Communication / intention and attitude
Checkpoint 1: Intention and Attitude
Listen to all three extracts twice. Choose A, B or C. Complete all three exercises before checking the checkpoint; the transcript opens after submission.
Extract 1 — Interview with a festival coordinator
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Extract 2 — Interview with a performer
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Extract 3 — A facilitator’s personal account
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1. Extract 1: What is Tomas mainly trying to explain?
2. Extract 2: What best summarises Iris’s position?
3. Extract 3: What does Mina learn from the feedback?
Communication / intention and attitude
Checkpoint 1: Intention and Attitude
Complete each note with ONE TO THREE WORDS from the recording. Questions 1–2 concern Extract 1, 3–4 Extract 2, and 5–6 Extract 3. Complete all exercises before checking.
Extract 1 — Interview with a festival coordinator
Audio will be available soon.
Extract 2 — Interview with a performer
Audio will be available soon.
Extract 3 — A facilitator’s personal account
Audio will be available soon.
Communication / intention and attitude
Checkpoint 1: Intention and Attitude
Choose A, B or C. Questions 1–3 concern Extract 1, 4–5 Extract 2, and 6–7 Extract 3. Base your answers on the recording, including qualifications and changes of perspective.
Extract 1 — Interview with a festival coordinator
Audio will be available soon.
Extract 2 — Interview with a performer
Audio will be available soon.
Extract 3 — A facilitator’s personal account
Audio will be available soon.
1. Why does Tomas mention the photograph of the dry stage?
2. What is the point of Tomas’s question ‘an alternative for whom’?
3. How should Tomas’s final comments about a replacement be understood?
4. What does Iris mean by supporting the decision without giving the team ‘a blank cheque’?
5. Why does Iris respond to Faye’s description of the performers as generous by saying she is being practical?
6. What does Mina initially miss in the comment about how smoothly she runs the group?
7. What is the function of Mina’s qualification near the end of her account?
Communication / intention and attitude
Checkpoint 1: Intention and Attitude
C1 Advanced • 4 speakers • Transcription
Complete all three exercises and check the checkpoint to open the transcript.
Extract 1 — Interview with a festival coordinator
Faye
The Waterside festival has been postponed, despite the organisers finding another site. Tomas, some residents see that as an opportunity you've chosen not to take. Why not move the event and let people decide whether to come?
Tomas
Because choosing a site also decides who can realistically attend. We considered the alternative seriously. But before we get to that, the original problem wasn't simply that the field looked wet. Parts of it were usable; the way people would reach those parts wasn't.
Faye
People have been sharing a photograph of a completely dry stage. What does that leave out?
Tomas
The main access route was affected by the drainage problem. You could photograph the stage without showing any of that. I understand why the picture looks reassuring. But it doesn't answer the question we had to answer. Having somewhere for a band to stand isn't the same as having a festival site that works.
Faye
And the replacement site? It already hosts events, and the owner was willing to make it available. Doesn't that solve the central difficulty?
Tomas
It solves one difficulty. It's outside the town, with no usable public transport connection that evening. So the question becomes: an alternative for whom? For people with cars, perhaps. For others, we'd be announcing that the festival was continuing while effectively taking it away from them. That's a different event, even if the programme looks similar.
Faye
Would a smaller programme in the town have been possible? Some of the performers have suggested that postponement needn't mean doing nothing.
Tomas
Possibly, and they're right to ask. We haven't treated every suggestion as a plan we can immediately deliver, though. A reduced programme still needs suitable space, people to run it and agreement from those taking part. I'd rather explain what's uncertain than announce an attractive idea and leave somebody else to discover the missing arrangements.
Faye
That sounds careful, but could it become a way of avoiding any commitment? People who have set aside the weekend want more than an account of the difficulties.
Tomas
Yes, and I don't want caution to become a comfortable hiding place. We do intend to offer something. What I can't honestly say yet is that it will reproduce the weekend people expected. Those are different claims. We're asking performers about practical possibilities, including ideas that don't resemble a conventional festival.
Faye
What would need to happen before you could give people a definite picture?
Tomas
We need the replacement arrangements checked before we publish a revised programme. That includes asking whether the people listed can actually take part. A name carried over from the old schedule isn't a commitment to a new one. We can be clear about what we're trying to do without presenting it as something we've already secured.
Extract 2 — Interview with a performer
Faye
Iris, you're speaking for one of the local music groups due to perform. Do you support postponing the festival?
Iris
I support that decision. It isn't a blank cheque for whatever comes next. We'd arranged extra practice under a hire agreement for a rehearsal room, and moving the performance doesn't undo that. People have changed shifts and organised lifts as well. None of it means the festival should have gone ahead regardless. It does mean we aren't starting again from an empty diary.
Faye
The organisers say they want to hear performers' ideas. Does that make you more confident about the next stage?
Iris
It's a useful beginning. It depends what happens to the ideas. If we're asked what we can manage and those limits shape the plan, that's a discussion. If the plan is already fixed and we're invited to sound enthusiastic about it, being consulted hasn't changed very much. I don't know which it will be yet.
Faye
Have you put forward an option yourselves, rather than waiting to respond to the organisers?
Iris
We've suggested a smaller afternoon session. Some of our members could do that without another late journey home. It wouldn't include everybody, and we haven't agreed that it's the answer. We wanted the organisers to know what is possible from our side, not find our suggestion turned into a booking before we'd discussed it properly.
Faye
That seems quite generous, given the disappointment. You're still trying to make something available to the town.
Iris
I'm being practical, really. Generous can be an awkward word here. Once people are described like that, saying they can't give another weekend can sound like a change of character. Our time was limited before the postponement and it's limited now. Taking that seriously would make it easier for us to contribute, not less likely.
Faye
So willingness to help shouldn't be read as unlimited availability?
Iris
Exactly. And disappointment shouldn't automatically be read as opposition. We care about the festival; that's why the arrangements matter to us. Ask what people can offer before describing what they're going to provide, and you can have a fairly honest conversation without anyone having to perform gratitude or enthusiasm.
Extract 3 — A facilitator’s personal account
Mina
After the first conversation group I facilitated, I collected feedback cards. One participant wrote, ‘You make everything move so smoothly.’ I read that as a compliment. I was new to the role and rather proud of preventing those uncomfortable gaps when nobody seemed ready to speak. Then I noticed the rest of the comment: ‘Sometimes I'm still working out what I think when the question goes away.’ That wasn't a request for a more interesting topic. It was about something I had mistaken for help.
My usual response to a pause was to add a follow-up question. If that didn't work, I'd offer an example from my own experience. There was almost always something happening, which made the session feel successful from where I sat. But somebody could be preparing an answer to the original question while I was already presenting a different one. The person who wrote the card hadn't been asking me to rescue the discussion. I'd decided it needed rescuing before finding out what the pause meant.
At the next session, I tried leaving the original invitation in place for longer. That didn't mean staring at one person until they spoke. I reminded everyone that they could pass and come back to the question later. One participant eventually said something which completely changed the direction of the discussion. I'd nearly filled the pause just before that. It was tempting to treat this as proof that saying less always makes other people say more, but that would have been another tidy explanation imposed from my side of the table.
Some pauses do mean people need a clearer question. Others mean they're thinking, or that they'd rather listen. The feedback didn't give me a reliable translation for silence. It made me less certain that my first interpretation was the right one. I still help the conversation along. I just try to notice when making it easier for me to run might be making it harder for somebody else to enter.