SNF Paideia Dialogue Resources Third Edition

Dialogue Statement

snf paideia’s values + approach

our dialogue mission

The SNF Paideia Program creates and supports opportunities for the Penn community to learn about dialogue, from dialogue, and how to dialogue, towards a goal of individual and community wellness. It is our belief that a truly holistic approach to wellness necessarily includes a sense of deep connection to other people and to the world; meaningful exchange across identities, ideologies, experiences, and histories; and compassionate engagement with difference between individuals as well as groups of people. Dialogue is a uniquely powerful means to build that connection, realize that exchange, and practice that engagement.

OUR APPROACH TO DIALOGUE WORK

Our understanding of dialogue encompasses a wide range of practices (what we are doing in the dialogue process, or what dialogue “looks like”) and purposes (why we are engaging in dialogue, or what we hope to learn, become, or do through a particular dialogue process). We do not promote a particular model of dialogue for a singular purpose. Rather, SNF Paideia emphasizes a few core values in relation to dialogue work and works to connect Penn students, faculty, and staff to peo ple and resources that will help them infuse those values into the dialogues they are practicing personally, professionally, academically, and in the community.

Our core dialogue values

Intentionality. We enter into dialogue consciously and with deep care, understanding that all of our choices in the dialogue process matter and have consequences for ourselves and others. We strive to make those choices in alignment with our sense of purpose, which may evolve or emerge over time and will shift according to context.

Curiosity. We commit to the idea that every other participant and partner in a dialogue process has something to teach us. We ask questions and work to learn how to listen. We maintain a sense of the other’s humanity without assuming to understand what we can’t understand or needing to accept what we find unacceptable.

Humility We recognize the ongoing complexity and difficulty of dialogue work and our own fallibility and limitations in practicing dialogue. We remain compassionately curious about our own identities, beliefs, experiences, and (re)actions as well as others’. We reflect, seek feedback, listen, take accountability, and adapt.

Community. As both participants and facilitators, we approach dialogue and dialogue work as a collaborative endeavor in which trust, mutuality, and interdependence are paramount. We work to protect our own and others’ right to speak as well as our own and others’ physical, emotional, and intellectual well-being in the dialogue process.

OUR dialogue CONTRIBUTIONS

Resources that present broadly applicable dialogue principles and practices in a digestible one-page graphic format for dialogue facilitators, participants, and event planners.

Courses in all four undergraduate schools that expose Penn students from all majors to diverse topics, skills, frameworks, materials, and methodologies related to dialogue. Fellowships and communities of practice for students, staff, and faculty that create interdisciplinary learning communities focused on more intensive and sustained engagement with dialogue concepts. Events, workshops, initiatives, and partnerships that bring dialogue, dialogue skills, and dialogue resources to broader communities within and beyond Penn.

Created by Sarah Ropp, Ph.D., in collaboration with the SNF Paideia staff team, 2024

Dialogue Resources Collection welcome + introduction

what are these resources?

These resources present key concepts, principles, and practices for facilitating, planning, and participating in dialogue across difference. Our resources, like our program, do not mandate a singular model or goal for dialogic engagement. They do however reflect our core SNF Paideia dialogue values of intentionality, curiosi ty, humility, and community. These resources are designed to be broadly relevant and applicable for many different dialogue contexts, topics, purposes, and populations. They are also designed to be user-friendly! By breaking down the complexity of dialogue work into clear principles and concrete, actionable practices, presented in a colorful one-page graphic format, we hope that these resources help d emystify the dialogue process and make engaging in this difficult work easier, more meaningful, and more joyful.

who are these resources for?

SNF Paideia dialogue resources support anyone who is interested in participating in, facilitating, and/or planning effective dialogue. These resources do not assume or necessitate any particular level of experience with dialogue (but remain a helpful compass even for practiced facilitators). Though many of these practices originated in K-12 and higher education settings, the principles are applicable and the practices are adaptable to other contexts. We are often asked to distinguish between which resources are “teacher-fac ing” and which are “student-facing.” The more helpful distinction is “facilitator-facing” versus “participant-facing,” not just because these resources are applicable beyond traditional educational settings but also because students and staff also lead dialogue work, and teachers also participate in it! Many of these resources, then, are primarily facilitator-facing (though participants may benefit as well). A number are designed expressly to be interactive resources for participants to engage with directly; these are found in a special section indicated as such.

who made these resources? where did these ideas and practices come from?

These resources have been developed by the SNF Paideia Program at the University of Pennsylvania. SNF Paideia Dialogue Director Sarah Ropp, Ph.D., is the lead resource developer. Most of these resources have been writt en and formatted by Sarah. However, many of the ideas and practices contained these resources do not originate in Sarah’s work as a teacher/scholar or in the SNF Paideia Program! They are drawn from, and honor, a rich legacy of dialogue work by diverse practitioners and scholars within and beyond the United States. These resources also reflect deep collaboration with the SNF Paideia staff team and ma ny partners, teachers, students, and colleagues at the University of Pennsylvania and beyond. SNF Paideia Communications Director Jill Katz, M.A., directs the production and distribution of these resources. Graphic designer Jane Puttanniah did a great deal of work in rebranding Sarah’s graphic resources as SNF Paideia resources, thereby creating templates for us to continue creating new resources. Fin ally, the Stavros Niarchos Foundation provides the generous funding that allows us to create, print, and distribute these resources free of charge. For all of these collaborators, mentors, teachers, colleagues, and students, we are deeply grateful.

how should i use these resources?

Use the practices that are useful and meaningful to you; adapt, innovate upon, or discard those that aren’t. These resources are always open-access! Feel free to make copies and to share resources with others. Download and print digital versions at snfpaideia.upenn.edu/engage/snf-paideia-resources/. Please do not alter any of these documents, remove any attributions to named creators or contributors, sell any of these resources, or claim authorship over them. We would love to hear from you about how you are using these resources! Please reach out to Sarah Ropp via email at sropp@upenn.edu with your feedback and suggestions for current and future resources.

Dialogue Resources Collection guide to contents

BUILDING THE FOUNDATION FOR DIALOGUE

The absolute essentials for getting started

Curating the Environment for Dialogue

Building Community in Dialogue + The Art of the Check-In

Effective Norms for Dialogue + An Activity for Creating Norms Together

The Art of the Dialogue Question Set

Reflection and Synthesis

facilitating effectively

Guidance for common facilitation challenges

Getting Everyone to Talk

Managing Dialogue

Making Space for Emotion

Trauma-Informed Facilitation

Shame-Sensitive Dialogue

RESPONDING TO CURRENT EVENTS

Addressing the urgent + impactful news of the day

When Emotions Run High

Dialogue Activities for Processing Current Events

RESOURCES FOR PARTICIPANTS

Interactive resources to help participants prepare for dialogue + engage with dialogue concepts

Getting Ready to Dialogue

Why Speech + Why Silence

Thinking About Harm

Beyond Understanding

Metaphors Not to Live By

Practicing Presence

dialogue event planning

Interconnected resources to help facilitators plan effective dialogue programming

Dialogue Planning Essential Elements

Dialogue Event Plan Template

The WHY: Topics and Occasions for Dialogue + Defining Purpose

The WHAT: Objectives for Dialogue

The WHO: Participants and Partners for Dialogue

The HOW: Types of Dialogue Programs + Formats and Modes for Dialogue

The HOW-TO: Dialogue Cafe

The HOW-TO: Walking Dialogue

The HOW-TO: Crafts-Based Dialogue

The HOW-TO: Slow Dialogue

The HOW-TO: Story Sharing

The HOW-TO: Reading Group

The HOW-TO: Interactivated Speaker Event

Curating The Environment for Dialogue

CREATE AN INCLUSIVE + WELCOMING SPACE FOR DEEPER ENGAGEMENT

WHAT IT IS WHY WE DO IT

Curating the environment means thinking intentionally about participants’ holistic relationship to the dialogue space + taking action to make that space more accessible physically, cognitively, and emotionally.

HOW TO DO IT

Signals the transition to a “temporary alternative space” (Priya Parker, The Art of Gathering) that operates by its own norms

Helps build the trust + comfort necessary to reach greater depth + challenge

Think holistically + within the limits of the space. How do you want participants to feel, to think, to interact during this conversation? What is needed, what is ideal, and what is possible in the space?

Consult participants before the dialogue about their accessibility needs + preferences if possible -- ask about mobility issues, sensory issues, food allergies, chemical + sound + light sensitivities, etc.

Start simple Pick a few practices, try them, note the effect. Build up a repertoire that works for you.

Check in with participants during the dialogue for consent, input, and feedback on your choices.

Build a kit with a few small items you can use to transform the space quickly (see below). Bring it with you and add to it over time! Including participants in setup strengthens a sense of community.

EFFECTIVE CURATORIAL PRACTICES

LAYOUT

Make sure participants can see each other. Arrange chairs in a circle, or have them turn in their chairs to face each other.

Make sure participants can access all materials + visuals Can they see the board? Are all pathways clear + wide? If they need to write or eat, is there a surface for each person? etc.

If going outside, select an area that is shaded + accessible.

TOUCH

Manipulables. Set out fidget toys, small stones, coloring pages, puzzles, origami paper, etc., to help channel energy + maintain focus for listening.

Temperature. If you can, keep it around 72°. If it’s cold, bring blankets; if hot, paper fans.

Beneficial for dialogue even when not “needed”!

SIGHT

Lighting. Replace harsh overhead lighting with natural light, lamps, or twinkle lights.

Color Warm up sterile spaces with a colorful hanging or two.

Visuals. Provide all important information (e.g. norms, questions, instructions) in written form, with legibly large font.

SOUND

Music. Play upbeat music to welcome participants. Play low instrumentals during small group dialogue and independent work. Make + find playlists you like, or have participants help.

Silence If you can, keep it around 72°. If it’s cold, bring blankets; if hot, paper fans

Read out written information or comments shared on screens

TASTE + SMELL

Food + drink. Breaking bread together releases dialogue, even simple snacks or tea.

Aromatherapy Spritz an essential oilsbased room spray to relax or energize

A SAMPLE DIALOGUE KIT

Sturdy tote to pack it all in.

Battery-powered string lights.

Portable speaker + phone.

Wrapped small snacks. Trail mix packets, granola bars, etc.

Mix of fidget toys. Spinners, stress balls, infinity cubes, etc.

Room spray. Lavender, citrus

Materials specific to that day. Agenda, handouts, laptop, etc.

Created by Sarah Ropp, Ph.D., 2023

Building Community in Dialogue

PRACTICES THAT SUPPORT BELONGING

KEY CONCEPTS

Belonging is “the feeling that we’re part of a larger group that values, respects, and cares for us – and to which we feel we have something to contribute” (Geoffrey Cohen, Belonging). A sense of belonging is critical in dialogue for people to share their identities, experiences, and feelings, as well as their ideas, generously and openly rather than defensively or antagonistically.

PR INCIPLES + PRACTICES

PRINCIPLE: Affirm people’s inherent worth + humanity without making them first meet a performance standard

PRACTICES:

Explicitly state that everyone present belongs here

Learn people’s names, pronounce them correctly, use them

Curate a comfortable, welcoming physical space for dialogue

Affirm the person, challenge the behavior when offering feedback

Greet everyone individually as they come in

Incorporate mindfulness + regulation practices

Offer food + drink & make sure people get it

Critique or praise people’s work, not them

Express genuine gladness + appreciation for people’s presence, including when they are late or quiet

Design dialogue such that participation is enhanced by but not fully dependent on pre-work or prior knowledge

PRINCIPLE: Affirm people’s value as members of the community through invitations to contribute

PRACTICES:

Have participants help set up or clean up

Open each gathering with a “check-in” (see p. 2!)

Set an explicit purpose: a destination that the group is trying to reach together (not just individual learning goals)

Generate norms or dialogue questions together

Have participants help define key terms + examples

Use democratic processes: vote or come to consensus on lights on or off? Which question to address first? etc.

Ask participants to share advice + best practices for others based on strengths you observe or they self-identify

Reframe critique as a request for support (e.g. “Could you help me draw others in?” to a dominating participant)

PRINCIPLE: Affirm people’s agency + autonomy + individuality, as well as the other communities they belong to

PRACTICES:

Use the names + pronouns + identity labels people use for themselves or ask you to use

Have people set their own goals + name their own purpose + values for the dialogue (along with shared purpose)

Incorporate multiple modalities to engage different learning styles (visual, embodied, audio, written)

Strive for diverse representation in texts + authors

Be mindful of what you call “normal,” “typical,” or “neutral”

Invite participants to share relevant access needs with the group, both general + specific to that day

Share personal/cultural rituals with one another

Write personalized notes to people or have them do so

Created by Sarah Ropp, Ph.D., with thanks to Rhina El-Amin, the SNF Paideia reading group, and Dialogue + Wellness Partners at Penn, 2025

Building Community in Dialogue

THE ART OF THE CHECK-IN

WHAT IT IS

An invitation at the beginning of the dialogue for everyone in the group to connect to self and other via reflection and sharing, before “diving in” to the topic

HOW TO DO IT

The ideal check-in prompt is . . .

Low-stakes (not too vulnerable)

Personal (not knowledge-based; something anyone can answer)

Not based in status or identity

Lifting (serotonin-boosting) or grounding (mindfulness-enhancing)

LIFTING CHECK-INS

WHY WE DO IT

- Supports belonging by having people connect first through shared humanity

- Relaxes nerves + makes it easier to keep sharing as the dialogue continues

Logistics for facilitating

Should take no longer than 5-10 minutes out of 60

Share the prompt & give instructions/rules

Each person introduces themself by the name they’d like to be called + pronouns (if they wish), then responds to prompt. Opting out is allowed!

Model with your own introduction + response

LOWER-STAKES (FOR NEW OR ESTABLISHED GROUPS) HIGHER-STAKES (FOR ESTABLISHED GROUPS)

What’s something you are loving right now?

What’s your favorite time of the year in your hometown/in [location of dialogue]?

As a child, what was a beloved comfort object, favorite toy, or an amazing gift you once got?

What’s some good news you’ve gotten lately?

What’s something you’re looking forward to?

What’s the best part about [current season] for you?

GROUNDING CHECK-INS

What’s a nonromantic source of love for you?

Who or what brings you comfort?

What’s your trick to feeling at home/like yourself in a new place or situation?

What is a time that you stood up for yourself, someone else, or something you believed in?

What’s something small or simple you can make or do really well and take pride in?

What is something positive that someone said to you once about yourself that made a big difference?

What’s the color of your energy today? (Don’t justify or explain – just share the shade)

What are up to 3 words to describe your current state? (“alert,” “exhausted,” “apprehensive,” “open,” etc)

How is the weather impacting your mood today?

On a scale of 1-5, rate your current levels of each of the following: 1) energy, 2) motivation, 3) peace of mind, 4) readiness to engage with others, 5) comfort in your body.

Breathe deep and focus on your environment. To yourself, name 5 things you see, 4 things you feel, 3 things you hear, 2 things you smell, and 1 thing you taste. Share 1 sensory perception with the group.

Effective Norms for Dialogue LINKING

COMMUNITY VALUES TO INDIVIDUAL ACTIONS

WHAT IT IS WHY WE DO IT

Norms (aka community agreements or guidelines) are the principles guiding the behavior of the group as they engage in dialogue together.

HOW TO DO IT

Source or craft a set of 3-5 effective norms. Facilitators can choose to... adapt pre-existing norms. write their own set of norms (see below). create norms as a group (see below + p. 2).

Communicate norms clearly.

Make publicly visible, e.g. a poster or slide Give or generate together examples of behaviors aligned/not aligned with each norm

EFEECTIVE NORMS ARE. . . .

MEMORABLE

Keep norms simple and short. One clause per norm. One action word. Five to seven norms tops. People can’t follow norms that they can’t remember!

INEFFECTIVE: “Strive to practice deep and active listening and demonstrate it with your body language.”

EFFECTIVE: “Embody listening.”

ALIGNED

Match norms to purpose.

Think about what makes sense given the topic and structure of the dialogue(s) + participants’ identities and experiences + the shared dialogue values of the group.

For example, “Everyone gets equal time to speak” might make sense for one topic/group, but not another.

Increases equity + a sense of safety for participants by setting clear expectations. Helps the group self-regulate + hold one another accountable to collective values.

Make sure everyone in the group... understands the norms. has the ability to abide by the norms. consents to the norms.

Over the course of the dialogue(s):

Restate norms regularly to remind participants. Refer to norms when offering feedback on behavior. Revise + supplement norms in response to the topic at hand, emerging group dynamics, feedback, etc.

ACTIONABLE

Make norms concrete.

Words like respect, empathy, open-minded, etc, are abstract values. What does that value look like in practice? Frame norms as positive, observable actions: what to do (not not do).

INEFFECTIVE: “Assume good intentions.”

BETTER: “Don’t express snap judgments.”

BEST: “Ask clarifying questions.”

COLLABORATIVE

Do norms together. Whether the group adopts existing norms or creates them together, they should be: universally understood unanimously agreed-to collectively recalled, revised, reinforced over the course of the dialogue(s)

Values-Aligned Dialogue Norms an activity for creating norms together

STEP 1.

What do you value in dialogue? What do you believe in? What do you want from dialogue (that is, what makes “good talk”)? What do you NOT want, value, or believe in? Write your thoughts here:

STEP 2.

Pick 3 of your most core values for dialogue. Brainstorm one or more actions for each value: how might you/we live out this value in practice? Remember, these actions should be concrete: something we can observably do, not something we merely intend, feel, think, or believe.

Action(s) Value

STEP 3.

Share your work in pairs or small groups. Identify shared values that you hold and work together to craft 3 effective norms for dialogue, drawing on the actions you each identified and the guidelines on p. 1.

STEP 4.

Each pair or group will share the norms they’ve crafted with the whole group. Work together to consolidate all norms into a final list of 5-7 norms that all can agree to upholding, based on points of overlap and shared values. Workshop the phrasing to make norms as memorable, actionable, aligned, and collaborative as possible.

QUESTIONS FOR FURTHER REFLECTION + DIALOGUE

Where do your values come from? What have you experienced or witnessed in previous conversations that led you to them? What are situations or circumstances you can imagine that might make it difficult to uphold each of these norms? How can you help yourself uphold these norms? How can you help others uphold them? What steps should the group take when norms are violated? What will repair look like?

Created by

Sarah Ropp, Ph.D.,

with contributions from Stephanie Acquaye, 2025

The Art of the Dialogue Question Set

BASIC PRINCIPLES FOR FRAMING + SEQUENCING

WHAT IT IS

The series of questions or prompts that wil support the main body of your dialogue process, whatever the format or mode.

HOW TO DO IT

WHY WE DO IT

Questions and prompts guide the focus + depth + complexity + quality of the dialogue’s content. How they are framed + sequenced makes ALL the difference!

Consider your purpose + objectives. What are you hoping participants will think, know, feel or do during or as a result of this dialogue? What do they need to do in order to get there? Think of each prompt as one step guiding participants to the next step towards your ultimate purpose. Don’t try to get from A-Z in one question!

Consider your dialogue parameters. How many participants? How much time do you have? (Not counting the opening check-in, framing/norms, or final reflection and synthesis.) 3-6 questions is generally a good number. Craft + sequence questions in light of your purpose + parameters, using the guidelines on this page and page 2.

Set priorities. Which questions are absolutely essential to address? Which are “flex” questions that can be dropped or adapted in response to the dialogue as it is emerging and taking shape? Be prepared to adapt + add.

AN EFFECTIVE DIALOGUE QUESTION SET. . . PROMOTES

Curious, humble, self-reflective DIALOGUE NOT NOT Competitive, arrogant, critique-oriented DEBATE

Localized, text-based and/or personal reflections and questions on the topic

INCORPORATES

Depersonalized generalizations, sweeping claims, and broad judgments related to the topic

Participants’ identities, interests, and goals WITHOUT WITHOUT Forcing people to speak for their communities or reveal identities or experiences they aren’t ready to

Facilitator’s desired focus for the session

Coercing participants towards particular answers + viewpoints

BUILDS LOGICALLY

LESS high-stakes + vulnerable (acknowledging different comfort levels) TO MORE high-stakes + vulnerable (building trust and community as the dialogue progresses)

Foundational UNDERSTANDING (comprehend, define, identify...) LOCAL (text, self, classroom, campus)

Complex MEANING-MAKING (analyze, evaluate, synthesize, create...) GLOBAL (community, state, nation, world) TO TO

Created by Sarah Ropp, Ph.D., 2022

The Art of the Dialogue Question Set

STRATEGIES FOR ACHIEVING

BASIC PRINCIPLES

TO ACHIEVE TRY THIS

Dialogue, not debate

Localized, text-based, personal reflection

Foundational understanding that builds to complex meaning-making

Less to more vulnerable sharing + risk-taking

Local to global reflection

Content tailored to participants (without targeting)

Facilitator’s goals (without coercion)

Avoid questions that promote binary or absolutist ways of thinking (e.g. “Do you think X or Y?” “What’s the best/worst…?”). Instead: “What do you think about X? Why? How did you get there?”

Avoid “Do you agree/disagree” and “Should…?” question stems. Instead: “Under what circumstances would X be true/not true?” (from Try to Love the Questions by Lara Schwartz)

Encourage participants to speak from a position of not-knowing rather than (only) authority (e.g. “What are you unsure about regarding X?” or “What do you wonder about X?”)

Encourage participants to reflect on + respond to others’ comments as much as share their own

Ask “What have you observed about X?” to emphasize personal perspective vs. essential(ized) truth

Direct questions to “you” as a pronoun instead of “we” or “one”

Ask “Who do you mean by ‘we’?” as a follow-up to generalizing comments

In text-based questions, ask “What stands out?” or “How do you understand X?” or “How do you think the author understands X?” rather than “What does X mean?” (+ ask for citation of the text!)

Refer to Bloom’s Taxonomy (https://www.apu.edu/files/blooms_taxonomy_action_verbs.pdf).

Take time to define key terms + concepts together, even if you believe they are/should be familiar

Start with questions that focus on defining, comprehension, identification, comparing/contrasting (more concrete, more “objective,” more problems-oriented)

Build to questions that ask for analysis, application, critique, recommendation, synthesis (more abstract, more judgment-based, more solutions-oriented)

Initiate dialogue with a “springboard” text or piece of media to respond to. Have participants discuss what happens to the people in the text first and then invite connections to their own lives.

Ask participants to reflect on schooling or community environments instead of family/home life

Ask participants to reflect on personal questions in writing, then make sharing in dialogue voluntary

Frame questions in a way that allows people to choose the level of personal disclosure they feel ready for, e.g. “Reflect on a time you experienced, witnessed, or became aware of X”

Ask participants to respond through this sequence of frameworks: text self classroom campus community city state regional national international (not trying to fit all of these contexts in a single conversation!)

Use what you know about participants’ interests to select texts and determine focus for questions

Avoid questions directed to specific individuals or social groups (e.g. “As a woman, when have you experienced sexual harassment?” Ask all: “When are you most aware of your gender expression?”)

Refer to your objectives while crafting prompts. Align questions to those action verbs clearly + explicitly (e.g. if the objective is “apply X theory,” frame question through theory: “How might a virtue ethicist view this issue?”)

Avoid leading questions that make your own position obvious. Instead: “How would you respond to someone who thought X?” or “Under what circumstances might you believe X?”

Created by Sarah Ropp, Ph.D., 2022

Reflection + Synthesis THE

ART OF THE DIALOGUE EXIT TICKET

WHAT IT IS

A short exercise following the main body of the dialogue, in which participants respond to a prompt designed to help them reflect on and make meaning of what they have experienced + observed

HOW TO DO IT

WHY WE DO IT

helps new insights coalesce + “stick” validates + concretizes deep listening recenters the self in the dialogue process provides care + closure following dialogue creates valuable feedback for facilitator(s)

Craft a prompt. It should be aligned with purpose + framed to yield meaningful, subjective, complex reflection about their experience (i.e., not a quiz, a yes/no survey series, or just a feedback form).

Determine format + mode. Oral, written, anonymous, non-anonymous, public, private, digital, analog, multi-stage, simple, etc....Think about what best serves your purpose + participants + prompt.

Give adequate time. Reflection + synthesis can take anywhere from 5 to 30 minutes in a 90-minute session, depending on topic + purpose, but should never be rushed. Close out the main dialogue with enough time. Consider transitioning to the exit ticket with a wellness exercise (e.g. breathing).

Process + respond. If you are collecting exit tickets, take time to review them. Note patterns, contradictions, surprises, etc. Reflect on connections between facilitation choices + people’s experiences. Let feedback inform future dialogues. Follow up with participants as appropriate.

EFFECTIVE EXIT TICKETS

PROMPTS

3-2-1. What are 3 new ideas you were exposed to, 2 questions or doubts that you have, and 1 aspect that troubled you?

Takeaways. What will you be thinking about, feeling, or doing as you move on?

Superlatives: What were the most moving, surprising, uncomfortable, frustrating, exciting, or challenging moments for you?

Resonance + Friction. What are some things from today that are resonating with you? What are some points of friction?

Embodied. Note what you are feeling + where/how it is registering in your body. What from the dialogue are you reacting to?

Unspoken Thoughts. What did you want to share or respond that you didn’t? Why not?

FORMATS + MODES

Journal. Provide notebooks or paper. Freewrite for X minutes re: prompt. Share out 1-2 thoughts, submit, or keep private.

Pair or small-group debrief. Turn + talk for X minutes re: prompt. Record + submit thoughts, share out to the whole group, or keep private.

Index cards. Respond to prompt + submit to facilitator, anonymously or not.

Bulletin board. Use sticky notes or an interactive presentation app to share responses publicly + anonymously.

Form fill-out. Digital survey (e.g. Qualtrix) or physical worksheet. For submission.

Check-out. Go around the group + orally share out responses one-by-one.

Created by Sarah Ropp, Ph.D.,

Getting Everyone to Talk

STRATEGIES FOR MORE DEMOCRATIC + INCLUSIVE DIALOGUE

KEY PRINCIPLES

COMMUNITY. Without a core feeling of security and trust in the others present, people will not speak up. This doesn’t mean everyone needs to agree with or even “like” each other, but they need to be in this together. Invest in building community throughout your time together.

SCAFFOLDING Participating once makes it easier to do so again. Start the session with a relatively low-stakes, simple question that everyone will respond to. Build to higher-level and/or more sensitive and vulnerable content.

EFFECTIVE FACILITATION PRACTICES

Additional guidance is linked where available!

BUILD COMMUNITY

NORMS. Establish community standards for interacting with one another that reflect the group’s shared values.

CHECK-INS + CHECK-OUTS Start & end sessions with low-stakes, universal sharing.

AFFIRMATIONS. Have participants recognize one another through shout-outs, sharing interesting comments others made, expressing gratitude, etc.

SET PARTICIPANTS UP FOR SUCCESS

SCRIPTS. Share dialogue scripts + strategies for participating more effectively and equitably.

QUESTIONS. Craft questions that are scaffolded, aligned to your purpose, and supportive of the dynamic you wish to create.

PREVIEW. Share the question set + agenda in advance, so people can prepare.

PRE-WORK. Have participants complete pre-work to prime their thinking (e.g. reading response; anticipation guide).

THINK TIME. Pose a question, then structure in 2 minutes of processing or journaling time before anyone may respond.

STRUCTURE. As a group establishes patterns of interaction, structures are like a set of training wheels to guide participants, helping to shape the desired dynamic. Once stabilized, try easing off, and if things start to get wobbly, reintroduce more structured approaches.

DIFFERENTIATION Change up discussion formats + modes both within and across sessions. This engages different personality and learning styles and prevents patterns of participation from ossifying into a dynamic that’s hard to change.

DIFFERENTIATE APPROACHES

FORMATS. Have participants respond to a single prompt in this sequence: independent reflection/journaling pair or small group conversation whole group discussion. Hold everyone accountable to thinking (dialogue with the self) even if not everyone speaks.

MODES. Play with written, visual & embodied modes of interaction, as well as digital & asynchronous modalities.

STRUCTURES. Try a Socratic seminar, a story circle, speed-dating, a gallery walk

PACING. Vary the length, depth, and quality that you require of responses.

USE DIALOGIC TECHNOLOGIES

MENTIMETER Interactive presentation software that allows for anonymous, public sharing. Generates graphic representations in real time.

PERUSALL Collaborative annotation app that allows for dialogue with + about a text ahead of an in-person session.

MURAL. Interactive digital canvas that allows participant to directly (re)organize their contributions to find patterns.

CURATE THE ENVIRONMENT

SEATING Arrange chairs in a circle. Have participants turn around to face one another if at immovable tables.

SENSORY Play ambient music during independent reflection and small-group dialogue. Spritz aromatherapy room spray. Use daylight or gentler lighting. Provide fidget toys, etc to channel nervous energy and help people focus. Bring snacks!

SHARE THE RESPONSIBILITY

PAUSE. Halfway through the session, say, “If you have already shared >1 time, push your chair back. Please sit back for the next little while to create space for others to speak.”

REFLECT. Have participants self-reflect on their patterns of participation and identify goals + an action plan for themselves. Notice and affirm their progress!

TRANSPARENCY. Share rationale for facilitation choices. Engage participants in identifying issues, seeking solutions, and assessing effectiveness.

Created by Sarah Ropp, Ph.D., 2022

Managing Dialogue

COMMON PROBLEM BEHAVIORS + WHAT TO DO IN THE MOMENT

GENERAL GUIDELINES

Modeling is the most powerful way to “manage.” Use folks’ names, express gratitude, share vulnerably, admit uncertainty, take accountability, listen deeply, etc. If you don’t do it, no one will!

When you see a behavior you like, name it and praise it: “This is what X looks like! Wonderful!”

Affirm the person, then address the behavior: “I know you didn’t mean to seem disrespectful, but....”

Have participants do the work: Refer back to group norms. Ask participants to pause and reflect on their own engagement patterns and the group dynamic. Have them chart a course to adjust!

COMMON ISSUES

DOMINATING THE CONVERSATION

WHAT IT IS: Consistently talking first; talking the most; setting the tone; redirecting questions and comments back to one’s own agenda; centering oneself

WHAT TO DO: “If you’ve already spoken more than twice today, please take the next 10 minutes to listen.”

“I hear you. I want to return to what Soand-so said, though.”

“Thanks! What do others think about this?”

DON’T: shame them: “We’ve heard enough from you today! Anyone else?”

SPEAKING IN GENERALIZATIONS

WHAT IT IS: Speaking about/for an entire group; stereotypes; assuming one’s experience is universal; invoking a vague “we” or “people” in analysis

WHAT TO DO: “Please speak just for yourself.”

“You keep saying ‘we.’ Who do you mean by that?”

“Does anyone else want to respond to that? Does this seem fair to you all?”

“What evidence do you have?”

DON’T: join in: “Actually, X group of people is more like...” “I think we all...”

RELUCTANCE TO ENGAGE

WHAT IT IS: Shyness; hyperpoliteness; unwillingness to share opinion/ experiences; resistance to disagreement; endless deflection of questions

WHAT TO DO: “Turn to the person next to you and share. Then report out.”

Depersonalize: “How do you imagine [theorist or public figure] would respond to this question?”

“Everyone respond in writing, anonymously.

DON’T: cajole or mock: “C’mon, I know you have something to say!! Nothing?!”

CONFLICT, TENSION, TRIGGERING

WHAT IT IS: Unspoken tension; people visibly upset; active or passive aggression; two people locked in a back-and-forth; offensive comments

WHAT TO DO: “Let’s take a break, then decide if we want to change topics or return to this conversation.”

“This is harmful/not helpful.”

“Pause. Journal everything you’re feeling and would like to say. Turn it in to me if you’d like to share it.”

DON’T: force anyone to stay or talk. Instead: check in 1:1 later via email. Invite (but don’t force) a follow-up chat.

DEBATE, NOT DIALOGUE

WHAT IT IS: Competitiveness; consciously or unconsciously angling to assert one’s own experiences, identities, and ideas as superior to others’

WHAT TO DO: “This seems important to you. What are you feeling right now? What’s at stake for you here?”

“Remember, this is not about winning an argument.”

“Does this feel like debate or dialogue to you all? Why?

DON’T: feed the fire: “Well, So-and-so is right! But let’s get back to dialogue.”

WHEN YOU’RE THE PROBLEM

WHAT IT IS: The facilitator talks too much, feels too shy to intervene in conflicts, makes generalizations, argues, or gets triggered/upset/angry

WHAT TO DO: “I just made a problematic assumption/got defensive/talked over you/etc. I’m sorry.”

“I need a minute.”

[after] “You got piled on today. I regret not addressing it. What do you wish I’d done or said?”

DON’T: pretend like nothing happened or dismiss concerns; be defensive

Created by Sarah Ropp, Ph.D., 2023

Making Space for Emotion

PART I: WELCOMING THE WHOLE PERSON INTO DIALOGUE

PRINCIPLES + PRACTICES

PREVIEW THE CONTENT

Content Advisories: Let people know what’s coming, not only in terms of the content and materials, but also questions and activities that you will use to engage the texts and topics.

Helpful: a broad, one-time statement (e.g. in syllabus) that hints at “difficult topics” or “potentially upsetting texts”

More helpful: A general statement + basic advisories ahead of content you estimate will be particularly challenging, e.g.

“Be aware: This text contains references to X”

Even more helpful: A general statement + more detailed advisories specifying excerpts participants can opt to avoid + previews of how the material will be addressed in dialogue

Most helpful: A general statement + detailed, specific previews of the content of every session’s texts and discussion questions.

Allow for processing before dialogue takes place, e.g. ask participants to submit a journal reflection or annotations w/ their responses to a difficult text ahead of the session.

ALLOW A RANGE OF OPTING OUT

Honor a spectrum of self-protection rather than enforce a binary of either full participation or complete refusal. Choose what degree(s) of opting out you will allow given your purpose and objectives + what (if any) penalties will exist. Some optingout options:

Fully opt out: decline to engage with the text and/or participate at all in the conversation

Avoid a portion of the text and/or discussion

Engage with an alternate text (it helps to have one in mind)

Participate in alternative ways (e.g. submit a written reflection ahead of/during the session vs. engage in oral dialogue)

CRAFT NORMS TO HONOR EMOTION

Make respect for diverse and emotional reactions a core value (not just diverse ideas). Reflect that value in norms. Some examples:

“Affirm vulnerability”

“Make emotions part of the conversation”

“Maintain confidentiality”

“Validate others’ emotions even if you don’t understand them”

FOSTER RELATIONSHIPS OF CARE

NORMALIZE EMOTION

Assume that someone has personal experience related to each topic. Plan with that person in mind. Don’t assume any topic is inherently “low-stakes” or that this population of participants has surely been untouched by it. Even if no one has trauma related to the topic, everyone will benefit from the increased sensitivity and care.

Let participants see your own emotional responses, both implicitly (e.g. tearing up) and explicitly (e.g. “I’m angry”). Don’t laugh it off, minimize it, apologize for it, or strive hard to avoid even having an emotional reaction. This is hard and takes cultivated stamina for vulnerability. It’s also okay for participants to see you wrestle with that discomfort.

CULTIVATE EMOTIONAL LITERACY

Build in self-reflection to help participants identify their triggers + sore spots, their typical response patterns, and ideas/plans for how to cope.

Use mindfulness exercises to help participants connect to what they are feeling in the moment + help them regulate emotion & ground themselves before, during, after dialogue.

Equip participants with scripts to draw on when they are overcome. Emphasize that they don’t need to justify or even identify their reactions in order for emotions to be recognized + accommodated. Examples:

“I need a minute.”

“I’m feeling emotional so this may come out jumbled, but it’s important to me to express.”

“This is personal for me.”

Encourage peer-to-peer support within + beyond the dialogue session Have participants “turn and talk” to a neighbor about their emotional reactions. Coach them in affirming + supporting one another. Suggest or require that participants meet each other for coffee or go for a walk after the session to process together.

Express care as a facilitator within + beyond the dialogue session. Use people’s names. Express interest in people’s lives + joy in their presence. Notice when they’re down. Share support resources. Host community office hours or a special outing. Create a group playlist. Bring snacks. (etc)

Created by Sarah Ropp, Ph.D., with contributions from the SNF

Making Space for Emotion

PART II: RESPONDING TO EMOTION IN THE MOMENT

WHAT EMOTION MIGHT LOOK LIKE (GRIEF, ANGER, EXCITEMENT, PASSION, DISTRESS, FEAR, ETC)

Facial changes: tears, widened or narrowed eyes, furrowed brow, wide smile

Nervous or excessive laughter

Shaking or cracking voice; talking much softer, more slowly, or more hesitantly than previously

Vocalizations: throat clearing, audible breathing, sighing, snorts, “huh,” “ha,” “mm,” “wow,” etc

Talking much louder or faster than previously

Trembling, shaking head, or intensified stimming (ripping up paper, cracking knuckles, jiggling foot, etc)

Tension or freezing: holding body rigidly still, visibly clenching jaw or fists, appearing speechless, etc

Shrinking: drawing body in/curling up, bowing head, crossing arms, etc

Tuning out: going silent, looking away or down, putting head down, etc

Different than you expect (e.g. a wide smile may indicate fear or anger, not joy); undetectable; invisible

Note: Pay attention to what is novel or intensified about folks’ body language. Stimming, speaking animatedly or softly, vocal tics like throat-clearing, etc may just be a normal part of a person’s physical presence and don’t necessarily indicate high emotionality. A discernible shift in behavior might.

ACKNOWLEDGE + VALIDATE

When one or more individuals displays overt emotion, unless they are a clear danger to themself or others in that moment, don’t panic (“Oh my gosh! Are you okay?! Do you need a tissue?!”). Even if your intention is to provide care, having a big reaction reinforces the idea that it is not normal or really acceptable to display emotion (and that emotion needs to be dealt with/made to go away ASAP).

At the same time: don’t freeze, ignore it, change the topic, or send the person(s) out of the room This may seem like the “courteous” and desired thing to do, but reflexively doing so communicates to the entire group that there is something wrong, scary, or inappropriate about reacting emotionally.

Instead: keep steady Take a few deep breaths if you need to. Maintain eye contact. Resist the urge to avert your gaze or to let it dart furtively over to the upset person(s). Keep your volume & tone regular.

Acknowledge what is happening without naming people’s reactions for them: “I can see that this is generating some emotion.” (NOT “I can see you’re upset/angry/triggered/passionate about this.”)

Validate it: “That’s understandable.” “That’s okay.” “This is a natural part of this work.” “That’s logical.”

FOLLOW UP

If it’s just one or two people: Provide options “If you, or anyone else, needs to go for a walk, or just sit back from participating for a few minutes, please feel free. If you, or anyone else, wants to share anything about what you’re feeling right now, we are here to listen, but you do not have to.”

Pause and let them decide. Make sure you open up the options to everyone (not just those visibly affected).

If a number of people are perceptibly strongly affected, and/or there is heated conflict between a few participants happening: Make an executive decision Take a collective break, during which people can leave the room. Pause and journal for a few minutes. After private reflection, invite, but do not mandate, sharing. Sharing can be oral/public, written, anonymous, submitted only to the facilitator, etc. Decide if moving on from the question at hand or a deeper dive is warranted

Write a note after the session has ended, either to the affected person(s) or the whole group. Acknowledge and validate the emotion that arose once again.

Express care in whatever way you are willing to provide it: state your availability to continue the conversation, share a support resource, ask for feedback on how you handled the situation or request input on the next session, etc.

Created by Sarah Ropp, Ph.D.,

Trauma-Informed Facilitation

CREATING A SAFER SPACE FOR DIALOGUE

WHAT IS TRAUMA?

Trauma is a complex and contested term. But, in general, “trauma” describes the lingering aftereffects of a psychic wound, compromising a person's fundamental sense of safety. Many people struggle to feel truly safe and secure, both in their own bodies and around other people. This basic sense of bodily integrity and trust in other people is not the same thing as the "comfort" of one's ideas remaining unchallenged.

WHY IS A SAFER SPACE SO IMPORTANT?

"More than anything else, being able to feel safe with other people defines mental health; safe connections are fundamental to meaningful and satisfying lives. The critical challenge in a classroom setting is to foster reciprocity: truly hearing and being heard; really seeing and being seen by other people." (Bessel van der Kolk, The Body Keeps the Score.) While we cannot guarantee absolute safety (a risk-free environment), we can strive to create a relatively safer space for dialogue through trauma-informed facilitation practices. It is impossible to know from what someone looks or behaves like what they have been through or are going through. Don't wait until there's "evidence" of trauma to employ trauma-informed practices! These practices are beneficial to all and will improve the dialogue even if no one present has experienced trauma.

PRACTICES THAT CREATE A SAFER SPACE

BE PREDICTABLE

Let people know what’s going to happen: Share the agenda. Preview activities. Provide content warnings.

Establish clear expectations: What kinds of interaction and performance will be required of people versus optional? What are the norms of engagement and behavior? What work will people be required to share? When? With whom? When, how, and why will people be surveilled or assessed?

BE loving

Express trust: Assume without waiting for some kind of “evidence” that people are trying their best, telling the truth, and working hard to be good people.

Express acceptance: Let people know you are glad they are there and interested in who they are, without waiting for them to first meet a performance standard.

Affirm the person and their belonging, even as you challenge their behavior and ideas.

BE STEADY

Stay calm: Maintain an even temper and avoid major reactions. Take a break or some deep breaths if you can’t trust yourself to respond calmly.

Follow through: Do what you say you will do, no matter how minor, and acknowledge when you don’t.

Maintain consistency: If you need to adjust expectations, give warning and an explanation.

EMBODY PREDICTABILITY, STEADINESS, + LOVE

Modulate your voice to be even, not too loud, and pleasant -- if you can't, pause and wait to speak.

Smile and make eye contact.

Do not “hover” or loom over people who are seated or significantly smaller than you. Back up and/or kneel down.

Do not make sudden movements, wide gestures, or loud noises, especially in close proximity.

Created by Sarah Ropp, Ph.D., 2025

Shame-Sensitive Dialogue STRATEGIES FOR LIBERATING SPEECH

WHAT IS SHAME?

Shame is a ‘self-conscious’ emotion: the feeling of being seen and negatively judged for some action, behavior, or element of self by a real or imagined other. Shame is a part of human social life and can be a meaningful moral or interpersonal compass. However, shame can be all-encompassing and turn one’s total attention to the ‘wrongness’ of the self.

HOW DOES SHAME AFFECT DIALOGUE?

Participants might self-silence to avoid potential shame if they have controversial ideas

“Cancelling” (deeming a person as useless/unacceptable/stigmatized) is a form of social shaming

Reflecting on feelings of shame might lead participants to approach discussions differently or to apologize to a fellow dialogue participant

Some knowledge or ideas can themselves become shameful and taboo

EFFECTIVE PRACTICES FOR FACILITATORS

WORK WITH COGNATE TERMS...

RESPOND TO SHAME BY...

This might include:

A norm to refrain from shaming and blaming each other

A norm that it is acceptable and welcome to reflect on shame in speech

A norm that discourages ‘calling out’ (accusing others of ill intent/ wrongdoing) and encourages ‘calling in’ (asking others to clarify or reflect on their comments and their impact)

A norm that students should try to work through differences of opinion with kindness and respect (e.g. focus on debating ideas or concepts, not individuals or identities)

...like ‘guilt,’ ‘humiliation’ and ‘embarrassment’ to think about the impacts of self-conscious emotions and to open a deeper conversation about shame

MODEL...

shame sensitivity and shame resilience by e.g. practicing appropriate disclosure of your own failures or struggles

RECOGNIZE...

...that context and content matters and that there is not a ‘one size fits all’ response to shame, or to knowing what individuals will find shameful

Acknowledging that shame exists, broadly and in specific contexts

Avoiding specific shaming practices in the classroom (e.g. public punishments)

Addressing both root causes and immediate instances of shame

Providing low-stakes opportunities to practice dialogue and to explore failure without risk of ostracization (e.g. simulations, practice perspective taking)

Asking participants to think/talk about ‘who’s in the room’ (or might be) to reduce accidental shaming of less common experiences

When Emotions Run High

ADDRESSING WHAT’S HAPPENING BEYOND THE CLASSROOM OR OFFICE

KEY PRINCIPLES

ACKNOWLEDGE IT. . .

Whether you only mention it briefly or dedicate an entire meeting (or more) to exploring it, it is important to acknowledge what you know or sense is happening. This is in itself an expression of care and respect.

. . .BUT DON’T FORCE IT.

Don’t make assumptions about how people are feeling or what they need. Don’t force a conversation. Create direct opportunities to process (allowing folks to opt out), or simply acknowledge what has occurred + then support people indirectly by fostering a general atmosphere of care.

EFFECTIVE PRACTICES

GREET WITH CARE

CONSULT THE MOST AFFECTED. . .

If you know that one or more participants is (very likely to be) personally affected by what is going on, let them know beforehand what you have in mind and ask for their feedback + preferences (as well as give them the chance to opt out).

.BUT DO NOT BURDEN THEM.

It is not the responsibility of personally impacted participants to educate others, to share their testimony, or to help the facilitator plan the session (unless they express desire to do so).

Additional guidance is linked where available

Consider that your gathering space has the potential to be a refuge. Take special care to ensure a safe passage: Greet people warmly + by name as they come in. Have music playing. Bring snacks Spritz aromatherapy spray. Soften the lighting. (etc) Signal the transition into a “temporary alternative world” defined by care (Priya Parker, The Art of Gathering).

ACKNOWLEDGE DIRECTLY

Name what you know is going on, in simple, factual, specific terms: “There is a lot of unrest on campus relate to X conflict in Y place.” “Last night, X happened. Many are upset, grieving, or confused.” “As we speak, X is unfolding.” (etc)

Name what you sense is going on, framing it as observation without judgment: “I sense a lot of tension in the room today.” “I am observing a lot of distraction.” “You all seem tired. Is that fair to say?” (etc)

ALLEVIATE TENSION + STRESS

Mindfulness Do a body scan, a breathing exercise, a lovingkindness meditation, etc. Find many exercises on ggia.berkeley.edu/

Play. Set out modeling clay, coloring pages, puzzles, etc. Or invite everyone to tell a corny joke or share a meme. Let people feel a bit silly.

Go outside. Take a walk or sit outside together in silence. Invite sensory observations: what do we see, hear, smell?

PROCESSING STRUCTURES

Journal/freewrite/make lists.

Draw/build/make a comic/ create a visual representation.

Turn and talk to a partner.

Story Circle (see nphm.org/story-circle-toolkit)

My News (see guide from SNF Paideia)

Collective Freewriting (see guide from SNF Paideia)

PROCESSING PROMPTS

Name what you are thinking, feeling, observing, and/or experiencing right now.

What are some opportunities you see to give care right now?

What is a work of art, piece of music, or a text that really speaks to how you are feeling?

What conversations are nourishing you right now? What are conversations you’re having that are not helpful?

MOVE FORWARD

Whatever time and depth you have allowed to acknowledge + process, signal the transition to what is next. Set a boundary where necessary + note any relevant external resources or ongoing internal support you are willing to provide, e.g. “While we won’t be exploring this (anymore) here, X, Y, and Z are available.” Express thanks for people’s presence + sincere good wishes for their well-being.

Created by Sarah Ropp, Ph.D., with contributions from Lia Howard, Ian MacMullen, Leah Anderson, and Sigal Ben-Porath. 2023

My News

A DIALOGUE ACTIVITY FOR PROCESSING CURRENT EVENTS

WHAT IT IS WHY WE DO IT

My News is a multi-step activity from social comprehension educator Sara K. Ahmed, designed to help participants identify their reactions to current events; understand the relationship between their reactions + their identities & experiences; and craft a personalized plan to respond

HOW TO DO IT

Meaningfully addresses the burdens that people are carrying with them into a space, without assuming/prescribing what they are

Allows for holistic (emotional, cognitive, social relational) processing in community

Relieves helplessness + provides care in moments of collective high stress

You could do this anytime, but it’s especially valuable when there has been a major event that you know many are affected by. (Or when you sense pervasive tension but aren’t sure of the source.)

Be clear about what it is not (i.e. not an invitation to debate; not an obligatory exercise in intense public vulnerability where people will be coerced into a lot of intimate sharing).

Allow people to opt out in full or in part. Do not require this activity or attach it to a grade.

Think about your own responses in advance. Model at each stage.

Begin and/or end the activity with a wellness exercise (e.g. 1 minute of triangle breathing).

STEP 1: LIST YOUR NEWS + IDENTIFY YOUR FEELINGS

Divide a piece of paper into 4 quadrants. (Fold in half lengthwise and in half again widthwise.)

In quadrant 1, list out all the items on your personal news feed: any events, topics, or pieces of information on your mind that you are likely to carry with you all day. These can be major or minor, personal or political, positive or negative: a fight with a friend, an upcoming party, a natural disaster, a house fire, war abroad, election results, a favorite artist’s album release, etc. It’s okay if there’s a big mix.

In quadrant 2, record your reactions to your news: feelings, thoughts, questions, opinions, fears, etc.

DIALOGUE: Share 1-2 of your news items + reactions. Listen to others. No response allowed except thanks.

STEP 2: REFLECT ON YOUR REACTIONS

In quadrant 3, journal for 2-3 minutes: How are your reactions linked to experiences you’ve had and/or identities you hold?

DIALOGUE: Share any insights that this reflection yielded for you. You can speak in broad and abstract terms (without naming your identities or experiences) or more directly.

STEP 3: DETERMINE HOW TO RESPOND

In quadrant 4, journal for 2-3 minutes: What do you think you need or might help you? This could be: further inquiry + research into the issue or event; mobilizing to help in some way (e.g. a donation or direct action); or seeking help, care, or comfort in some specified way (e.g. journal, meditate, talk with a friend; go to therapy)

DIALOGUE: Share one thing you plan to do in response to how you’re feeling about your news. Finally, reflect and share about this activity: how did it feel? How did it help, or not?

adapted from Being the Change: Lessons and Strategies to Teach Social Comprehension by Sara K. Ahkmed (2018) by Sarah Ropp, Ph.D.,

Collective Freewriting

A DIALOGUE ACTIVITY FOR PROCESSING CURRENT EVENTS

WHAT IT IS WHY WE DO IT

Collective Freewriting is an activity from sociologist Dr. Gloria González-López designed to help participants identify and express their ideas and emotions in response to major collective events, then synthesize those thoughts into a representative community statement.

HOW TO DO IT

Honors individual responses + creates belonging despite conflicts or differences

Anonymous-but-public statement integrates all voices + validates a range of responses without demanding excessive vulnerability

Low-stakes, unscary creative expression provides psychic relief + aesthetic pleasure

Do this activity right before or after a big event: class, campus, community, or (inter)national.

Be clear about what it is not (i.e. not an invitation to debate; not an obligatory exercise in intense public vulnerability where people will be coerced into a lot of intimate sharing).

Allow people to opt out in full or in part. Do not require this activity or attach it to a grade.

Think about your own responses in advance. Model at each stage.

Begin and/or end the activity with a wellness exercise (e.g. 1 minute of triangle breathing).

PART 1: FREEWRITE THOUGHTS AND FEELINGS

Open a digital file (e.g. Google docs)

For a designated amount of time (e.g. 3 min; 5 min; 10 min), freewrite in response to a prompt.

“Freewriting” means unstructured, free-flowing stream of consciousness: don’t worry about punctuation, spelling, or format.

Prompt can be targeted (“How are you feeling about yesterday’s election results?”) or more indirect (“What anxieties are you carrying? How do they manifest in your body?”).

PART 3: REFLECT ON YOUR REACTIONS

PART 2: CREATE A PUBLIC STATEMENT

Submit your freewrite to a central repository (e.g. email to the facilitator or copy-paste to a communal document). You can submit in whole or in part, anonymously or not.

Select 1-2 lines from each participant’s freewrite and organize them into a paragraph or poem. A facilitator or assistant can choose lines, or participants can each submit the lines they wish to include. The facilitator should order them (randomly or purposefully).

Frame the statement as a collection of voices + perspectives: not the unified, singular voice of the group but rather a pluralistic representation of the group’s complexity. Emphasize that it is okay if there is no discernible coherence or consonance, but encourage them to find points of resonance with and between the language chosen as well as the ideas and feelings expressed.

Read the collective statement/poem out loud.

Discuss: How did this process feel? What was challenging and what was rewarding about it? What are your responses to our statement/poem? What are lines that you find particularly beautiful, intriguing, or resonant (even if you don’t fully understand what they mean)? What opportunities for care (for others or yourself) or other forms of action do these lines inspire you to consider?

Ph.D., 2023

gratitude to Dr. Gloria González-López, University of Texas at Austin. Created by Sarah Ropp,

Getting Ready to Dialogue A

PRIMER FOR PARTICIPATING

SELF REFLECTION- WHAT APPLIES TO YOU?

Read each one. Amend as needed. No one will see your responses.

☐ I have minority or unpopular beliefs or opinions and fear others’ judgment and misunderstanding.

☐ I hold one or more marginalized identities (I’m a woman; a person of color; LGBTQIA+; disabled; working class or poor; a Jew, Muslim, atheist, or other religious minority; etc) and worry I will be misunderstood, ignored, belittled, or otherwise harmed because of that identity or identities.

☐ I hold one or more privileged identities (I’m a man; White; cishetero; non-disabled; middle-class and above; Christian; etc) and worry people will hate me, blame me, or disregard anything I have to say because of that privilege.

☐ I’m afraid of saying something ignorant or insensitive by accident.

☐ I was homeschooled or educated in an unusual way and I’m worried that I don’t know the “rules” for classroom discussion.

☐ I’m from a place (inside or outside of the U.S.) that people have major preconceived notions about and I fear that who I am will be reduced to where I’m from.

☐ I tend to get passionate/emotional and I don’t want to embarrass myself, alienate others, or be judged when I have a big reaction.

☐ I have experienced trauma (in any form) and worry that my trauma will be activated by what happens in class.

WHERE DO YOU THINK THESE ANXIETIES COME FROM?

GENERAL STRATEGIES

☐ I struggle to articulate my thoughts under pressure and tend to ramble, stumble over my words, or trail off.

☐ I can’t hide my reactions when people say stuff I think is ignorant or wrong. I’m afraid I’ll come across as arrogant or rude.

☐ I communicate in a way that can be hard for others to understand (I’m neurodivergent, a non-native English speaker, or from a very different culture) and/or I have trouble understanding some communication styles (or I’m worried I might).

☐ It can take me a long time to gather my thoughts, and I’m worried I won’t be able to keep up with the pace of the conversation and people will judge me.

☐ I think I talk too much / I talk for too long / I overshare.

☐ I get really nervous to speak up and it takes me a long time to feel comfortable in a group setting.

☐ I’m worried about being academically underprepared (“Everyone else seems to know about this already”), intellectually inferior (“They all sound so smart”), or experientially naïve (“Everyone else is so worldly and welltraveled and has been exposed to so much more diversity than I have”).

☐ Other (try to put it into words)

Jot down some thoughts here.

See other side for situation specific scripts!

TAKING SPACE (FOR YOURSELF)

Jot down notes on what you plan to say before raising your hand.

Let the facilitator or teacher know that speaking up can be challenging for you. Ask if they’d be willing to let you know ahead of time when they will be calling on you. Or ask them to make sure to call on you, if you know you won’t raise your hand.

Set a goal for yourself, e.g. “I’m going to ask at least one question and make one comment today in class.” Reward yourself for doing it!

Take deep, centering breaths. Say an affirmation to yourself (e.g. “I deserve to be here”). Then speak up.

Remember that others feel the same way you do, and you can help them feel braver by modeling courage.

MAKING SPACE (FOR OTHERS)

Put three scraps of paper in front of you on the desk. These are your tickets to speak, and when they’re up, they’re up.

Practice just listening without preparing any response. If you have trouble focusing under these conditions, try drawing or manipulating something with your hands so you can listen.

Redirect your urge to participate into observation and reflection. What patterns do you notice about who speaks up first and talks most? Whose voices are not being heard?

Resist the urge to fill silence. Take deep breaths. Let it be. Ask questions as much as or more than you make comments. Remember that others struggle with the same, and you can help them by modeling self-awareness and self-control.

Scripts for Dialogue

OPTIONS FOR RESPONDING IN COMMON SITUATIONS

Use “I” Statements. Speak

for yourself + from your own perspective.

DISAGREEING

“I respect that, but I feel somewhat differently.”

“From my perspective, things look different.”

“While I agree with X, I don’t think Y is the most accurate conclusion/best point of focus/relevant aspect/etc.”

“I think I have different priorities, which are…”

“How do you think someone else might see this differently?”

Acknowledge multiple perspectives/priorities as valid.

SEEKING CLARIFICATION

“Can you give an example?”

“Can you explain your reasoning a little more?”

“You’re saying X, is that right? Or did I miss something?”

“How did you get to that idea? Where are you pulling your evidence from?”

Show interest, not interrogation.

TAKING ACCOUNTABILITY

“I’m sorry, I made a problematic assumption/comment/joke.”

“Thank you for calling my attention to that/explaining that.”

“I regret not thinking about how that would sound.”

“I am confused, but I believe you that it’s hurtful, and I won’t do it again.”

Acknowledge impact. Resist defensiveness.

EXPRESSING OPENNESS

“I’m not sure yet exactly how I feel about this. I wonder if…”

“I would love the class’s feedback.”

“I interpreted/read it as…I’m seeing it through a lens of…”

“I am open to other ideas.”

“I’d like to hear more perspectives before I draw any conclusion.”

Be curious. Don’t assert your truth as the only or obvious one.

STICKING UP FOR YOURSELF

“Please let me finish.”

“I don’t deserve to be spoken to like that.”

“When you say X, it makes me feel Y.”

“You spoke for me. Let me speak for myself, please.”

“I don’t feel respected/welcome here.”

AFFIRMING OTHERS

“Thank you for sharing that.”

“I appreciate your openness/courage.”

“I hear you.”

“I acknowledge the labor you’re doing.”

It’s recognition, not agreement.

DRAWING OTHERS IN

“Did anyone else notice...?”

“I am really interested in other perspec-tives on this.”

“I really like what So-and-so said. Can you share more about that?”

“What did you all think about X?”

CHALLENGING HARM

“Ouch.” “Yikes.” “No.”

“I think that is a harmful statement.”

“I need you to know that this is how I heard what you just said.”

“It sounds like you are saying X. Is that what you meant?”

“You might not know this, but that is a microaggression.”

“That sounds like a big assumption/a generalization. Can you try to speak just for yourself?”

“I don’t think that’s funny/okay. Why do you think that’s funny or okay to say?”

“I’m not sure why exactly, but what is happening just feels wrong. Does anyone else feel this?”

Name the issue, state the impact.

ASKING FOR UNDERSTANDING

“I need just a minute.”

“Sorry, I’m a bit nervous.”

“Please come back to me.”

“I’m feeling emotional so this will come out a little jumbled, but it’s important to me to get this out.”

“I tend to do X to help me focus; it doesn’t mean I’m not listening.”

“When I feel X, it comes out as Y.”

“Thanks for understanding/listening.”

Make feelings and communication challenges part of the conversation.

Prepared by Sarah Ropp, Ph.D., for the SNF Paideia Program at the University of Pennsylvania (2022). See http://snfpaideia.upenn.edu for more resources + information about our courses, fellowships, and events.

Why Speech?

REASONS WE CHOOSE TO TALK

INTRODUCTION

Read through some common motivations for speaking up (p. 1) and staying silent (p. 2). Put a next to any that feel true for you. Make notes in the margins to indicate the contexts or the specific incidents you associate with a certain motivation. Feel free to edit or add to what is here so that it is more accurate for you personally. What feelings does this reflection bring up for you? What new ideas or insights does it yield?

EXPRESSION + UNDERSTANDING

I'm driven to share my beliefs and experiences. I want to understand and be understood. Giving and receiving validation is important to me.

YIELDING TO PRESSURE

I feel coerced or trapped into speaking-it's for a class/grade, I'm the only one in my identity group present, or I've been directly called on or called out.

CURIOSITY + CRITICAL ANALYSIS

I want to interrogate how we all arrive at our ideas, mindsets, beliefs, and worldviews. I think best "out loud." I want to ask questions but also draw conclusions.

PERFORMANCE + PROVOCATION

I want to produce an emotional reaction or make people think. I want to make people laugh or feel shocked, sad, angry, ashamed, or driven to act.

WINNING

I want to be acknowledged as the most articulate, knowledgeable, experienced, or smart one in this conversation, even if the other one doesn't like or agree with me.

INTERVENTION

I feel compelled to critique or attempt to change someone's beliefs or behavior. I feel morally obligated to speak up on behalf of myself, someone else, or "what's right."

VIRTUE SIGNALING

I want to prove that I'm on the right side and thinking/acting in the right way for the approval of other participants, the facilitator, or an imagined spectator.

Created by Sarah Ropp, Ph.D., 2021

Why Silence?

REASONS WE CHOOSE NOT TO TALK

SUPPRESSION + EXCLUSION

Nobody asked me. They didn't ask me in a way that I am capable of responding.

I don't feel welcome here. My beliefs/opinions/experiences don't seem like they would be welcome here. It's pretty clear I am the only one like me in this conversation.

TRAUMA

I have past trauma that is being triggered by the materials and topic of this conversation, people's comments, or others' behavior.

I feel shocked or stunned into silence and unable to find words at the moment. I am actively experiencing violence in this moment.

REFLECTION + PROCESSING

I need more time to think.

I'm not sure how I feel about this yet. I'm still digesting what we were reading or discussing earlier.

I am organizing my thoughts and crafting what I want to say.

I'm taking notes, drawing, or meditating to focus on following the conversation.

VALUES, CULTURE, PERSONALITY, ABILITY

I believe that silence is valuable and important. I practice it deliberately. In my culture, we tend to speak less, respond slower, and listen/reflect more.

I am a still and quiet person by nature, and I don't talk much. It’s just who I am.

I'm nonverbal or have trouble producing speech in the way others in this space do.

PROTEST + RESISTANCE

I refuse to be a representative for everyone in my identity group. As someone from my identity group, I don't think I should rightfully have a voice in this conversation. I remain silent to make a point. The questions asked of me are tokenizing, objectifying, or condescending.

FEAR

I don't feel safe from violence or oppression in this space. I'm afraid of others' judgment.

I don't know the right words to use. I know what I want to say will be criticized or unpopular. Speaking in front of people I don't know well makes me very anxious.

LISTENING + OBSERVATION

I'm attuned to others' thoughts right now, not my own.

I'm deeply interested in the group dynamic unfolding in this conversation.

I'm intensely absorbed in what someone else is saying.

I have nothing that I want or feel compelled to add.

DISTRACTION, DISCOMFORT, DISENGAGEMENT

I'm thinking about other things I have going on right now.

I didn't prepare for this conversation. I'm not interested in this topic. This conversation feels too high level or too low level for me.

I slept poorly last night or my body doesn't feel comfortable right now.

Thinking About Harm TOWARDS A SHARED FOUNDATIONAL

U NDERSTANDING

INCIDENTS

MISTAKE

Error: “a wrong action or statement proceeding from faulty judgment, inadequate knowledge, or inattention” (Merriam-Webster)

MISUNDERSTANDING

“incorrectly interpreting or not understanding what is being communicated” (adrienne maree brown, We Will Not Cancel Us p. 30)

CONFLICT

“disagreement, difference, or argument between two or more people. Can be personal, political, structural. Conflicts can be direct and named, or indirect and felt.” (We Will Not Cancel Us p. 28)

WRONGDOING

“violation of an established right or protection” (Sigal Ben-Porath, Cancel Wars p. 67). The willful breaking of an agreed-upon norm.

ABUSE

“behaviors intended to gain, exert, and maintain power over another person or in a group” (We Will Not Cancel Us p. 27)

QUESTIONS TO THINK + TALK ABOUT

IMPACTS

DISCOMFORT

“mental or physical uneasiness” (Merriam-Webster) “You aren’t quite in pain, but you don’t feel very good. Discomfort can also describe embarrassment” (vocabulary.com)

OFFENSE

”upset and hurt or annoyed feelings” as a result of (perceived) rudeness, disrespect, or lack of regard for one’s feelings or identity (Cambridge English Dictionary)

PAIN

”a distressing feeling often caused by intense or damaging stimuli” (Wikipedia). “Pain is often localized, felt intensely, and sometimes suddenly. Discomfort can feel like a general challenge.” (nfpt.com)

HARM

Injury, damage, wound. “Harm is what needs healing” (We Will Not Cancel Us p. 28).

TRAUMA

A wound that changes perception + behavior. “A lasting rupture or split within the self” (Gabor Maté, The Myth of Normal p. 20). Not the incident, but its impact over time.

What is the difference between: mistake + wrongdoing; conflict + abuse; pain + harm; and harm + trauma? Why do these differences matter? Why is it important to be precise in labeling the nature of the incident, not just the impact? What categories of incident and impact are missing from the lists above?

Note that there is not always a predictable relationship between incident and impact. For example, a mistake may cause harm or trauma, while serious wrongdoing might cause mere discomfort. The same conflict or act of abuse often has different impacts for different people. Why is this? (Use examples, if you can, to think through and explain this.)

Looking at each of the incidents: which of these can and/or should be avoided if possible? What are ways you can think of to try to decrease the likelihood of those incidents you believe should be avoided—both as an individual person and as a community in dialogue with one another?

Looking at each of the impacts: which of these do you believe can or should be avoided if possible? Under what circumstances may some of them have value? What are ways you think you should respond—both individually and as a community in dialogue with one another—to each of these impacts when they occur?

With thanks to adrienne maree brown, Sigal-Ben-Porath, Gabor Maté, and the SNF Paideia Fall 2023 reading group. Created by Sarah Ropp, Ph.D., 2023

Beyond Understanding OTHER WAYS TO PRACTICE LISTENING

WHAT’S WRONG WITH “UNDERSTANDING”?

OME

“Understanding” denotes “mental grasp.” Comprehend comes from the Latin comprehendere: to seize, literally to take together. Understanding is a logical and worthwhile goal for any dialogue based on the exchange of ideas. Consider, however, that in the moment of receiving testimony or personal narrative, centering “understanding” as the only or highest goal privileges an analytical, cognitive form of meaning-making that risks veering into colonialist possession, based on an arrogant presumption that what the other shares of themself and their life can be grasped, seized, taken, and made sense of by us. We often make comprehension the necessary precondition for compassion, trust, and belonging: in order to extend full humanity to the other, we think we must first understand or make sense of their culture, their experiences, their forms of expression, or their choices. We often use the quest for understanding as a way to avoid deeper emotional engagement with a person and the painful or bewildering story they (re)present, finding consolation in intellectualization and reducing human complexity to a cause-and-effect sequence or a data set to be analyzed. On the flip side, we may, striving for humility, use the awareness of our inability to understand as the pretext for abandoning any effort to receive the other’s story at all: we couldn’t possibly understand, so we won’t even try to listen. What are other ways we can think about and practice receiving another’s story that prioritize connection, compassion, and recognition of humanity over the need to understand?

A FEW OTHER POSSIBILITIES:

IMAGINE

To form a holistic concept of what someone is sharing, calling on all of the senses to attempt to live into their story and experience it as they describe it, without claiming full knowledge or understanding.

WITNESS

To be deeply, fully present for someone’s moment of disclosure or discovery, especially of pain. This is the most simple (not easy) act of accompaniment: only presence, attunement, and attention are required.

RESONATE

To seek or discover points of resonance between the other’s story and my own, recognizing that even a powerful sense of affinity is partial, not comprising comprehensive understanding or identification.

QUESTIONS TO THINK + TALK ABOUT

BELIEVE

To accept and affirm what someone is sharing as true, valid, and real, without demanding a further burden of proof, even (especially) when what they share is unimaginable or incomprehensible.

FEEL

To fully experience (without claiming empathy) any emotional and physical sensations that arise while receiving someone’s story, resisting dissociation and numbness and exercising full affective range.

REMEMBER

To remain deliberately mindful of the cultural and ancestral history in which someone’s individual story is embedded, especially against dominant efforts to erase, revise, or forget this history.

When have you experienced (or consciously practiced) any of these alternatives to understanding? In what contexts? What was the effect? What were the challenges? Which resonate particularly with you that you would like to practice?

What other ways of listening and receiving can you think of to add to the list above?

Created by Sarah Ropp, Ph.D., with thanks to Comfort Sampong and the Spring 2025 SNF Paideia reading group, 2025

Metaphors Not to Live By A

NEW LANGUAGE FOR DIALOGUE

WHAT DOES IT MEAN TO LIVE BY METAPHORS?

“Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature. The concepts that govern our thought are not just matters of the intellect. They also govern our everyday functioning, down to the most mundane details. Our concepts structure what we perceive, how we get around in the world, and how we relate to other people. Our conceptual system thus plays a central role in defining our everyday realities.” - George Lakoff and Mark Johnson, Metaphors We Live By (1980)

TWO DEEPLY INGRAINED + UBIQUITOUS CONCEPTUAL SYSTEMS IN CONTEMPORARY ENGLISH

WAR + DOMINATION

LEARNING + SUCCESS

master a concept or skill think tank dominate; killing it, crushing it, slay ftw (for the win)! winning!

DISCOURSE + CONFLICT

strategy for an argument; defend your claim gain ground/lose ground; stand your ground take a shot; fire away; stick to your guns right on target; hit the mark; on point backlash; clapback; attack; defend a battleground state/issue culture wars; clash of the titans

PROCESS OF SOCIAL CHANGE + PROGRESS in the trenches; on the front lines; in the fight caught in the crossfire; a movement under fire social justice warrior; soldier for the cause launch an initiative; make an impact

QUESTIONS TO THINK + TALK ABOUT

MARKETPLACE

TIME + EFFORT

spend time; waste time pay attention invest work, time, effort what’s the payoff?; return on investment

PEOPLE + RELATIONSHIPS

market yourself; sell yourself my brand; that’s on-brand for them that person is trash/garbage/worthless/useless high-value man/woman/person mutual benefit; equally invested sunken costs; costs incurred; net loss

IDEAS

give my two cents package your ideas no one will buy that idea/concept/argument marketplace of ideas running out of ideas; generate/produce ideas

What is your reaction to the examples given above? What do they make you think, feel, or wonder?

How have you noticed yourself and others thinking, speaking, experiencing the world, and interacting with others through these frameworks (war + domination and/or marketplace)? What is the effect on dialogue and relationships?

When have you made a conscious choice to change the language you use? What has been the effect for you?

What are alternative metaphors you can identify or imagine for the various concepts listed above? That is, how else might we choose to describe discourse, relationships, success, and ideas? Feel free to think about how these concepts are expressed in other languages...to name other metaphors in English that are used for these concepts, perhaps in specific communities or contexts...and to suggest new metaphors/conceptual systems.

Created by Sarah Ropp, Ph.D., 2025

Practicing Presence

CONNECT WITH THE BODY TO HELP REGULATE + FOCUS

WHAT IT IS WHY WE DO IT

Presence is embodied awareness: feeling connected to your sensory, mental, and emotional experience in the moment.

HOW TO DO IT

Facilitates daily self-regulation + healing

Enables deeper listening + connection

Builds stamina for necessary discomfort

Presence is a habit or a practice: something that must be cultivated (rather than switched on/off). Take time to “practice presence” so that it becomes more natural, habitual, and consistent for you.

Use the exercises below to access or activate presence... daily, to learn presence as a consistent habit (pick 1 exercise per day to repeat at intervals) before dialogue to ground yourself + focus on your purpose/intention for engaging during dialogue to pause in moments of cognitive or emotional challenge before responding after dialogue to return to yourself + help process or heal from what you’ve experienced

FIND GRAVITY

Pause and focus: Where in your body do you feel the pull of gravity most strongly? Where do you feel sensations of weight or heaviness?

In dialogue: Provides ballast + balance through the stimulation or agitation of conversation.

BREATHING

Tune into the steady rhythm of your own breathing as you would waves on a beach. Listen to your breath + feel your chest rise and fall.

In dialogue: Soothes defensiveness, irritation, anger, and reactivity/hyperactivity

CHANNEL ENERGY INTO AN OBJECT

Pick up a stone or other small object. Handle it. Notice how it feels, how it does + doesn’t change in response to your touch. Imagine your energy being drawn out of your body + into the object.

In dialogue: Draws distractions + nervous energy out so that you can listen + speak intentionally.

CENTERLINE

Focus on your spine. Rock forward + back, side to side. Rotate your torso several degrees without moving your lower body. Feel your body’s axis.

In dialogue: Brings a sense of inner strength + clarity when you feel unsettled or vulnerable.

5-4-3-2-1

Focus on each sense in turn. Name 5 things you see, 4 things you feel, 3 things you hear, 2 things you smell, 1 thing you taste in your environment.

In dialogue: Calms anxiety. Culltivates the ability to listen + speak with purpose + focus.

FULL BODY SCAN

Beginning with your feet and moving upward, focus on each part of your body in turn. Observe sensations. Notice where you are holding tension or pain. Breathe + release or make peace with it.

In dialogue: Helps identify the nature + physical location of emotions, so you can attend to them.

Much of the above content is adapted, with thanks, from Chapter 2 of Say What You Mean by Oren Jay Sofer (2018) Created by Sarah Ropp, Ph.D., 2022

Dialogue Planning

ESSENTIAL ELEMENTS

Begin with purpose. All other decisions should be grounded in your purpose!

THE WHY: PURPOSE

What occasion or topic do you feel driven to create conversation around?

What do you hope participants will come away feeling, knowing, thinking, and/or doing as a result of the conversation?

Make sure that your purpose is clear to you and transparently communicated to participants.

Note: You may have multiple purposes. Make sure you prioritize which is primary: if nothing else, what are you hoping to provide/create?

THE WHO: PARTICIPANTS

Who would you like to include in this conversation? Why? How will this dialogue process serve them?

What do you know about them? What are their identities, interests, and needs? What do you need to find out about them in order to better serve them through the dialogue?

Who else may you wish you to bring in as partners, advisors, presenters, co-facilitators, and/or audience members?

THE HOW: STRUCTURES

THE WHAT: OBJECTIVES

What is the actual work (intellectual, social, emotional) your participants will be doing to realize your purpose? What series of concrete, observable ACTIONS will they engage in?

Purpose is abstract and overarching. Objectives are concrete: e.g. Self-reflect. Define [term]. Analyze [text]. Describe [experience]. etc.)

What necessary knowledge and skills do participants first need to build or access in order to complete other objectives?

THE WHEN + WHERE: LOGISTICS

How long will the dialogue last? What date/time will it (tentatively) take place?

How many participants are ideal? How will you recruit them?

What promotion is needed?

Will you be serving refreshments? From where? What materials will you need to bring? What is your plan for creating, buying, or sourcing them? What is the (desired) location? How will you curate the environment for dialogue, including taking steps to ensure maximum accessibility? What funding is necessary and how will you get it?

What dialogue format(s) and mode(s) will participants engage in? What activities will participants perform, in order to complete your objectives and fulfill your purpose?

What prompts will they respond to in each stage? How can you frame them to yield the dialogue you want? What materials will participants need in order to respond in the formats and modes you’ve chosen?

How will you accommodate different learning styles? How will you include different identities and perspectives? How will you set guidelines and create a space that is both safe and challenging?

Think about how you will structure EACH of these key stages of a dialogue process:

How will participants to connect to one another and build trust? Plan a “check-in” or initial sharing activity. This should be low-stakes and positive, not requiring too much vulnerability or critical thinking of folks.

Express the purpose. Share the agenda. Define key terms. Establish community agreements that people can understand + agree to. Norms describe concrete behaviors, not abstract ideals!

This is the body of your dialogue process. What prompts and questions will you use? How can you frame them to align with your objectives + purpose? In what formats and modes will participants respond?

How will participants reflect on what they are taking away + synthesize what they’ve learned? This can be individual and/or shared with the group, but make sure to create space for this at the dialogue’s end.

Created by Sarah Ropp, Ph.D., 2023

Dialogue Event Plan

capturing your programming intentions

The WHY

The

What topic purpose

The Who

event title event Date + Time event location catering details accessibility notes participant details partner details objectives or learning goals

The

The When + where

how framing the dialogue community building main dialogue reflection + synthesis

content/ prompt(s)

format(s) & mode(s) time needed materials/ notes stage of dialogue

Created by Sarah Ropp, Ph.D., 2025

The WHY

TOPICS + OCCASIONS FOR DIALOGUE

Part I. What’s a conversation you feel driven to make happen?

EXPLORING A CONCEPT

Is there an particular idea, school of thought, skill, or methodology that you would like to introduce to others, understand better yourself, and/or practice?

EXAMPLES: Black feminism. Crip time. Democracy. Inclusive freedom. Hostile architecture. Anti-racist pedagogy. Descriptive grammar. Creationism. Deep listening. Universal design. (etc)

UNPACKING A SOCIAL ISSUE OR MOVEMENT

Is there a social issue of pressing concern to you that you would like to think through, whether intellectually, personally, or politically? (Scale can be local, national, global.)

EXAMPLES: Gun violence. LGBTQIA+ rights. Climate change. White nationalism. Cancel culture. Income inequality. Indigenous sovereignty. #MeToo. Gerrymandering. Doping. (etc)

PROCESSING A MEDIA OR CULTURAL EVENT

Has a specific event happened recently that you feel needs to be addressed, or is there a holiday or event going on that you’d like to create conversation around?

EXAMPLES: The Buffalo shooting. Dobbs v. Jackson. The 20th anniversary of 9/11. Floods in Pakistan. Elections in Chile. Campus protests. AAPI History Month. Juneteenth. Pride. (etc)

ENGAGING WITH A WORK OR PERSON OF INTEREST

Is there an artist, scholar, activist, professional, politician, or community member OR a text, artwork, monument, or archival artifact that you’d like to dialogue with or about?

EXAMPLES: Loretta Ross. Borderlands/La Frontera by Gloria Anzaldúa. The U.S. Constitution. The short stories of Jhumpa Lahiri. The Dead Sea Scrolls. Jeff Bezos. The music of Blackpink. (etc)

CONNECTING TO SELF, OTHER, PLACE, OR THE PAST

Would you like to create space for people to engage with self-reflection; intergroup exchange; place-based features/resources; or family/community/cultural histories?

EXAMPLES: A “Where I’m From” poetry workshop. An interfaith dialogue. A critique of campus mental health resources. A nature retreat. A circle of community elders. A family colloquium. (etc)

Created by Sarah Ropp, Ph.D.,

The WHY

DEFINING YOUR PURPOSE FOR DIALOGUE

Part II. What do you hope participants will feel, think, know, or do during or as a result of engaging in this conversation?

FEEL...

Healing or comfort

Hope or joy

Love or empathy

Inspiration

Belonging or solidarity

Responsibility

Urgency or motivation

Indignation or outrage

think or know

Self-awareness

Other-awareness

Issue-awareness

Understand a perspective

Understand a history

Understand a theory

Change their mind

do

Access a resource

Forge a relationship

Make a personal plan

Change a habit

Take political action

Join a specific group

Spread a message

Create something new

SAMPLE STATEmENTS OF PURPOSE FOR DIFFERENT OCCASIONS

CONCEPT: Find solidarity in recognizing one’s own experience or values reflected in [new theoretical framework]

SOCIAL ISSUE: Feel hopeful regarding the possibility of progress related to [social movement]

EVENT: Experience healing in the wake of [horrific event]

PERSON/WORK: Develop new empathy for a specific experience via engagement with [work of art]

CONNECTIONS: Feel joy in reflecting on [aspect of personal history]

SAMPLE STATEmENTS OF PURPOSE FOR DIFFERENT OCCASIONS

CONCEPT: Understand key terms and major ideas of [given theory]

SOCIAL ISSUE: Develop initial awareness of how [longstanding social issue] manifests in present day (i.e. historical awareness)

EVENT: Understand the various different reactions (i.e. perspectives) to [event]

PERSON/WORK: Become convinced of the importance of [particular person]'s influence (i.e. change their mind)

CONNECTIONS: Grow a sense of self-awareness of one's own positionality within [particular community]

SAMPLE STATEmENTS OF PURPOSE FOR DIFFERENT OCCASIONS

CONCEPT: Apply [new methodology] in practice in professional or academic context (i.e. spread the message)

SOCIAL ISSUE: Make a plan for how each person will address [issue] personally, professionally, or politically

EVENT: Seek out additional info (i.e. access a resource) about [specific event]

PERSON/WORK: Join a book club dedicated to similar works

CONNECTIONS: Do more journaling to continue [particular kind of selfreflection] (i.e. change a habit)

Created by Sarah Ropp, Ph.D.,

The WHAT

OBJECTIVES FOR DIALOGUE

What is the cognitive, social, and/or emotional work that participants will undertake over the course of the dialogue process?

SAMPLE ACTIONS

OBJECTIVES ARE THE ACTIONS PARTICIPANTS WILL TAKE TOWARDS THE REALIZATION OF YOUR HOLISTIC PURPOSE. THEY SHOULD BE. . .

CONCRETE. Purpose is abstract (what you hope people will feel or think). Actions are observable + demonstrable, expressed as VERBS.

LOGICAL. Actions must align to your purpose, topic, + audience. There should be a purpose-driven rationale for every action participants perform, and participants should be able to perform each one.

SCAFFOLDED. Actions should start basic and build in depth + complexity – intellectually, socially, and emotionally. Invest the time to build foundational skills + knowledge + trust with participants so that they are ready to perform more complex tasks when the time comes.

REFER TO BLOOM’S TAXONOMY:

CREATE. Generate. Formulate. Craft. Design. Translate. Plan.

SYNTHESIZE. Assess. Integrate. Conclude. Evaluate. Combine.

ANALYZE. Compare. Connect. Differentiate. Relate. Find patterns. Make meaning.

Note: this is a slightly modified version of the 2001 revision to Bloom et al’s original 1956 taxonomy. Google for more info!

APPLY. Interpret. Share. Use a skill, a concept, or a theoretical framework in practice. Consent.

UNDERSTAND. Identify. Explain. Describe. Categorize. Articulate. Rephrase. Reflect (back).

REMEMBER. Define key terms. List. Name main ideas, key players, major factors, etc. Recognize. Recall. Repeat.

BUILD trust + community SELF-REFLECT

DEFINE essential terms

GENERATE + consent to norms

SHARE a personal story

DESCRIBE understanding of topic

CRAFT an effective question or set of questions related to topic

DESCRIBE key skills related to a given practice

IDENTIFY patterns or behaviors

ANALYZE or RESPOND to a text

ARTICULATE a clear goal or set of goals (individually or together)

APPLY a theory to ANALYZE or UNDERSTAND a given situation

APPLY given skill(s)

SYNTHESIZE diverse ideas, texts, comments, experiences, etc.

IDENTIFY + DESCRIBE own emotions related to the topic

CRAFT a narrative or argument

SHARE a personal story

CREATE a list of action items to address a given issue

ACTIONS

ARE

NOT.

. .

...what the facilitator is doing (e.g. “give instructions” or “model journaling”). START HERE

...the format, mode, or activity in which the work is being done. These details are the HOW. An action alone is not a plan. Nor is it an effective instruction.

Created by Sarah Ropp, Ph.D.,

The WHO PARTICIPANTS FOR DIALOGUE

Who do you want to involve in this conversation?

ENVISION YOUR IDEAL PARTICIPANTS

HOW MANY? More is not necessarily better! A dialogue can be 2 people or 200 (or more). Think about purpose, objectives, and the structures you will use.

Keep in mind: 8-10 is the maximum that can engage in an intensive whole-group oral conversation – but with digital modalities, more can be included. For breaking into small groups, think in multiples of 3, 4, or 5.

PARTICIPANT PROFILES. What is important to you in terms of identities, ideologies, education, experiences, and degree of familiarity with the topic, with one another, and with dialogue?

Think about differences that are important for your topic + purpose, as well as what shared abilities, knowledge, experiences, identities, or ideologies are helpful.

INCLUSION/EXCLUSION.

Consider who your dialogue as currently conceived excludes, and for what reasons. There may very well be people you do not want to include – that is okay!

If there are folks you would like to include for whom accessibility (physical, intellectual, logistical, financial, etc) may be an issue, how can you reconceive your plan?

RECRUIT

ALLOW PLENTY OF TIME. Make sure you reach out well in advance. Send reminders as needed!

BE CLEAR ABOUT YOUR ASK. Make sure people understand the topic + purpose + logistics (time, date, duration) + what will be required of them in terms of participation (degree of vulnerability, confidentiality, etc).

OVER-RECRUIT. Expect people to drop out last minute. If possible, have a core group you can count on + a plan for adapting to either fewer or more participants than expected.

PREPARE

TO DIALOGUE

GATHER what you need from participants:

Relevant information about their identities, prior knowledge, ideologies, degree of familiarity, etc.?

Accessibility needs? (incl. allergies!)

Input on dialogue content, questions, or approach?

OTHER OPTIONAL “WHO”S TO CONSIDER

PARTNERS/SPONSORS provide direct support with e.g. funding, logistics, recruitment, promotion, etc.

ADVISORS provide guidance + resources (but not direct involvement) on content, planning, facilitation

PRESENTERS help frame the dialogue by providing e.g. norms; historical context; key terms/texts; etc

SHARE with participants what they need to know:

Logistics. Confirm details + send reminders re: date, time, location, space, food, etc.

Content. Share the agenda + norms ahead of time. Preview the prompts + structures.

CO-FACILITATORS help lead small groups or manage larger groups. Think about how you will recruit + prepare + support them!

AUDIENCE MEMBERS observe the dialogue without participating in it to the same degree. Consider how you’ll include + engage an audience, as well as whether you are prioritizing participants or audience.

Created by Sarah Ropp, Ph.D., 2023

The HOW types of dialogic programming

A “dialogue event” can take many forms. What kind of program best serves your purpose, audience, and topic(s)?

WORKSHOP EXPERT VOICES

SKILLS Direct instruction or collaborative discussion followed by an opportunity to apply or practice a target skill or skill set.

CREATIVE. Creative practice in community (poetry, prose, art, crafts, etc). May include sharing work, discussing process, and/or giving feedback.

ACTION PLANNING Collaborative work to identify problems & generate solutions; define group identity & goals; plan a curriculum or event; etc

RESPONding together

BOOK, FILM, THEATER, MUSIC, or ART CLUB. Read a text, watch a film/performance, see an exhibit, etc..and discuss as a group.

“TRENDING TUESDAYS.” Regular gatherings to unpack topical news or popular culture events.

PLACE-BASED. A campus or city tour, or an immersive journey to a particular site, to connect to place through a specific lens...and discuss embodied, intellectual, and emotional responses.

COLLECTING FEEDBACK

FOCUS GROUP. A group interview with a small number of people to provide feedback and insights on a particular product, project, or practice.

TOWN HALL A leader or group of leaders responds to constituents asking questions and sharing ideas related to an issue or incident.

PROJECT REVIEW. Receive and respond to structured critical feedback on a manuscript, artwork, project, project proposal, etc.

SPEAKER, PANEL, or ROUNDTABLE. Presentation + moderated conversation + audience Q&A with 12 (speaker) 2-4 (panel) or 4-10 (roundtable) invited guests around a particular topic.

TEACH-IN. Scholars, leaders, or activists “occupy” a public space and lead workshops, presentations, or conversations around a particular topic.

FILM SCREENING, AUTHOR EVENT, ARTIST TALK. Moderated conversation with a creator about their work + creative process.

STORYTELLING

OPEN MIC NIGHT. Participants are invited to share original poetry or stories in front of an audience. May or may not include discussion after.

ORAL HISTORY. Sit down with an elder, loved one, or community member to hear their story(ies). May or may not be recorded or for an audience.

STORY CIRCLE Participants gather in a circle and take turns each sharing a short, spontaneous story of 2-3 minutes related to a particular topic.

TOPICS-BASED STRUCTURED CONVERSATIONS

IDENTITY. Structured exploration of topics related to identity (race, gender, social class, dis/ability, age, etc). May be intragroup or intergroup dialogue.

ISSUE. Structured exploration, debate, or deliberation related to a social movement or political issue (contemporary or historical).

INCIDENT Structured discussion to emotionally process, analyze, problem-solve, or seek healing following a particular event.

Created by Sarah Ropp, Ph.D., 2025

The HOW forMATS

AND MODES FOR dialogue

Within the larger event, which formats and modes will you use to guide your participants through a series of purposeful actions?

CONSIDERATIONS

PURPOSE + OBJECTIVES. Select formats + modes that align with both your purpose (what you want participants to experience in a holistic sense) and your objectives (the actions that will get them there step-by-step). Different structures may be appropriate for different objectives.

YOUR STYLE + COMFORT LEVEL. Stay within or just beyond your comfort zone, especially if you are new to facilitating, the topic is particularly high-stakes, and/or the group is (potentially) challenging. Some self-consciousness is inevitable, but too much affects the dialogue process.

SAMPLE FORMATS ACCORDING TO MODE

ORAL FORMATS

A facilitated circle (5-15 people)

Small groups of 3-4 people

Pair conversations

Role play

“Speed dating”

Fishbowl (small group discussion observed by other participants)

Socratic seminar (self-facilitated group dialogue)

PARTICIPANTS’ NEEDS + INTERESTS.

Consider participants’ identities, vocations, education levels, ideologies, as well as their familiarity with the topic, with each other, and with dialogue. Often, more structured approaches are better for higher-risk topics and/or less established groups.

EQUITY + INCLUSION + ACCESSIBILITY.

Strive to include a few different formats + modes throughout your dialogue process, so that you are engaging a variety of different learning styles and folks are able to participate to their fullest ability. Do this even if you don’t think your participants “need” it!

VISUAL FORMATS

Watercolor conversations in pairs (“speak” and respond to one another via abstract brushstrokes)

Individuals each create an image or abstract painting representing their ideas/stories. Collect into a single “quilt.” Individuals create a “brand profile” representing their views: representative fonts, colors, images, etc.

Graphic dialogue (draw a comic strip together in pairs, or pass around a group as each person adds)

Hybrid: Use a code of signs to express reactions to comments

Note-writing back and forth (or letters, postcards)

Collect responses to a prompt anonymously on index cards or sticky notes

Post a prompt publicly. People write responses to prompt & one another (digitally via e.g. Mural, or on whiteboard or large paper on the wall)

Gallery walk: Post several prompts, artworks, texts, etc. at stations around the room. People circulate and pause at each station to write responses. Collaborative annotation in response to a text or work of art (digitally, via e.g. Perusall, or on paper)

Journaling (dialogue with the self)

Hybrid: journal or jot thoughts down before sharing out loud

Nonverbal role play

Mime responses to prompt

Move to different seats or areas to reflect responses

Body scan (dialogue with the self)

Hybrid: Use a code of signs to register reactions

Created by Sarah Ropp, Ph.D., 2023

The HOW-TO

DIALOGUE CAFE

An informal drop-in gathering space for unstructured conversation and connection. Dialogue cafe welcomes the whole person with a “come as you are” ethos, allowing for community building and rest without the pressure to perform, network, or produce.

what dialogue cafe looks like

A cozy, welcoming space, with comfortable seating, warm drinks, and snacks

The cafe is “open” for a set time frame, ideally on a regular rhythm (e.g. every week for two hours) Guests drop by for as long or as little as they like during that time frame to chat or just sit and rest Host(s) greet the guests and help keep the conversation flowing but do not have a set topic, purpose, norms, or slate of activities for dialogue

HOW TO MAKE DIALOGUE CAFE HAPPEN

when to try dialogue cafe

You’ve noticed that people in your sphere are stressed, unhappy, troubled, or just tired. You sense they’d benefit from a space that builds trust and provides care, whether as a foundation for deeper conversations or in its own right You want members of your community to get to know each other in a more holistic way than the narrower parameters of a course or event typically afford You want to offer a low-stakes, low-lift, yet impactful dialogue space (whether or not you have the budget, bandwidth, or skills to put on higher-concept events)

Determine the space and time. You don’t need a perfect space – just one that can be adapted into a comfortable gathering area, with some degree of privacy. Strive to pick a timeslot when you know many are likely to be available.

Name your cafe! This gives it an identity that guests will start to associate meaning with. (Ours is called Cafe Paideia.)

Send the invitation. Make sure you indicate what the dialogue cafe is and what it is for (and what it isn’t). Give a sense through your words and images what the feel of the space will be, ideally: warm, accepting, flexible, forgiving.

Build the space. Arrange floor pillows and/or comfortable chairs in a circle, with a soft throw or two. String some twinkle lights, scatter some battery-powered candles, and turn off the overhead fluorescents. Keep the electric kettle full of hot water and offer a selection of tea bags, with real mugs (not paper cups). Stock snacks that include glutenfree, dairy-free, and low sugar options as well as treats. Have puzzles, board games, origami paper, etc available for those who aren’t in the mood to chat. It should feel like a living room: comfortable, homey, imperfect, and warm.

Host generously and flexibly. Offer tea and snacks. Refill mugs. Greet people warmly. Notice who’s being left out and invite them in, but respect quiet folks’ desire to observe. Allow the conversation to move between whole-group and small-group discussion, being responsive to people’s moods as well as what’s going on in the wider world.

WHAT MAKES DIALOGUE CAFE WORK

CONSISTENCY

The steady, dependable presence of the dialogue cafe is key. Commit! If you build it, they will come. Knowing that you will be there – same time, same place – makes it easy to drop by without having to carry it as a “todo” in one’s calendar or mental load.

COME AS YOU ARE

“We’re glad you’re here” should emanate through every choice, word, and action. Nobody should feel punished for coming late or not enough, for not feeling chatty, for not having a “good enough” answer to a question, etc.

CARE

Little touches make a big difference. Ideas for adding care to your cafe: Add book illustrations or art prints to your invitation that evoke the same feeling you aim to create in the cafe – they’re cozier and more personal than stock photos or graphics. If you host a regular cafe: resend the invite every time. Change the image and/or reference what’s new that week (the weather, a special treat). Bring in something special (e.g. homemade baked goods; fancy bakery treats) from time to time. Learn + use people’s names!

COLLABORATION

A co-host or two is a wonderful choice! Together, you can: set up + break down the space. maintain the cafe’s consistency when the other can’t be there. manage the space, like at a real cafe: e.g. one person greets and offers tea, another attends to the conversation dynamics. bring different personalities, identities, and experiences to connecting with guests. set the tone: present a model for collegiality and community with one another that guests will mimic unconsciously.

The HOW-TO

walking DIALOGUE

A conversation carried out while in motion. Walking dialogues provide an opportunity to ground dialogue topics in the built or natural environment, with benefits that are both somatic (anxiety relief) and relational (connection between participants as well as to place).

what walking DIALOGUE looks like

Pairs of participants set off on a self-guided walk together, or a group of participants is led on a walk by the facilitator, for a determined time period and/or on a determined route. The facilitator shares conversation prompts and guidelines around what participants should attend to, when they should pause or be silent, how they should move, etc, while they are walking together.

HOW TO MAKE WALKING DIALOGUE HAPPEN

when to try walking DIALOGUE

You are looking to build relationships between participants that will strengthen future dialogues. You want to experiment with and teach listening: to place; to one’s walking companion; to singular “voices” within the larger environment; etc. You are interested in experiential learning that connects “on paper” teachings to the living world. You are curious about how dialogue is enhanced by the endorphins, emotional regulation, and contemplation stimulated by movement outside.

Consider your purpose and goals. Take time to plan the walk to align with your dialogue goals and subject matter. This is a place of inquiry and experimentation, so feel free to try a walking modality and see what works best.

Plan the walk. Make sure to plan your route and even try it first before you ask participants to do the walk. As you are designing the walk think about the distance, the time it will take, and what you find to be most important. For example, is it to note different neighborhoods or architectural patterns found along the same urban street? Is it to tune in to human or wildlife voices? Is it to develop embodied awareness? What kind of walk will best accomplish your goals?

Design prompts and questions. Effective prompts for walking dialogue ask participants to OBSERVE (what do they see/hear/smell/etc?), REFLECT (what feelings, ideas, connections to prior texts, theories, or experiences are raised?), SHARE (with a partner; in a journal; in a photograph; etc), and PROCESS (analyze, generate new questions, respond).

Adapt to participants and circumstances. Plan ahead for how you will adapt if the weather is not cooperating and/or you have participants with accessibility needs, especially if you don’t have the scheduling flexibility to postpone. Can the walk be done indoors? Can you provide umbrellas, or sit under an awning and complete the “walk” visually from there? For an urban walk, have participants visit places using Google Maps. For a listening-focused walk, have another attunement activity that builds listening muscles ready to go (see Brodkin & Pallanthra, Missing Each Other for ideas).

VARIATIONS ON WALKING DIALOGUE FORMATS

URBAN WALK

Assign pairs to walk down a single street in a city that intersects with many different neighborhoods (e.g. Walnut Street in Philadelphia between 50th and 2nd). Give participants journals to take with them + a series of prompts and questions to discuss together and write about on their own. Give them permission to structure their walk so that some of it is together talking, some is together silent, and some of it allows them to break off and write for a bit in a coffee shop. Afterwards, debrief the experience as a group. What insights, connections, and challenges emerged for them?

ART WALK

Gather a group for a tour of public art: sculptures, murals, graffiti, etc. At each site: 1) Silently “behold” for 2 minutes. 2) Dialogue to share reflections. 3) Give context on the artwork. 4) Travel to the next piece (silently or with a prompt/technique)

SYNCHRONOUS WALK

This walk builds interpersonal attunement by having paired walking partners pay attention to their body placement (stride, which foot leads, distance from each other) in order to focus more deeply on listening. See Brodkin & Pallanthra, Missing Each Other pp. 92-93 for full exercise.

NATURE WALK

Assign pairs to walk in a defined area or for a particular amount of time in order to observe the natural environment. Structure with prompts to be reflected on in conversation or written/sketched in a journal during or after the walk. Two great options from Berkeley are “Awe Outing” (ggia.berkeley.edu/practice/awe_wa lk) and “Noticing Nature” (ggia.berkeley.edu/practice/noticing _nature).

Created by Lia Howard, Ph.D., 2026

Work cited: Edward Brodkin and Ashley Pallanthra, Missing Each Other: How to Cultivate Meaningful Connections (2021).

The HOW-TO

CRAFTS-BASED DIALOGUE

A multimodal conversation in which participants converse while doing hands-on art activities. Crafts-based dialogue creates a comfortable, inclusive space for deeper or more vulnerable conversation by reducing awkward silences and keeping the hands busy.

what CRAFTS-BASED DIALOGUE looks like

The facilitator frames the dialogue’s topic and purpose, then presents a simple handicraft. Participants respond to dialogue prompts while they engage in activities that are easy to follow, so as to facilitate, not distract from, the dialogue. Leaders come around to assist with facilitating the dialogue and crafts-related questions. The space is cozy, with music playing, art supplies within easy reach, and (optional) snacks.

HOW TO MAKE CRAFTS-BASED DIALOGUE HAPPEN

when to try CRAFTS-BASED DIALOGUE

Your group likely includes shy, neurodiverse, and/or restless folks. You sense they could benefit from more structure and something to do with their hands. Your dialogue topic is deeply personal, such as mental health, and it is imperative that participants feel safe to share or simply reflect and observe. You want to use visual metaphor and symbolism as a springboard towards deeper reflection and dialogue. You want to offer hands-on creative practice to provide emotional regulation and spark joy.

Choose your craft carefully. The craft should be easy to follow, so as to encourage dialogue. Consider what you know of your participants’ interests and skill levels. When in doubt, a good rule of thumb is: Can a third grader do this?

Plan the dialogue, not just the craft. Will participants talk in pairs, small groups, or as a whole group? How will you arrange the room? How will you frame the dialogue? What are the norms? How much time do you need in each section? How will you integrate latecomers? (etc) Just doing a craft isn’t enough for meaningful dialogue to emerge!

Connect the craft to the dialogue prompts using symbol and metaphor. For example, if the topic of the dialogue is gratitude, and participants are weaving a yarn tapestry, your instructions could be: “Choose a color to represent someone you are grateful for. Weave this into your tapestry. Why did you pick that color?” Getting participants to connect images to their lives via metaphors opens new perspectives and creates new opportunities for reflection.

Prepare for the craft.

What are all the supplies you will need? Don’t forget things like paper towels, table cloths, trash bags, etc! Collect RSVPs so you know how many supplies you need. Give yourself time and ensure funding to obtain the supplies. How long does the craft take to learn and make? Do a test run so you can estimate timing. Make your own step-bystep guide, complete with photos. Provide printed copies – visual aids are helpful for all, especially latecomers.

Be affirming and supportive. Model the activity in real time during the teaching portion, along with providing a guide. All skill levels welcome! Encourage people to let go of making a “perfect” art piece, and to instead enjoy the process. Give yourself plenty of time to set up and clean up! If reserving a space: budget set up and clean up into your reservation time. Be respectful of the space you use. Lay down tablecloths if applicable, and position trash cans around the room so that participants can easily throw scraps/paper towels away. Don’t be afraid to ask for help!

EXAMPLES OF CRAFTS THAT WORK WELL WITH DIALOGUE

CARDBOARD LOOM

String a basic loom on a scrap of cardboard. Provide yarn in a variety of colors for participants to weave into a miniature tapestry or rug.

BEADED BRACELET

Provide fishing line and beads in many colors/shapes to string together in meaningful patterns.

Instructions for each can be found via a quick internet search.

MANDALA OR COLORING PAGE

Guided coloring or drawing creates a meditative flow state. Can be individual or collaborative!

PAPER STRAW TULIPS

Cut paper into a tulip silhouette, accordion fold, hole punch, and insert straw. Create individual bouquets or one big shared one.

WHAT NOT TO CHOOSE AS A CRAFT

Intricate/precise crafts (e.g. origami, crochet): hard-to-follow instructions may distract from the dialogue.

A blank canvas is very intimidating! Instead of asking people to “Draw anything,” provide more specific suggestions, e.g. “Pick one color + paint only in different shades of it.”

The HOW-TO

slow dialogue

An asynchronous, virtual, video format for extended, in-depth dialogue on a specified topic between 2-3 participants. Slow dialogue combines the in-person benefits of hearing someone’s voice, seeing their face, and reading their body language with the asynchronous benefits of time to process, reflect, and decide how to respond.

what slow dialogue looks like

Pairs or trios of participants dialogue with one another via a series of recorded video messages. Each participant begins by recording their initial response to a prompt that introduces the topic. Participants take an extended time to reflect. Each participant replies to their partner(s) in a second round of video messages. Dialogue continues for as many rounds as desired, with time to reflect before responding each round.

HOW TO MAKE SLOW DIALOGUE HAPPEN

when to try slow dialogue

The topic is sensitive, personal, or controversial, and participants would benefit from time to process and reflect before they respond to content. Participants are committed enough to persist through multiple rounds of dialogue over an extended period; invest the time to reflect and compose their thoughts before reacting; and record themselves sharing.

An in-person or synchronous conversation is not possible due to people’s locations or schedules.

If possible, gather participants in person one time before the virtual dialogue begins. Provide food + offer prompts to help participants get to know one another as people first, steering them away (for now) from the main topic.

To begin the virtual slow dialogue, design the kick-off dialogue prompt to be flexible and open-ended enough that participants can interpret it in ways that make sense to them and won’t run out of things to say after a few rounds.

Instruct participants to record their video messages on their own personal devices.

Create a user-friendly and secure online platform to which participants can upload their videos to be viewed by their partner(s), e.g. Google Drive or an institutional Box folder.

Send participants regular reminders of the time windows + deadlines for submitting + viewing videos. Instruct them to take brief notes as they view videos. use a portion of each video (after the first) to pose explicit questions to their dialogue partner(s). answer any questions they have been asked by their partner(s).

SLOW DIALOGUE BY THE NUMBERS

HOW MANY PEOPLE PER DIALOGUE?

2 PARTICIPANTS is easier for the participants and more streamlined

3 PARTICIPANTS can help to avoid polarization and binary approaches to the issues; it may also be prudent if there are concerns that one person may drop out or prove delinquent

To engage more participants, you might facilitate multiple dialogues at once (on the same or diverse topics)

HOW LONG SHOULD VIDEOS BE?

5 MINUTES is a good default, but consider requesting shorter videos if some participants are likely to be deterred by the burden of preparing remarks at that length

HOW MANY ROUNDS OF DIALOGUE?

4-6 ROUNDS is recommended, depending on availability of time, complexity of topic, and motivation of participants

HOW MUCH REFLECTION TIME?

24 HOURS MINIMUM so that participants have time to sleep on what they have seen and heard before responding

If time allows, consider having each round last for one week, with each week following the same pattern: 2 days to record and submit one’s own video 2 days to view partner video(s) 3 days to process and reflect

The HOW-TO

story sharing

A dialogue format structured around the sharing of personal narratives related to a topic. Sharing stories grounds discussion of abstract concepts in lived human experience and highlights both the diversity in how participants relate to the topic and the common threads.

what story sharing looks like

After an opening warm-up or check-in, the facilitator offers a structuring prompt (or short set of prompt options) to help 5-20 participants recall an experience related to the topic. Participants have time to craft their narrative. One by one, participants share their story to others present, who are responsible for listening deeply. After everyone has shared, the facilitator leads a debrief to process and provide care.

HOW TO MAKE STORY SHARING HAPPEN

when to try story sharing

You wish to deepen people’s understanding of a complicated or sensitive topic by moving beyond theory, data, abstractions, and generalizations. You are interested in the healing potential of narrativizing and publicly sharing complex, underexamined, or under-acknowledged experiences. You want to offer creative practice and deep listening as learning modalities that help connect participants to self and other as well as to content. You believe that participants’ lives are a valuable site of knowledge-building.

Consider purpose. Think not just about the topic (e.g. social class) but what you want participants to do, think, or feel related to the topic in the time available. “Reduce shame” is a different purpose than “Build awareness of class-related behaviors” or “Consume and spend more consciously.” Ground the arc of your story sharing process in this purpose.

Consider audience. What anxieties and learning gaps do you know or sense people are bringing in related both to this topic and to the act of crafting, sharing, and listening to personal stories? Who might be most vulnerable in this process, given the topic? How can you plan with care to help people reflect + share courageously, but not recklessly?

Craft prompts aligned to purpose and audience. It’s helpful to provide both a warm-up prompt (to get people reflecting and sharing in a lower-stakes way) and a main story prompt. The warm up can be shared orally, but participants should have time (5-20 min) to write in response to the main prompt. Prompts should ask participants to reflect + recall the sensory experience + emotional impact of a specific moment – not analyze all of their experience related to the topic.

Establish norms. People must understand exactly what they are consenting to + what is expected of them as listeners: Participate to your comfort level +1 (i.e. don’t push yourself too far; butterflies are a good sign, deep distress isn’t) Sharing is never forced (provide a range of options: share in full; share a few lines; share why sharing is hard; etc.) What is shared here stays here (i.e. protect confidentiality; lessons leave, stories stay) Center the storyteller, not the listener (i.e. don’t challenge or jump to relate to others’ stories; express only thanks)

Leave space for processing. Do a breathing exercise after all have shared (or between each story). Have participants journal about how that felt for them (sharing + receiving). Invite sharing out, affirmations, and thanks from the group. Invite sharing. Go around the circle or pull names at random. Let people pass. Return to them once, but respect their refusal if they are still not able to share publicly. As the facilitator, model courage + vulnerability without coercion.

VARIATIONS ON STORY SHARING FORMATS

STORY CIRCLES

Originating in the U.S. Free Southern Theater, Story Circles are a postperformance dialogue format in which audience members each have 2 min to share a story related to the play’s themes. The facilitator offers a “seed story” to start the sharing and leads “cross talk” afterwards. Adaptable to other art forms or scholarship/theory.

OPEN MIC NIGHT

This is story sharing as a public event, ideally done in a cafe-like setting, with more emphasis on performance. After writing their stories, participants willing to share to the whole group put their names into a hat. The facilitator pulls names at random; those called can still opt out. The audience cheers and affirms the storytellers.

STARTING WITH STORIES

This is story sharing as the first phase in a longer dialogue process (common in many dialogue models). After sharing stories, participants move into critical analysis: applying theory to make more meaning of stories heard, connecting story content to other texts/narratives, etc.

The HOW-TO

reading group

An interdisciplinary conversation (in person or online) in which participants respond together to a common text (or film, artwork, album, etc). A reading group creates belonging through dialogue with + about a cultural or scholarly object and its central themes/questions.

what reading group looks like

Up to 15 people, ideally from a range of academic disciplines, status levels, ages, etc, gather over lunch or snacks for 60-90 minutes. Everyone has had the opportunity to read (an excerpt from) the same book or text, provided at least 2 weeks prior. The facilitator guides participants through conversation inspired by the text, in a way open enough so that those who haven’t finished the selection can still participate meaningfully.

HOW TO MAKE READING GROUP HAPPEN

when to try reading group

You know (or are looking for) a group of people who are intellectually curious, eager for good conversation, and looking for meaningful community outside of their usual siloes.

You understand that many people need a central premise around which to gather – they won’t show for a vague promise of “dialogue” or “community” without some explicit structure and purpose. A shared text provides the springboard, but the community is the priority, not the curriculum.

Assess interest. Announce that you are forming a reading group for the purpose of community building through dialogue and send out feelers (through informal chats or a formal poll) to gather a group of interested participants.

Involve participants in the process in some way. Invitations to contribute create belonging (Geoffrey Cohen, Belonging), and people are more committed to something they helped create. You may need or prefer to unilaterally decide some factors, but strive to ask for participant collaboration and input around at least one of the following:

Scheduling. Send a poll to find the dates/times that work best for everyone.

Theme. What overarching theme would the group like to organize their conversations around? This should be broad enough that many texts + topics (from a range of disciplines) connect to it.

Text selection. Provide or co-create a list of options, then vote. Or take turns choosing. Food selection. Let people vote or take turns picking lunch! Be responsive to dietary needs. Facilitation Take turns facilitating or cofacilitating the gatherings. Assign or volunteer.

Get ready: reserve a room, provide the text, and order food If you have the budget, buy everyone a copy of the book. Or share a digital scan and offer printouts. Select no more than 50-75 pages total for participants to focus their reading on, to keep preparation manageable. Make sure the text is available at least 2 weeks ahead of your gathering.

Welcome your participants into dialogue! Send multiple friendly reminders, stressing explicitly that community is more important than “curriculum” in this group. On the day of, set up the space to feel welcoming and homey: dim the lights, spread a colorful tablecloth, or put a sprig at every place setting. See a basic but effective facilitator agenda below.

AN EFFECTIVE READING GROUP AGENDA

GATHER + GREET - 10-15 MIN

Allow people to arrive, get food, and connect informally with one another. Greet everyone warmly by name as they come in, no matter how late they arrive. Facilitate introductions between people if necessary, but for the most part, let people settle in as they each prefer.

CHECK IN - 10-15 MIN

Connect first as human beings. Lead a round of introductions with a prompt that asks people to share just their name + something personal (but not too vulnerable) related in some way to the themes of the day’s text/topic (but not yet responding directly to the text). For example, “Share your name + one thing you really believe in” (text: Who Gets Believed, Dina Nayeri). In this way, the stories + ideas that participants have to share are honored above/alongside the text.

For more detail go to: snfpaideia.upenn.edu/ dialogic-thinking-through-big-questions-for-dialogue-3/

CONVERSATION - 30-40 MIN

Turn to the text. Select, and/or ask participants to suggest, passages or ideas that call for attention as particularly resonant or challenging. Read those short selections aloud, together, and respond. Remember, it’s not a course; it’s a community. Invite + affirm contributions without pressure. Reserve 5 minutes for a check-out that invites each person to share a final thought or question.

The HOW-TO “interactivated” speaker event

An event focused on a single speaker, or a pair/panel of speakers, but which includes dialogic, reflective, and interactive elements beyond a traditional Q&A format. An interactivated speaker event engages participants on a deeper level to make meaning of what they are hearing.

WHAT an interactive speaker event looks like

Attendees are not just passively listening; they are actively engaged throughout the speaker or panel session. The moderator, host, or designated facilitator explicitly invites participation at key points.

HOW TO interactivate a speaker event

when to try interactivating a speaker event

You’re organizing a speaker event or visit and want to: help people identify and regulate their reactions enhance people’s sense of connection with both the ideas + the other people present support attendees’ long-term learning + memory

Define purpose. What are you most hoping participants will come away from this event with? What are key moments or major ideas you’d like to encourage processing + reflection around?

Consider audience. What do you know or guess about this group (demographically, ideologically, experientially, academically)? What reactions (intellectual, emotional, physical) do you anticipate they may have to the event's content and format? What kinds of interactions between them might be valuable, given your purpose?

Consult the speaker(s) to get their input and consent before finalizing your plan (if you are not the speaker!).

Prepare. Draft moderator questions + plan prompts for attendees. Choose a few ideas below (don’t try for all in one event!).

EFFECTIVE PRACTICES for interactivating a speaker event

before the event

Send a survey. Ask registrants to contribute questions, name what topics they most hope will be addressed, or share their learning needs/goals for the event. You can also use surveys to assess their current understanding of the topic. Use this information to inform the event (and reference it during!).

Assign pre-work. Ask audience members to prepare questions or complete a short reading or exercise to orient them to what they will be hearing. This can be done immediately before the event (budget in an extra 15-30 minutes or so).

during the event

Introductions. e.g. "Turn to a neighbor and share your name and what brought you to tonight's event."

Turn and talk. At key moments throughout the panel or presentation, have audience members turn to one another and share their thoughts, reactions, and questions for a few minutes.

Role play. Ask audience members to inhabit a certain viewpoint or stakeholder identity in conversation with a partner to apply and internalize key ideas and skills from the speaker/panel presentation.

Prepare for Q&A. Rather than opening immediately to questions, give the audience several minutes of think time to jot down questions. Pass out sticky notes or use a digital app (e.g. Mentimeter, Padlet, Mural) to collect questions.

Dialogue with the self. Build in moments of mindfulness (e.g. 1-minute breathing exercise), guided reflection, and/or journaling to help participants focus, regulate, and process privately.

Small group debrief. Structure in 15-20 minutes at the end for small-group response. Provide prompt(s) & norms.

Check-out. At the event's close, participants each share a final takeaway (in the whole group or small groups).

after the event

Invite further meaning-making. Create a shared document for participants to keep sharing ideas, resources, reactions.

Created by Sarah Ropp, Ph.D., 2024