Royal

“Just as you don’t open a gathering with logistics, you should never end a gathering with logistics, and that includes thank-yous.”
― Priya Parker, The Art of Gathering: How We Meet and Why It Matters

“Remember what Neo Muyanga, who could tell whether he was going to like an opera within the first sixteen bars, said about closings? The second-most-important part of the opera is the “final four pages of the score.” He explained: “This is where the composer must have, once and for all, justified the first notes sung and played by the ensemble and where the conductor needs to push the entire alternate universe—the one that has recently been magically conjured up—over the edge of the abyss,”
― Priya Parker, The Art of Gathering: How We Meet and Why It Matters

“I once met the South African opera composer Neo Muyanga, who told me that he can listen to the first sixteen bars of any opera and know the system and framework of the rest of it—and, therefore, whether he’s going to like it. “The opening bars inevitably set up a paradigm using elements such as volume, meter, and progression to invite a listener to eschew their mundane world for a time and to plunge down the rabbit hole into an alternate universe,” he said. As he spoke, I realized that gatherings work in much the same way. The opening, whether intentionally designed or not, signals to guests what to expect from the experience.”
― Priya Parker, The Art of Gathering: How We Meet and Why It Matters

“Accepting the impermanence of a gathering is part of the art. When we vaguely try to extend our gatherings, we are not only living in denial, we are also depriving our gathering of the kind of closing that gives it the chance of enduring in people’s hearts.”
― Priya Parker, The Art of Gathering: How We Meet and Why It Matters