put their names beside their drawing.
20’ Sharing of pathway exercise

- Participants are asked to randomly group themselves into trios or quartets for the sharing their pathways with each other.
- The sharing part should be open to however the participants want to share their pathways. No guide questions are
needed. It will also serve as a test to their listening skills. The trainers go around to check that the sharing process goes
smoothly.

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3. Tuk-tuk or Tricycle or Trisikad Exercise (30 min)
Start the exercise with asking the participants to form pairs. Once they are paired, invite one volunteer to show the exercise. Ask
the participant to close the eyes, being the car (tuktuk, tricycle or trisikad), and take her/ his hand as the driver. Walk her/ him
around the room.
Inform the participants, that they will have to guide each other blind-folded through the room. While doing this they will have to
respect the following rules:
● Do not talk.
● Make sure your blindfolded member (car) is safe at all times and does not bump into anybody or anything.
● The blindfolded person (car) should not open the eyes unless told otherwise.

Now, ask the participants to decide who will be the car and the driver. After they have decided on their roles, start the exercise.
After 2 minutes, say stop, and invite the drivers to pick another car. Repeat this process after 2 minutes, and after another 2
minutes of car driving stop the group and allow the cars to open their eyes.
Continue the exercise with a short debriefing focusing on the following questions:
● How did you feel about the exercise?
● If you could give 3 recommendations to the cars, what would they be?
● If you could give 3 recommendations to the drivers, what would they be?

After having closed the debriefing, invite the participants to get back to their initial couples and to swap their roles. Then repeat the
process done before, and enter the second debriefing with the following questions:
● How did you feel?
● Did you follow the recommendations given to you?
● Do you prefer being a car or a driver and why?

Close the exercise with criticizing the reasons why people prefer being a car or driver and highlight that for good leadership trust,
confidence, leading and following are essential.

● Markers
● Prepare the Victim-Responsible Chart
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Session Title
Day 1: Session III
Title
Visioning Exercise: Peace Education and Conflict Transformation and Young People´s Role in it
Time
14:00 – 15:30 (1h 30)
Learning Objectives To enable the learner to define peace education and conflict transformation and understand the link between peace education and
conflict transformation
Session Duration 1.5h
Methodology, methods 5’ Energiser

and detailed programme
10’ Intro to the Disney Method (Dreamer, Realist, Spoiler/Critic) and instruction to visioning
The trainer introduces the Disney Method as a brainstorming strategy used by film producer and innovator Walt Disney. The
strategy lets one think and refine ideas through a creative and parallel thinking process that is broken into three distinct parts – the
dreamer, the realist and the spoiler/critic.
The dreamer stage is thinking about anything and everything (sky is the limit). The question was about ‘why not?’
The realist stage is about reworking and revising the dreamer´s ideas into something more practical. This stage is about having an
action plan to turn the idea or dream into reality. This stage is about ‘how can it be done?’
The spoiler or critic stage is about filtering and criticizing everything that might go wrong with the idea; looking into the barriers and
obstacles in practically implementing the idea and how to overcome it. The question in this stage is ‘ what could go wrong with the
idea?’ or ‘what are the weaknesses in this plan?’
The trainer explains that using this creative strategic thinking process, one does not let reality get into the way of a vision or dream;
while also at the same time, the realist can work without the critic or filter of the spoiler, and the spoiler is able to refine ideas that
have gone through the first 2 stages.
More information on http://www.designorate.com/disneys-creative-strategy/
After introducing the Disney Method, the trainer invites participants to the DREAMER stage, where participants are asked to
envision a world 30 years from now. To make the visioning exercise clearer, the trainer also explains the difference between
problem solving and visioning: Problem solving (moving away from something) VS Visioning (moving towards something)
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The trainer gives an example of a vision statement, in the present tense.
15’ Visioning exercise (individual reflection).

- The participants are asked to imagine their community 20 years from now and to write down their vision in present tense.
15’ Sharing of visions (in plenary)
- After 15 minutes of individual reflection, participants are asked one by one to share their vision statements, and key ideas
of these statements are written in A4 paper and posted on the wall.
15’ Where are we now? (in plenary)
- After the vision statements are shared, participants are asked to think about ‘where we are now?’ in relation to the visions
earlier mentioned/expressed. The discussion goes around two directions: that 1) we are totally opposite from the visions
we indicated; and 2) but we are also NOT at the beginning, some advancements and developments are made.
15’ Input on definition of Peace Education, Conflict Transformation and the difference between Conflict Resolution and
Transformation (See annex 3 and 4)
25’ My Role in this Vision

- Participants are asked to think about what role they can play in their visions. They are asked to write it in the wall (Flipchart
1). Then a short ‘silent debate’ will follow where participants will be asked to read each others’ visions and contributions
toward that vision.
20’ Putting it all together / Summarising – the trainer summarises the session by allowing participants to share how they felt during
the exercise, and why this exercise is needed at the beginning of the workshop, how we are all working towards a goal of a
peaceful community, and how each of us have roles and agencies towards attaining these visions. Questions and clarifications
from the participants are then acknowledged.
Materials Flipchart paper, markers
Session Day 1: Session IV
Title Identity, Violence and Conflict
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Time 16:15 – 18:00 (1h 45)
Learning objectives
Participants will be able to reflect back on their experiences of identity based conflicts and share insights about it
Participants will be able to reflect on their ways of also addressing/dealing with identity based conflicts themselves (whether
consciously or unconsciously)
Participants will be able to deconstruct identity and how it is used as a source of misunderstanding/conflict
Methodology, methods Energiser (10 min)

1.
and detailed
2. Dots Exercise (20 min)
programme
A small group exercise to reveal mechanisms of exclusion in society.
(session flow)
Ask the participants to close their eyes and place different coloured dots on their forehead. Make sure that you have different
amount of dots of each colour and that one colour is only represented once. Once everybody has a dot on their forehead give the
following instructions: Open your eyes → Do not talk during the exercise → Group yourselves according to what you have on
your forehead
Once the participants indicate that they are done, ask them to have a look at the groups they have created. Usually they have
grouped themselves by colours of the dots.
In the debriefing ask the following questions:
How did you feel during the exercise? Which principle did you use to form the groups? What was the given instruction? Why did
you exclude people of differently coloured dots? Which similarities did you see between the exercise and your behaviour and real
life?
Debriefing focus on identity.
2. Short input on identity (10mins). A short input on different identity descriptors - social, physical, cultural descriptors.
3. Difference between Violence and Conflict (40 min)
Participants will be asked to quickly shout out words that come to their minds when they hear the word Conflict (co-facilitator writes
these words on Flipchart A: Conflict) and the word Violence (Flipchart B: Violence) After the first round of brainstorming,
participants will be asked to share if they see any difference in the words shared on both flipcharts. Probing questions can be given
to bring out their reflection on the difference between the two words. Examples may be used as well. Once a little clarity is set up,
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participants will then be given an input on the violence triangle by Johan Galtung (see annex). Through the Violence Triangle
Model, examples will be drawn from the participants, and a discussion on Direct, Cultural and Structural Violence will be
moderated.
Zoom into violence and different drivers of extremism:
Injustice and corruption; poor education and critical thinking; economic marginalisation; lack of voice; feeling of rejection and lack
of self-esteem; low participation (lack of expression platforms) of youth in decision making; violence; sense of alienation; issues of
belongingness; trauma and pain; existence and social acceptance of violent ideologies (romanticization of violence); direct
experience of discrimination, mistreatment by authorities; social inequalities; no sense of hope, etc.
Give the participants a short break, before closing the day.
4. Evaluation of the day (10 min)

Ask the participants to sit in a circle and say that you would like to close the day with a brief reflection on how they feel about the
day. Ask them the two following questions:
● How did you feel about the day?
● What main things did you learn today?
● What would you recommend for tomorrow?

5. Closing of the Day Videoconference (30 min)
Connect with and say hello to the other side! Ask a few people to share about what they did during the day.
Close the all session with a summary of the lessons learnt as formulated by the participants and introduce the Victim-Responsible
Chart.
Victim-Responsible Chart:
● Victim: waits, finds excuses, blames, gives up
Responsible: takes action, finds opportunities, accepts responsibility, learns from mistakes
Materials and hand-outs ● Flipchart paper, Markers, Prepared dots stickers of different colours for the Dots exercise, Prepare the Victim-Responsible
Chart
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DAY 2
Videoconference Day 2 9:15 – 9:45
Connect with the partner city for a morning energiser and overview of what is going to happen during the day.

Time 9:45 – 11:00
Title Conflict Escalation
Session Objectives ● To let participants understand and break down the different stages of the escalation of conflict, and allow them to
become aware that conflicts escalate fast when not dealt with properly.
and detailed programme Chairs Game (30’)
Prepare a big space (preferably outdoors) marked with a masking tape on all sides (square) where there are 5 (movable) chairs

inside, 4 flipcharts on the floor.
Group participants into 3 groups. Tell them that each group will be given a task, which they have to complete in 4 minutes. They
are not allowed to talk (nonverbal activity).
Tasks:
Group 1 – all the chairs should be in a circle
Group 2 – all the chairs should not be touching the floor
Group 3 – all the chairs should be outside the taped area
*Chances are, they will compete thinking that their tasks are not compatible with that of the other groups. They will use force to
get to their goals.
Debriefing: Focus debriefing on competition, tendency to use force instead of communicate.

● How do you feel?
● What happened? Why did it happen?
● How do you relate this to your experience in real life?
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Neighbors Movie (10 min)
Show the Neighbors (1952) movie.
Reflection on the movie (15 min)
Conflict Escalation breakdown using TORNADO MODEL (10 min)

The facilitator guides participants to break down the movie into different stages of the conflict escalation. The facilitator will use
the TORNADO model of conflict escalation.
Sharing examples (20 min)
Participants will be grouped into trios and will be asked to share examples of conflict in their lives, and break them down using
the TORNADO MODEL.
Summarising (10 min)

The facilitator will summarise the session and draw out important lessons learnt from the participants.

● Markers
● Neighbors Movie
● Projector, Screen and Speakers (dark room to show the movie)
● Big space (preferably outdoors) for the chairs game.
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Session Day 2 – Session II
Time 11:15 – 12:45
Title Conflict Dynamics
Session Objectives ● For participants to understand the role of power, communication, actors, situation and context in any given conflict
situation.
● For participants to learn about conflict sensitivity
and detailed programme XY Game (Prisoners Dilemma simulation) (1hr)
*This game is a simulation game and should be administered with clear instructions from the facilitator.
Group participants into 4 groups. Ask them to find their own space in the room, a space where their group can have some
privacy.
RULES OF THE GAME

a.) The goal of your group is “Gain as much as you can!”
(Note: gaining as much as you can, means to gain as much as you can + points)
b.) The exercise consists of app. 8 rounds.
c.) Each group in each round - independent of each other - makes a decision, writes it on a piece of paper and hands it over to
the leader of the exercise.
d.) The decision is a choice between two options:
one is: X
the other is: Y
f.) The groups may make profit or “register” loss in each round.
g.) The extent of profit or loss depends on the sub total of the decisions (messages) made by the groups. They are calculated in
every round.
h.) Table of profit
SUBTOTAL PROFIT/LOSS
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X Y
4X -10
3X + 1Y +10 -30
2X + 2Y +20 -20
1X + 3Y +30 -10
4Y +10
i.) Between the rounds new pieces of information may be given. They will not change the structure of the above table of profit,
can only change the extent of profit/loss.
j.) During the exercise each group should take notes of their decisions and the subtotal of the group decisions.
Debriefing:
*Focus debriefing on issues of power, communication, identity, context. Sensitivity in the debriefing is needed, especially when
participants start talking about current events and reality on the ground. Remind participants of their group contract on Day 1, to
be open, to listen, and to try to understand before speaking or arguing.
● How do you feel? (1 round)
● What happened?
● Why did it happen?
● How do you relate this simulation to real life experiences? Take for example the peace process, or the negotiations on
the BBL
● Markers
● XY Game handouts for each group
● Post its in 4 colors.
Session Day 2 – Session III
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Time 14:00 – 15:30 (1h 30)
Title Conflict Management Strategies
Session Objectives ● To introduce participants to different conflict styles and strategies in dealing with conflict
● To allow participants to reflect on their own conflict styles.
● To introduce conflict transformation
and detailed programme 1. Energiser (10’)

2. Pull Exercise (30’)
Make 1 long line using a masking tape on the floor.
Ask for 10 volunteers (5 pairs) Ask the pair to face each other in between a masking tape that you put on the floor. Tell them that
their ‘goal’ is to bring the other person (their partner) to their side.
Debriefing:
● What happened? Did you reach your goal? How did you reach your goal?
● Was there any other way you could have reached your goal?
Input on Conflict Management strategies : AVOID, ACCOMMODATE, COMPETE, COLLABORATE, COMPROMISE
● (show different conflict management strategies through the game)
● How can you relate this to real life? (Focus on how people/individuals usually manage their conflicts)
● Using the same PULL exercise, talk about structural violence and the importance of changing social structures that feed
conflicts (i.e. another 6th option is to take out the tape in the middle of the room)
3. Introduction to Conflict Transformation (30’)

Review their definitions of conflict from Day 1. Ask participants to give examples of a conflict situation that brought about
something positive or a good change in them or in their society. Give an input on personal conflict transformation and social
conflict transformation.
(See handout in annex)
4. Summing Up (10’)
Sum up reflections of what participants learned in this session.
● Markers
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Session Day 2 – Session IV
Title Peacebuilding
Time 16:15 – 18:00 (1h 45)
Session Objectives ● To introduce participants to the concept of peacebuilding as a long-term process of cultivating peace
● To have a shared definition of peace and Culture of Peace

● Markers

Title
Time 16:15 – 18:00 (1h 45)
●

● Markers

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Title
Time 16:15 – 18:00 (1h 45)
●

● Markers

Title
Time 16:15 – 18:00 (1h 45)
●

● Markers

Title
Time 16:15 – 18:00 (1h 45)
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●

● Markers

Title
Time 16:15 – 18:00 (1h 45)
●

● Markers

Time 9:15 – 11:00
Title Welcoming & Course Introduction
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●

● Markers
Session Day 3 – Session

Time
Title
Session Objectives ●
Methodology, methods and detailed
programme

Materials needed ●

Time
Title
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programme


Time
Title
programme


Time
Title
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programme


Time
Title
programme Digital Media across Asia: Philippine Situation

ttp://comm215.wetpaint.com/page/Philippines:+Social+Media
Source: h
Topic 1: Social Media Skills for Peace Advocacy

What is Social Media?
Websites and applications that enable users to create and share content or to participate in social
networking.
Source: google.com
Social networks have advanced astoundingly for the past years. When it first started, it is only
used to find old friends or to meet new ones. Nowadays, people use it to keep in touch, to share
media (music videos and photos), to build a community of people with common interests, and for
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one’s personal entertainment. It is also one of the fastest means of spreading information all over
the world. Because of its good impact in business and marketing, some companies are already
prioritizing digital marketing for their brands. This year, the Philippines is included in the list of
the top ten social network hubs of Asia.
Top 5 Social Networking Sites in the Philippines
Facebook. It is currently the most popular social networking site in the country with over 500
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million active users all over the world. Filipinos are hooked with its unique features, interesting
and addicting games, appealing interface, private messages, and its chat function. It has
surpassed the functionalities that most other social networks offer.
Twitter is a micro blogging site where people are encouraged to write about random things. Each
“tweet” or post has a maximum of 140 characters. One of the main attractions of Twitter is that
most celebrities and famous personalities keep their followers updated on what they’re up to
through their tweets. The site also allows users to share photos through their affiliate sites.
Instagram
Google+ is a social networking and identity service that is owned and operated by Google Inc.
Google has described Google+ as a "social layer" that enhances many of its
online properties, and that it is not simply a social networking website, but
also an authorship tool that associates web-content directly with its
owner/author. It is the second-largest social networking site in the world
after Facebook. 540 million monthly active users are part of the Identity service site, by interacting
socially with Google+'s enhanced properties, like Gmail, +1 button, andYouTube comments.[6] In
October 2013, Google counted 540 million active users who used at least one Google+ service,
of which 300 million users are active in "the stream".
In a 2013 survey, 30% of surveyed smartphone users used the Google Plus app at least once a
month. 92% of US smartphone users had visited a Google web site or app in August 2013,
according to another survey.
Source http://en.wikipedia.org/wiki/Google_plus
YouTUBE
Using social media to create social change
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Social Media users can:
• Virtually join a  group 
• Get updates a nd m essages a  group 
bout a
• Read, p ost or comment on n ews a
nd information  
• Receive / send p rivate m essages w ith group leaders a nd m
embers 
• Read a nd e ngage in transparent conversations that can b e seen b
y o
thers 
• “Lurk” in a  group—read information w ithout m aking o
neself known a  
s a
follower o r m
ember o f the g
roup 
• Interact with o thers d espite social or location b oundaries  
27
 
Communication o nline is d
ifferent from the one-way communication of television, radio

and n ewspapers b ecause o nline u sers can respond to messages in real time,
not just receive them. H owever, much like learning o
  f a news story from television,
receivers of that information a re n ot n ecessarily p rone for a ction. E
ven those w ho
virtually “join” a  g
roup may take n o further a ction. “Instead of attending
meetings, w orkshops a nd rallies, un-committed individuals can join a
 F
acebook
group o r follow a  T
witter feed a t h
ome, w hich g ives them some m easure o f a
nonymity b ut
does n
  ot n ecessarily m otivate them to p hysically h it the streets and
provide fuel for a  revolution” (Papic &  N
oonan,2011)
There a re some clear b enefits o f o

nline communication for social change. O nline groups a r
e less e xpensive for training, recruitment and o rganization than traditional methods

(Papic &  N
oonan, 2011). M
ost p
eople a re a
lready u sing the social m
edia
platforms that a ctivists can use for communication,
so there is n
  o n
eed to convince recruits to find o r join a
nother site
or in the case of traditional m edia,watch or subscribe to a n ew p rogram o r p
ublication (Gr
eeley, 2 011). Also, g roups o f p
eople n aturally form g roups a round shared causes or interes
ts, so finding a n a
udience is easy o nline (Mainwaring, 2 011)
Studies h ave shown that p eople w

ho are a
ctive online a
re likely to b
e active in 
group a ctivities. T he P
ew R esearch C enter found that 8
0% o f Internet users 
participate in g roups,
 compared with 5 6% of non-Internet u sers. S ocial media u sers are even more likely to be 
active: 8 2% o f social n
etwork u sers a
nd 8
5% of Twitter u
sers are g
roup p articipants 
(Rainie,  Purcell, & Smith,
   2011,  p. 2). A
dditionally,
 if u
sers feel that they can a ctually m
ake a  d
ifference,  they are m ore
likely to e
ngage in a group.
Activists who use social media for social change can use them to plan in-real-life and in-virtual-life
28
meetings, keep followers informed about events and news, and gain followers. Social media use
can increase users’ self-efficacy to join a cause because, in part, their peers’ involvement and
actions are transparent. It can also be useful by giving an on-the-ground view to people not
culturally or physically close to the users.
Session Day 4 – Session 14

Time
Title
programme Online Video Advocacy 101
http://videoforchange.wordpress.com/1-plan/video-advocacy-101/

5 Pillars of Video Advocacy
1. Video for a specific reason, not about something – have a clear, SMART goal for your
video
2. Know your audience – whose eyes, not how many eyes, is what matters
3. Know the action you want your audience to take
4. Choose the best message and messengers to move your audience to action
5. Choose the right time and the right place to ensure your audience sees your video
Remember: Know the change you want to see and who has the power to create that
29
change!
Advocacy videos are for a specific purpose – to help create the change you want to see in the
world. For example, though a video about the lack of water access in El Salvador may be
insightful and useful to activists working for water rights, an advocacy video will have a
clearly-defined plan that works to ensure that the video is created to support a specific call for
action (such as legislation requiring private and public water providers provide water to all
persons) and messages that are delivered by people (messengers) that will move the audience to
create the change you want.
10 Questions to Answer before You Film

Though you may be excited and feel ready to start filming and getting the content you want, here
are 10 key questions that you should be able to answer before you even pick up a camera.
1. Who has the power to create the change you want? (This is your primary audience.)
2. Do you have access to this primary audience?
3. If not, do you need to engage allies or an intermediary who has access (eg: someone
who knows the person or organization you want to reach)?
4. What do you want your audience to do? (Provide some direction.)
5. What will convince them to take action?
6. What will be appealing, persuasive or interesting to your audience (i.e.: factual
information, potential people who can be interviewed or featured in your video, any experts you
may want to include on the video or in accompanying material)?
7. Who will your audience listen to – and why? (This should be the messenger [or
messengers] in your video.)
8. How will your video be integrated into your campaign or advocacy plan?
9. When should your audience see your video?
10. What is your distribution plan to ensure your audience sees your video?
NOTE:
Be very clear at the beginning of your advocacy plan what the target or primary audience is for
your video. Though you can have more than one audience, the primary audience should be the
30
person or persons that have the power to create the change you want to see. Though this is often
an elected official or representative of an organization, it can also be citizens you are trying to
engage to get involved to help strengthen your advocacy work. For each audience, you will want
to choose the best message and messengers to move your intended audience to action.
Moreover, some of the most successful advocacy plans have multiple audiences at the same
time, or they target different audiences, one after the other, using a variety of materials for
different settings. Analyze your situation carefully to design the best plan of action to support your
advocacy.
Know What’s Been Done

Creating a video, especially a well-crafted and effective advocacy video, will likely take a lot of
time and energy – even before you begin filming. Though making a video can be fun, there’s no
point reinventing the wheel with your video; so, do some research to see if anyone has made a
video that accomplishes essentially the same things you want to do.
Top 5 Tips
1. Learn from others: Talk to people who have worked on the issue you want to tackle –
especially those that have tried to influence the same audience. Learn from them what has
worked, what hasn’t worked and why.
2. Evaluate potential collaborators and allies: Who can you collaborate with – both from
your own group or organization and from others? Very few successful advocacy plans occur in
isolation. Find allies and try to find ways to help each other. How can you use the video material
that you are producing to help each other and your respective causes?
3. Engage early and often: Including allies early in the process of developing your video
advocacy plan will help to obtain their commitment to the project and their use of the video in their
own work. Also, use social media like Twitter, Facebook, and LinkedIn to try to find people who
are interested in your issue and want to help, which can speed up your process, offer fresh
perspectives and experience and ultimately enhance your video.
4. Evaluate other advocacy videos: Once you’ve done your research and if you’ve
determined that video is still the right tool for your campaign, see what content is out there that
31
you may use – or learn from. Try to connect with the organizations and people that created the
video to see if they achieved the responses that they were looking for – why? Or why not? You
can also see if they would be interested in getting involved with your campaign and video efforts!
5. Find video you can use: There’s a lot to be gained by identifying content you can utilize
videos that complement yours, audiences you want to reach and possible allies who are
interested and working on the same issues. Spend some time with your search engine of choice
to find videos. Also look through YouTube, Google’s Video Search, and Bing Video. For human
rights videos, look through YouTube’s Nonprofits and Activism channel and WITNESS’ Hub. Pick
good keywords and, with a little patience and luck, you’ll probably find something
Remember: No matter what, research well, collaborate as much as possible, and while you
should have a series of clear, achievable goals in mind, don’t forget to think big!
Plan Your Video
Step 1: Write a ‘guiding paragraph’

Take time to write a description of the story and what viewers will see in your video. This should
not be a summary of the video’s message or an analysis, but a description of how you visualize
the story unfolding. This can also incorporate the style and feel of the video – for example, if you
are looking for a fast MTV-like feel or a more slow-paced story, or a series of stark images
interspersed with title-cards
Think visually and verbally – every word should describe something you see in the video. If you
are producing a series of video, discuss with your facilitator how to consider how elements of your
story will be conveyed through the series of videos.
Step 2: Finalize Your Messages

List out the most important messages for your audience and put them in order of importance.
32
Remember, this should be a list of messages that you will be able to convey in your video with
interviews, testimony and b-roll images and audio. Think big, but be realistic.
Step 3: Choose Your Messengers

Among the messages you identified that will best move your audience to the action you want,
who can tell your story most compellingly for your audience? Remember that compelling and
memorable individual, personal stories are part of most powerful videos and stories, and that an
“expert” interview may give credibility and help elaborate nuanced legal or policy obligations. You
may consider how you would tell “both sides of the story” or explain why this is infeasible or ill
advised. Consider that ‘who’ tells the story can also include the narrator
Step 4: Choose Your Audiovisual Content

What are the images and audio that can best support your video to move your audience to
action? Write and create a wish-list of content and prioritize it, accounting for what you may
already have or have access to easily, what content you’ll have to shoot yourself and what
archival content you may want to find.
Create a Video Outline

The Basics of A Story: What, Where, When, Who, Why, How?
During preproduction, ask yourself:
● What story are you trying to tell? What story are you leaving out? And why?
● When did the incident, event or violation you are referring to happen?
● Where does the story occur?
● Who will appear in your story?
● Who will tell the story?
● Why are you telling this story?
● How will you tell the story?
33
You may find that you will have more than one answer for each of these questions.
Why are you telling this story?

For advocacy-oriented video you should be absolutely clear from the outset why you are telling
your story, as both a filmmaker and as a social justice advocate. You also need to determine
clearly who your audience is, and what they will find persuasive or compelling. On the basis of
this you should choose the most appropriate story to tell.
How will you tell your story?

Will you be following a particular chronological order or sequence? Will you concentrate on a
character, an issue, or a place? Determine how this story can most effectively be told, and how
you can ensure that it will be interesting to watch, responsible to the people who participated and
help create the change you want to see.
Has your story been told before?

At this stage, you may also need to do some research about other videos, films, books, websites,
and other forms of media on the subject – these sources may also help develop and enhance
your own project.
Preparing an outline for your video

During pre-production of an advocacy video, you will establish a clear goal and audience, and
begin developing the most effective message and messenger for this audience. At this stage, you
should prepare an outline or working script. An outline is the architecture of your proposed film—a
sketch of the audio and visual elements that will make up the finished film, arranged in order,
illustrating the storyline of your film. From your outline you will work out what shots you need to
shoot in any given location, interview or activity. A well-thought-through outline is particularly
crucial in the case of human rights and social justice filming, where there is not always the
opportunity to go back and get reshoots of the material.
34
Preparing an outline will help you to think of what you need to tell your story in a compelling and
dramatic way. You do not have to stick to it once you come to film and edit but it can act as a
guide to help you think about creative ways to tell your story.
Choose a favorite film and watch it with a critical eye for the different audio and visual elements
that go into it. Make a note of all that you see, using the lists above as a guide to potential
components. You’ll likely be surprised by the variety of different inputs that go into even the
simplest film.
Choose Audio-visual Content

So, what Audiovisual Components Best Support Your Video?
All video is made up of combinations of visual and audio elements. Think creatively and
expansively about different kinds of sound and images. A few key questions to answer:
● What will make this story visually interesting?
● Can you tell your story using different combinations of visuals and audio components?
● What will have most impact on your audience?
● What do you have access to given any security, budget, or time constraints?
Visuals to consider
● Visual and audio documentation of events happening—people doing things, without
commentary.
● Landscapes, locations, and inanimate objects that are part of the story.
● Interviews—one or more people answering questions, posed to them by an interviewer
on- or off-camera who may be edited out of the final film.
● Conversations observed—people aware of the presence of a camera, but not being
interviewed directly.
● Conversations or people talking to each other, with the camera unobtrusive or hidden.
● Re-enactments—factually accurate recreations of scenes that could not be filmed, or are
in the past. Remember that there may be credibility problems with this in the human rights
35
context, particularly if it is not clear why a scene could not be filmed, or needed to be re-enacted.
● Expressionistic shots—often symbolic or artistic, to represent a concept or provide
visuals where you do not have access to the location, e.g. in historical interviews.
● Manipulation of imagery via slow-mo, fast-forward, motion-capture etc.
● Still photos or documents—either static or shot with the camera panning/tracking or
zooming in or out.
● Text including on-screen titles, headlines, and graphics—used for creative and
informational purposes, including subtitles for foreign languages. These are usually added in the
editing.
● Library, news, and archive footage –this could be from a professional archive, but also
personal memorabilia, and possibly material from other films. Remember footage from a
commercial source is usually expensive and complicated to get permission for.
● Blank screen—causing the viewer to reflect on what they have just seen or heard, prime
them for what is next, indicate a change of sequence or location, or to emphasize sounds.
Audio or sound elements

● Interviewee—you can use audio only or a picture-and-sound interview with only audio
used, or both picture and audio used.
● Conversations—either recorded with the participants’ knowledge or
unobtrusively/secretly.
● Narration—could be a narrator, the filmmaker or a participant.
● Synchronous sound—sound shot while filming.
● Sound effects—individual sounds shot while filming, or at a later point.
● Music—this is usually added in editing.
● Silence—the absence of sound can indicate change of mood or place, or cause the
viewer to refocus on the screen.
Notice that in many videos the sound and visual elements are not from the same source—in
editing you will make choices about how to combine different audio and visual elements.
36
DIGITAL CAMERAS
The digital camera can be small, agile, and is generally easier to keep handy at all times. They
can often be found for little money, and are non-intrusive and great for doing informal interviews.
Also, it’s pretty easy to publish digital camera footage without editing it.
The downside is in the quality department. The lenses are usually cheaper and the cameras often
don’t have external microphone jacks. That said, they’re simple, inexpensive, and great beginner
cameras.
DV CAMCORDERS
Though DV camcorders are generally more expensive, most give a much higher level of control
over both picture and sound quality than digital cameras (especially at similar prices). A DV
camcorder is often physically larger, and requires footage to be digitized (unless it’s a hybrid that
records to memory card) and accessories add to the bulk (tapes, microphones, larger batteries,
etc.).
Despite these disadvantages, if you need the improved image and sound quality, the trade-off is
well worth it. Camcorders are great when you want higher production levels — just make sure
you know how to properly light your shots and get great sound before you make a huge
investment.
CELL PHONE VIDEO CAMERAS

Picture and audio quality typically diminishes as devices become smaller simply because their
size makes it difficult to pack in decent recording equipment. Battery life and media length may be
of concern, depending on the device as well. However, cell phones continue to be used
strategically in social change work around the world, so don’t forget this small, but powerful,
device!
Additionally, cell phone video can be recorded extremely discreetly, and may be useful in
37
conducting quick interviews or documenting statements of support for the campaign, social issues
or emergencies. Each phone is different, so make sure you test-run recording and uploading
video to your computer (or directly to the internet) to ensure you don’t lose important footage
once you film it.
OTHER TOOLS TO CONSIDER

Tripods
Use a tripod whenever you can – they are great for doing fixed shots, they can make video shot
on a less expensive device appear more professional. If you want to move the camera (panning
side to side or tilting up and down), you’ll want a tripod with a fluid head — this will keep your
movements from jittering.
Internal or external microphone?

Great sound can make or break a video. Sadly, most digital cameras and some low-end DV
camcorders don’t have a microphone jack (it looks the same as an iPod headphone jack).
However, if you do have a microphone input, you will get far better sound if you use an external
microphone.
Other Useful Tips:

Framing and Shots
LONG SHOT
● No details
● Also called establishing shot
MEDIUM SHOT
● Small details are showed
● For a closer look
38
CLOSE UP
● Great details
● Facial expressions
Head Room and Nose Room
● Always leave a minimum of two centimeters space between the head and the frame.
● Let the nose lead you to the other person, object or space
Avoid Zooming In and Out

● You lose the point
● Distracts the viewer
● Lose your credibility
Lighting
● Avoid high exposure and low exposure
● Let the sun be above you
● Night light is not enough
Shoot Selectively
● Know your subject

● Concentrate on the objective in mind
● Show all the points of views
● Be objective not subjective
Shooting for an Interview
● Position your subject a little to the left or right of center and leave nose room to the
opposite side.
39
● Use the LCD monitor on the camera to watch the interview at the same time that you look
over the camera and make eye contact with the subject.
● Don’t, for any reason, make any sound at all when your subject is talking.
● Don’t shoot your subject in front of a window or with the sun behind him/her, unless you
want your subject to appear in silhouette; the best light source comes from behind the
camera.
40

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Programme Flow (Draft)

Day 0 Day 1 Day 2 Day 3 Day 4 Day 5 Day 7

11:00 – 11:15 BREAK

Getting to Know Activity (arrival day)

Journalism Interview (30 min) (activity option 2)

4. Videoconference with partner city. (60 mins: see breakdown below)

Tornado (15 min)

Expectations and Contributions (30 min)

Group Contract (20 min)

10’ Drawing of the pathway

20’ Sharing of pathway exercise

Materials needed ● Flipchart paper

Session Duration 1.5h

Methodology, methods 5’ Energiser

15’ Visioning exercise (individual reflection).

25’ My Role in this Vision

Materials Flipchart paper, markers

Session Day 1: Session IV

Title Identity, Violence and Conflict

Methodology, methods Energiser (10 min)

4. Evaluation of the day (10 min)

Session Day 2 – Session I

Debriefing: Focus debriefing on competition, tendency to use force instead of communicate.

Reflection on the movie (15 min)

Conflict Escalation breakdown using TORNADO MODEL (10 min)

Sharing examples (20 min)

Summarising (10 min)

Materials needed ● Flipchart paper

RULES OF THE GAME

Session Day 2 – Session III

3. Introduction to Conflict Transformation (30’)

Session Day 2 – Session IV

Session Day 2 – Session IV

Session Day 2 – Session IV

Session Day 2 – Session IV

Session Day 2 – Session IV

Session Day 1 – Session I

Session Day 3 – Session

Session Day 3 – Session

Session Day 3 – Session

Session Day 3 – Session

Session Day 3 – Session

Topic 1: Social Media Skills for Peace Advocacy

Top 5 Social Networking Sites in the Philippines

Using social media to create social change

There​ a ​ re​ s​ome​ c​lear​ b ​ enefits​ o ​ f​ o

Studies​ h ​ ave​ ​shown​ t​hat​ p ​ eople​ w

Session Day 4 – Session 14

10 Questions to Answer before You Film

Know What’s Been Done

Plan Your Video

Step 1: Write a ‘guiding paragraph’

Step 2: Finalize Your Messages

Step 3: Choose Your Messengers

Step 4: Choose Your Audiovisual Content

Create a Video Outline

Why are you telling this story?

How will you tell your story?

Has your story been told before?

Preparing an outline for your video

Choose Audio-visual Content

Audio or sound elements

CELL PHONE VIDEO CAMERAS

OTHER TOOLS TO CONSIDER

There a re some clear b enefits o f o

Studies h ave shown that p eople w