By Rhonda Miller,
How do we work in a group while we are creating? How much of my idea should be used or included? How do I honor both myself and the other participants? These questions are important for furthering internal and external interactions in facilitated improvisation.
In the PILL improv class I took the teachers set up a space that was safe; where saying yes to a classmate’s idea and then running with it, was encouraged and supported.
Teaching the visual arts to children, I had hoped that some of the exercises could be useful in my classroom. I can already see how using improv is going to help set the stage for successful visual art making. The immediacy and getting to know people organically through improv will help the students create a “studio” that is safe and collaborative for the creation of physical art.
Recently, I was able to share some test run improv exercises with children while they were fresh in my mind at a summer art camp I co-teach for kids between the ages of 6 and 12. To see the subtle differences and similarities between children and adults engaging in the exercises was interesting.
“Strike a pose” is an exercise where one person strikes a pose and their neighbor tells a story or begins to act out the pose. Both the adults and children had a proclivity towards one or the other; either wanting to tell the story or act it out and engage the “poser”. To see adults and children alike struggle with “that’s not what I intended” or “I don’t want to guess incorrectly” and then work through those preconceived notions was admirable. These struggles are what ask us to reach outside of our comfort zone and the working through has to happen so quickly, that we gain information about our tendencies, strengths and challenges.
The kids played this and other games more than once. They liked the games overall, but some felt pressure the first time playing, while others knew what was coming the second time around and had more performance anxiety than when we first played. When in doubt, they had a longer pause, shrugging and/or vocalizing that they “didn’t know what to do”.
In both the adult and kid games (interesting to me that kids called them games, and adults – myself included – called them exercises), participants seemed to want to come up with a “good idea” and that pressure caused hesitation. The fleeting nature of improv is both a blessing and a curse; if you “mess up” it can all be over in a moment (if one can let go the residual internal critic), but the time factor causes people to feel harried and lost, especially if they want to “get it right”.
Making ourselves vulnerable in a safe environment allows the speed w/ which things resolve to become an asset.The art form of facilitated improv asks others to be generous & makes one want to be generous in return. Click To Tweet
The questions at the start of this post are worth asking. We also often ask “What will others think of me? What if I mess up? What if I can’t think of anything?” instead. We all have a need to be accepted and appreciated. Facilitated improv games tweak this nerve and nudge us to be more mindful of how we are; both with ourselves and with others. Just as important to help us toward being present, are figuring out what questions are helpful. Curiosity drives us to ask more helpful questions.
I have loved taking this class. At moments it has terrified me, which is one of the most valuable things to remember when asking the students in my art room to become curious – even when they are fearful. Finding our curiosity through the fear is what creativity is all about, in whatever form it takes.
Rhonda Miller is a local artist and art teacher – her bliss is creativity. She loves helping people reach their creative core. The joy that is cultivated while creating is a powerful force, and Rhonda feels honored to get to share in that with others. As an artist, Rhonda loves getting messy, using as many media as are available. She is the author of “What Potential!: A Simple Guide to Cultivating Creativity for Parents and Children“