| "The truth isn't the truth until people | | | | and trainers arenot immune. |
| believe you, and they can't believe you | | | | |
| ifthey don't know what you are saying, and | | | | Entertainment engages more of the brain |
| they can't know what you're saying if | | | | |
| theydon't listen to you, and they won't | | | | Great entertainments routinely establish one |
| listen to you if you're not interesting, and | | | | perspective, and then, once theaudience has |
| youwon't be interesting unless you say things | | | | fully embraced it, reveal that perspective to |
| imaginatively, originally, freshly." | | | | be false. The surprises ofcomedy, magic, and |
| | | | drama are all achieved by in this manner. |
| So stated Bill Bernach in Luke Sullivan's | | | | Using theseentertainment techniques, learners |
| 1998 book, Hey Whipple, Squeeze | | | | can explore the multiple perspectives of |
| | | | anysubject. |
| This. Bernach was offering advice to | | | | |
| advertisers, but he might as well havebeen | | | | Seminar leaders already have facts and |
| talking to us trainers. If trainees don't pay | | | | figures at their disposal for the |
| attention to you, they can't hearwhat you | | | | logical,analytical portions of the brain. |
| say, and they won't pay attention to you if | | | | Entertainment appeals to the emotive |
| you're not interesting, and youwon't be | | | | portionsof the brain. When both the logical |
| interesting unless you present your | | | | and emotive regions of the brain |
| information in an imaginative, originaland | | | | aresimultaneously engaged, more neurons fire, |
| fresh fashion. | | | | more brainpower works, and |
| | | | greaterillumination of the subject can be |
| Advertisers methodically use entertainment | | | | achieved. Rather than a one-dimensional view |
| techniques to meet the demands | | | | ofthe subject, the learners experience |
| | | | multi-layered insights. |
| Bernach spells out. From comedic bits, to | | | | |
| magical illusions, to popular | | | | Entertainment overpowers negative emotion |
| music,commercials entertain as they capture | | | | |
| and maintain interest. Advertisers | | | | Negative emotion rarely sleeps: especially in |
| useentertainment for legitimate reasons. | | | | the learning environment. |
| Trainers should too! | | | | Learnersuncomfortable in a classroom, fearful |
| | | | of their own learning disabilities, |
| Novelty attracts attention | | | | orsuspicious of facilitator motives can |
| | | | become so wrapped up in emotion that |
| People are stimulated by novelty. Studies | | | | learningis blocked. Given that emotion cannot |
| demonstrate that people seek out | | | | be stopped, smart trainers find ways |
| newexperiences and behaviors. Entertainers | | | | toharmonize with and harness that emotional |
| have known this for years. The mostsuccessful | | | | energy. |
| acts are those who offer something different | | | | |
| from the norm. They havethe greatest chance | | | | Studies have demonstrated that the right |
| of being noticed. | | | | hemisphere tends to process the |
| | | | negativesaspects of emotion that block |
| Training programs, presentations and other | | | | learning while the left hemisphere processes |
| learning events that are perceived asboring | | | | thepositive aspects of emotion that open a |
| and mediocre also will have difficulty | | | | trainee up to learning. Entertainmentrelaxes |
| maintaining participant attention. If onthe | | | | the fears the limbic system urgently relays |
| other hand the same program is filled with | | | | to the right hemisphere. In |
| novel, engaging learning connectedstimuli, it | | | | effect,entertainment style activities |
| will, one the other hand, capture and | | | | baby-sit the right hemisphere, keeping it |
| maintain attention. | | | | busy withthings it likes; cartoons, music, |
| | | | games, activities, visuals. Once the right |
| People expect to be entertained | | | | hemisphereis playfully engaged, learning can |
| | | | commence without the blocking negative |
| We have become a service, rather than an | | | | emotionbrings forth. |
| industrial, society. The assembly-linestyle | | | | |
| orderliness of past generations has been | | | | Entertain 'Em |
| supplanted by a focus on individualneeds and | | | | |
| emotions. People today expect to be catered | | | | Entertainment is not a substitute for solid |
| to and will spend more topatronize | | | | instruction. It is only a vehicle |
| organizations that provide an enjoyable | | | | forpresenting your message in an imaginative, |
| experience. In response, manyorganizations | | | | original and fresh fashion. Entertain 'emand |
| have entertainmentized their products. | | | | you will be more interesting; your learners |
| | | | will listen to you; they will knowwhat you |
| The result is a culture where the lines | | | | are saying; they will believe you; and what |
| between entertainment and non-entertainment | | | | you say will become their truth. |
| are evaporating. Entertainment is becoming | | | | |
| the norm. Shakespearewas right. The world IS | | | | If you keep 'em awake, the learning will |
| a stage and speakers, presenters, educators | | | | take. |