engage, inspire and empower
2
MUTM TRAINING
Contents page 03
Introduction
04
Mess Up The Mess Theatre Company
05
Warming Up/Ice breakers
08
Group development exercises
10
Trust and awareness games
11
Session Planning by Dick Johns
12
Starting points for using the arts to explore issues with young people
13
Image theatre work
14
Reminder of physical theatre workshop led by Elise Davison
15
Engaging with hard to reach young people by Jason Camilleri
22
Youth Arts Methods and Uses
23
Bibliography
MUTM TRAINING
3
Youth Arts Facilitator Training: An overview to using the arts as a vehicle to engage, inspire and empower young people The arts are a recognised medium to empower young
This three day course aims to introduce graduate artists,
people to explore the issues that affect their lives.
practising creative professionals and community workers to
They are an excellent vehicle for personal development and
the practicalities of using the arts from themed workshops to
can provide life-transforming opportunities. Many youth
devising youth-led performance. The sessions will
and community workers recognise the value of the arts as
use theatre techniques as a case study for how to approach
a tool to engage young people but simply don’t know where
all youth arts facilitation. The sessions are practical and
to start. Likewise professional artists can lack confidence
participants will experience first hand the processes they
in how to share their practise in a relevant, engaging and
can later adapt within their own work. Participants
accessible style.
will leave the course with a wealth of material including games, exercises and project starting points to use with young people. The training is an introduction and will give participants the confidence to use drama/arts within youth settings.
Key learning: Why and how we warm up groups for drama workshops Experiential learning of key games and exercises that can be used when delivering drama with young people Starting points for exploring issues through drama with young people Approaches to devising issue based performance with young people Exploration of best practise approaches to facilitation and inclusion An introduction and approach to session planning An overview of the issues involved with reaching out to hard to reach groups of young people Discussion of application of learning within own youth environment
4
MUTM TRAINING
Mess Up The Mess Theatre Company
Mess Up The Mess Theatre Company supports young
We motivate young people through bespoke bilingual
people and the communities they live within to
creative projects and experiences that respond to their
overcome the barriers that they meet — to create
needs, concerns and interests and challenge them to
a greater equality for those:
take the lead. Project models include:
currently socially excluded who are disadvantaged, face discrimination or prejudice have not been able to take full advantage of the existing opportunities for employment, education or training
Issue based workshops or productions from a play in a day to week long runs DVD or music projects Peer Leader Training
who are under employed, unemployed or in low waged jobs.
Apprentice Theatre
not in education, training or employment
Accredited Performing Arts Training for young people at risk of exclusion/NEET
MUTM successfully uses theatre creatively to inspire
Events Training
and engage disadvantaged and hard to reach young people
Social Enterprise Support
through transformative learning experiences.
Life & Social Skills workshops
We empower them to:
Ready for work courses
Express themselves, have their voices heard and celebrated
Work placements
Develop key transferable personal and social skills
Mentoring schemes
Play an active part in their community Make informed choices about the issues that affect their lives Reach their potential Have fun in a healthy environment
MUTM TRAINING
5
Warming Up for Drama Workshops
We warm up as a group for drama workshops,
Icebreakers and Name games for New Groups
rehearsals and performances to: Prepare participants physically, vocally and mentally for the session ahead Ensure limbs, joints and muscles including the vocal
In many ways almost all of a drama session is an icebreaker, but these are some good exercises to start a new group with.
chords are ready for the physical demands of the session Help people to relax and enter into the spirit of the session leaving the outside world behind
Name and action:
We stand in a circle. Each
participants says there name and an action which the group
Create a positive group atmosphere
repeats. Then the group begin a conversation using the
Break down social barriers
names and actions. I would say my name and do my action
Energise and motivate
followed by another’s name and action who would then do
Tune in to creative ideas
the same passing on to a third person. This game can be
Get to know each other
adapted until you are only passing the actions. Or you can use
Become focused and aware of each other as a group
alliteration saying names followed by an animal beginning
Lose inhibitions
with the same letter as the name e.g. I’d be Sarah Snake’. Mr Hit:
Mr Hit runs with his arm outstretched towards
There is no one warm-up session to run and sessions
another group member trying to tag them. If they see Mr
will change to allow for if the group is new or existing, how
Hit approaching they call out a different group members
familiar the group are with drama, skill development and
name and MR Hit must change his path to them. If hit you
projects being undertaken by the group. What you might
are out. The game requires excellent concentration and
run in week 1 of a 12 week programme is very different from
communication skills and is best played as people getting
week 8 when people are familiar with each other and the
familiar with names.
techniques you use.
Silent ordering:
Ask the group without talking to get
into height order, age order right down to days of months, eye colour groups, favourite colour groups, warm hands to cold hands order! Communication skills tested while group dynamics growing. Person to person:
The facilitator asks the group to
move around the room. When the facilitator calls ‘person to person’ each participant must find a partner. When in pairs the facilitator will say body parts which the group must connect ‘head to head’ knee to knee’ or right foot to left hand’. When the facilitator says ‘person to person’ each participant must find a new partner. Great for loosing inhibitions and getting over physical embarrassment but mustn’t make it too challenging for the group in hand.
6
MUTM TRAINING
Physical Warm Up
Vocal Warm Up
Shaking:
Ask participants to shake a leg, arm or whole
Facial stretching:
Yawning, chewing toffee,
body with lots of energy and make accompanying vocal
imagining a bee in your mouth, massaging your face,
sounds. It is often good to build from individual limbs to the
counting to ten while yawning, lemon face-lion face,
whole body travelling around the space.
counting to 10 overemphasising word shapes. Add sound as
Centering:
Ask participants to stand hip width apart
and reach up to touch the ceiling on their tiptoes. Once
much as possible. Using the whole body:
Imagining and vocalising
stretched as much as they can they let out a sign and drop
sound in all parts of your body as a group starting with
to a knees bent position with their head hanging over
the toes all the way to the head. This can be added to by
there feet. Ask them to gently bounce on their knees and
massaging or tapping that part of the body. Often good to
swing their arms to ensure fully relaxed. Now ask them to
start with low sounds and work up.
imagine a golden head out of the top of their head uncurling
Filling the space:
Working as individuals we choose
them upwards as slowly as possible. It is also useful to
a spec on a wall or ceiling to warm up with our voices. Start
imagine straightening up vertebrae by vertebrae as slowly
close to the speck and visualise it as a red ember burning
as possible. The shoulders and head should come up last.
more brightly as you connect with it vocally. When you
Participants should feel relaxed and centred with good
have warmed it take a step away and continue to grow the
posture ready.
ember. Keep going until you are far from the spec and filling
Stretching:
It is good to stretch out the aches and the
the space with your voice. A facilitator can build this by
pains of the day from head to toe. I often ask a group to go
asking the group to find new specks or work together to fill
around one by one offering stretches for the other young
the space with their joint sound. The facilitator can conduct
people to copy.
the group with differing pitches and volumes. This also aids
Bubble stretching:
Imagine you are in a bubble and
you are stretching out the bubble by creating different
group development. Alphabet constantants:
Ask the group to work
stretched shapes with your body across all directions trying
through the alphabet in rhythm overemphasising all
to make the imaginary bubble as big as possible.
constant sounds for example. BABABABA,CU,CU,CU,CU.
Energy release games:
With some groups it is good to
run at least one of these before focused warm-ups to allow
DA,DA,DA,DA Tongue twisters:
Unique New York New York’s
them to ease tensions from the day. Other groups of young
Unique, Peggy Babcock, red lorry yellow lorry, red leather
people need coming together in a circle to stretch as a
yellow leather, peter piper picked a peck of pickled peppers
focusing part of the session first. However all groups benefit
a peck of pickled peppers peter piper picked.
from some high energy games to release tension, have fun, laugh and build energy. From old fashioned playground games’ cat and mouse’ to ‘touch 5 things’, these games are often a groups favourite bit of the session.
MUTM TRAINING
7
Icebreakers and name games for new groups Red, amber, green:
Walking around space with
Change the action:
Two people freeze in an action
facilitator calling different energy levels to show in
in the centre of a circle. The audience looks for ways by
walk moving between 5% energy to 100% energy.
removing one person and completing the other person’s
When facilitator says Red the group stop, amber means
freeze in a new way the action will be changed. To get
change directions and green equals go. Tests the
someone to unfreeze they must be tapped on the shoulder by
groups listening skills and energy levels.
the person with the new idea. The game is free flowing and
Fill the space:
The group is asked to work together as
they walk around the space to fill as much of the space
goes on as long as the group have ideas and are motivated. Walk on mud, puddles, ice, sinking sand:
Simple as
as possible with their bodies. If a participant sees a space
it sounds. The facilitator calls out different environments
they should run into it. When the facilitator claps the group
the group must travel through. Effective at building focus
must freeze and evaluate how well they have done.
and physically unlocking the imagination. Can add in
Builds until group working together and committed to
where they are travelling, moods etc. Can be a good way to
filling space collectively.
build up a theme or character for example ‘you are walking
Stop as one:
Designed to develop group’s collective
to your best friend’s birthday party’ as opposed to ‘you are
focus off stage and on. The group walk around the space
walking to the headmaster’s office”. These exercises start
trying to stop at the same time and begin walking together
people acting without being watched by an audience or
as one. The group are encouraged develop group awareness
being judged on what they say.
and to not rely on a leader prompting the movement.
What’s in the box?:
In pairs person A asks person
B ‘What’s in the box?” Person B replies with the first item that comes into their mind. A must keep asking trying to unlock B’s creativity. B must not censor himself and answers will be crazy in range. Swap over.
8
MUTM TRAINING
Group Development Story Telling Exercises The following exercises are games we play with new
To run this effectively:
groups to get them to work together, create some drama
Set the task to the whole group clearly
and observe where they are at as a group. It is good to get
Provide any materials that might help pens and paper
groups creating work together as soon as possible and these simple exercises are normally a lot of fun.
for brainstorming Check each group individually understands the task Give regular reminders of time
Film freezes:
In groups of 4 or more ask the group to
Review and extend time if necessary
come up with a freeze of a well known film in 1 minute.
Celebrate each groups performance
Show the other groups and guess the film. This can be
Evaluate final product and groups process
changed to books or songs or based around issues. Elephant, river, bike, old man, flowers:
I ask the group
Fairy tale genre game:
Asks groups to rework
to make the above shapes without chatting as a groups
fairytales or well known stories using different genre in a 2
of 4–6. I then tell a story and when I mention each of the
minute presentation. For example Little Red Riding Hood
objects they must make the shape. ‘There was an old man
the musical or 3 Little Pigs the soap Opera.
walking by a river who loved elephants…’ All of the above exercises can be amended or developed Story games:
In groups of 4-6 young people must
incorporating local history, legend, topical news stories or
work together to create a short performance including the
different theatrical genre or theatre styles. The best drama
following elements:
exercises have clear rules within which the group can have
Only 5 words
fun and be creative. These exercises don’t put people on
Cornflakes
the spot and develop the group as a whole to develop work
A red bus
together with the participants leading the content not
A girl called Jane
the facilitator.
Time travel Snow storm An inanimate object that comes to life A flashback 1 line of narration in addition to the 5 words 1 line of song in addition to the 5 words 1 line of monologue (from a characters perspective) The group have 15 minutes to create the piece.
MUTM TRAINING
9
More Warm Up Games Possum in a tree:
The group walk around the space.
YOU:
The group stand in the circle and put their hand
When the facilitator says ‘possum in a tree’ the group must
in the air. The facilitator points at a group member and
get in to threes. Two of the group face each other holding
clearly says ‘you’. That person points at another and does
hands while the third stands in the middle pretending to
the same. Once you have been pointed at you take down
be a possum! Lots of fun, great for giggling!
your hand until an order passing ‘you’ around the circle
Big Chief:
The group sit in a circle. One person leaves
has been formed. The group keep passing the’ you’ clearly
the room. The facilitator picks a ‘Big Chief’ who must lead
and with energy in the same order. The group now develop
the whole group in a movement and rhythm. Once the
a new order with a subject such as cities or animals and
detective person is back in the room the ‘Big Chief’ must
when this is running smoothly the facilitator re-introduces
keep changing the movement which everyone else copies.
‘you’. The group must keep both patterns running. The
The detective must try to work out who the Big Chief is.
aim is to build as many patterns as possible. This tests
Walking wink murder:
The facilitator chooses a
‘detective’ who leaves the room. All others close eyes while he chooses one or two ‘murderers’. The detective comes back into the room. The group walk around the room looking for the murderer’s wink. When winked at, each participant must die a dramatic death. The detective has 3 guesses to work out who the murderer is.
communication, focus and group work.
10
MUTM TRAINING
Trust and Awareness Games
It is very important for a group to connect and trust
Improvisation Games
each other when devising theatre together especially issue based work that will touch on their own experiences.
Yes lets:
Group contracts are excellent ways to ensure issues such
could do. For example ‘lets go swimming” everyone replies
as confidentiality and respect are agreed as a group (it is
‘yes lets’ and acts that out until someone else suggests
important the young people suggest and phrase the clauses).
another activity.
One person starts by saying an activity everyone
There ain’t no flies on us:
Split the group in half and
Many of us have played catch and fall trust games.
have them face each other with at least 10 meters apart.
Here are some others:
Group A elects a leader who begins to chant ‘there ain’t no flies on us, there ain’t no flies on us, there may be flies
Wrists:
In pairs, one player leads another around the
on some of you guys but there ain’t no flies on us’ with a
room by means of only a very light contact, wrist to wrist.
particular twist such as a cowboy or an opera singer which
The leader should vary the pace and height and dexterity
the rest of the group join in with. This is chanted while
of their leading. The wrist can be replaced by following a
walking towards the opposition aggressively-once finished
partner’s sound.
the group return to their line and Group B begin.
The glass cobra:
The group come to the centre of the
Death in a minute:
In pairs without discussion two
room and form a long line, each player facing the back of
participants enter the circle and begin a scene during which
another. The facilitator asks for the players to touch the
one of them must die within a minute.
back of the person in front of them. They need to be able to
Antiques:
recognise this person again but with their eyes closed.
The group must imagine it is of great value and argue with
Then they close their eyes and the facilitator leads them
each other as to what it is. Each person must share their
separately around the room, leaving them in different parts
option as it is passed around and contradict the person before.
of the room. The players task is to re-form the original lineup, the cobra, without opening their eyes. If possible the cobra should form in the exact same space in the room to. This is great for focus as well as trust. Falling:
The group move around in the space (ensure
space not too big and define it if it is). At any point someone can call out ‘Falling’ at which point they start to topple slowly like a leaning tower. All other players have to rush to them to ensure that they are caught safely before they reach the ground. As soon as they are caught the game re-starts.
An object is passed around the circle.
MUTM TRAINING
11
Session Planning by Dick Johns
Dick Bradnum read English at Birmingham University
Part Two—Physical/Character
and then went on to train at the Royal Welsh College of Music & Drama and the Institute of Education, UCL. He
1. Busy bee — imagination and improvisation
was a founder member of The Custard Factory Theatre Co.
2. Walking — Leader says stop go. Then they get it for
Dick’s acting credits include Romeo and Juliet and Macbeth
themselves — sense it in silence as a group.
(English Shakespeare Company), The Office and My Hero
3. Leading — where do we lead from. They start by
(BBC TV). He has appeared in many radio dramas, and was
focussing on themselves then exaggerate further. Then all
for seven years a regular MC on the comedy circuit. His most
lead from head knees pelvis bum big toe etc
recent performance was as Malvolio in Twelfth Night at York Theatre Royal, a performance the Yorkshire Post described
Debrief:
as “a masterclass.” He has always worked with young
adapt for able / less able older younger more/less engaged
people, lecturing and teaching. Being around young people
audience. Where might you go next after these games?
occasionally compensates for his having very little hair and
What were aims /outcomes?
being middle-aged.
Part one—Introduction
level of focus and difficulty of games. Ways to
Part Three—Improvisation 1. Yes lets
Introduce yourself to the group and confirm what we are all here to do so everyone knows what’s going on.
2. Pairs (use Huggy Bear ) A and B. One tries to get the other person to say “yes” (for 30 seconds). Then swap over. Then try with “no” too.
1. Pass claps round the circle
3. Circle stories
2. Name and gesture game
a) words
3. In pairs you have 30 seconds to talk about your name.
b) phrases
Share back in circle - you speak for your partner.
c) fortunately/unfortunately 4. Nonsense lectures – in pairs a world expert and a
Discuss openings to sessions. What is important?
translator
Talk about aims and outcomes for each section and Improvisation by stealth.
overarching objective of part one. Talk about high-med-low
Debrief:
focus games. How did leader keep people on task/maintain
Talk about earning the right to do high focus activity like
pace? (counting down etc)
nonsense lectures. Aims outcomes and where next?
12
MUTM TRAINING
Starting points for using youth arts to explore issues with young people It is dangerous to assume what a group of young people
You could ask each participant to write a monologue as
may want to explore as an issue. It can’t be assumed that
though they were the object, a previous owner of the object,
a gay and lesbian youth group only want to explore issues
the person that gave the object etc… Or you could lead
of their sexuality or that a young mums group want to do a
group freeze frames where under your facilitation the group
performance warning of the hardships of early motherhood.
place themselves in large freeze frames and animate them
The young mums group may in fact want to do a piece
in a giant improvisations (sometimes best to start with only
celebrating the positive aspects of being a young mother to
sounds and actions).
counter prejudice in society or actually maybe they are fired
Newspaper/books/paintings:
up about youth drinking. Never assume always ask. Just
of source material such as a newspaper. Ask them to choose
asking though without exploring dramatically can leave you
the articles they think are interesting. Ask them to create a
with broad themes or what young people think they should
short performance including 5 freeze-frames, 1 narration, 1
be interested in. It is worth scratching beneath the surface.
monologue based on the story. You could get them to develop
Give the group a piece
the work by improvising what happened before or after the Mapping exercise:
Draw a map of the local area
event described. Develop characters not presented within
(the whole town or neighbourhood) and ask the group to
the report.
brainstorm incidence, issues or memories they associate
My dilemma:
with each part. For example they may find parts of town
chooses two or three others to be in her image. She sculpts
intimidating or they might discover there is nowhere they
them into an image which represents a current or recent
are allowed to hang out. Why do they like certain bits of
dilemma. This image can be representational or symbolic.
town and not others? Are there issues the group get fired
The model sees:
up about while discussing the area? You could then ask
different shapes. The aim is to find a shape which triggers
the group to bring the map alive through freeze frames
a certain imaginative quality of feeling. Once the shape is
and improvisations. Gradually while exploring the map in
made, A asks B ‘Do you feel anything?’ If the answer is ‘No’
conversation and dramatically the group will begin to find
A moves them to a different shape and asks again. If the
common ground and differences they are keen to explore.
answer is ‘yes’ A then asks ‘what do you see?” ‘where are
Ask each group member to bring in an object
you?’, ‘What has just happened?” B may discover they are
Objects:
Someone in the group comes forward and
In pairs. Partner A sculpts partner B into
that means a lot to them. Sit in a circle and each person will
back inside a scene which they remember well which they
introduce their object and why it means so much to them.
can describe or they may discover they are a scarecrow or
Keep records of themes and issues that are raised.
the Statue of Liberty; there is no pressure to be literal.
Encourage the others into creative discussions regarding the objects based on the theme. Following the discussion ask the group to create freeze frames depicting themes and stories that arose out of the discussion.
MUTM TRAINING
13
Image theatre work
Image Work
Devising Theatre
The group gets up and spontaneously create imagery
There is as much value in purely workshop based
by adding themselves into a single image cued by a title
sessions as there is in working towards a performance.
from the facilitator (this is easier once themes identified)
However groups of young people are often motivated by
A single individual sculpts a group piece. It might be a
an end presentation or performance. The context of that
scene from memory or an image to express an idea.
presentation must be owned by the group. For one group
Sub-groups create imagery amongst themselves and
performing to an invited group of family members could
bring them back to show. Images from sub-groups joined together to make composite images.
be perfect while others want to perform to millions to have their voices heard. If a group keep making work together this context will often change over time.
Individuals makes images separately in space but viewed as one image again cued by facilitator.
Animate Imagery The image may be brought to life by the protagonists
The process of devising theatre is organic. Once you have a specific theme, freeze frames and improvisations you need to be prepared to throw material away. It is important to create a group atmosphere where the whole group are
finding a phrase or movement or both, from within
involved in owning the development of the piece and
the piece. The different phrase movement sequences
are able to develop and lose material as the work grows.
triggered by facilitator.
Theatre is a medium where anything goes so it is possible
The group move in slow motion to bring images to life. Could be a second image they move to.
to mesh together the group’s vision of the world on stage however they feel. Music and physical theatre can link
The group improvise from this position.
disparate scenes or the group can script a formal written
Individual protagonists ‘thought track’ while holding
play with a beginning, middle and end. However it is
their position. Literally a stream of consciousness. Individual protagonists break away and speak in character to others in the piece. Group discussion:
Ask group to come up with and
order 10 most key issues that effect young people. Number 1 is the highest and 10 lowest. As individuals ask each young person to say what issue in the world they feel most strongly about and how they think they could realistically impact it. Discussion:
I love… I hate... My best memory is… I’m scared
of… I worry about... I get sad when… Each person answers these questions as personally or generally as they wish.
important to be realistic to your timescale, experience and budget.
14
MUTM TRAINING
Reminder of physical theatre workshop led by Elise Davison Physical Theatre Facilitation Workshop 17/04/2011 Warm ups
Pair work
Writing with chalk in the air
Compliments games: That’s amazing, thank you, is there
Tennis
more? ohhh yes
Isolation exercises and neck warm ups
Major minor exercises: exploring the space, working on
Filling space
clocking (audience), putting your partner ‘in the shit’
Triangles
(John Wright)
Loving someone else in the space — increasing intensity
Hypnosis with a twist: following your partners hand
Finding the game
— major doesn’t care about minor
Stopping and starting, running walking in unison
Train station: see partner at station want to speak to
Frantic warm up — clear the space, centre, person,
them, need to get train. Insert objectives/situations
fold/unfold, favourites, cartoons etc
— let it develop.
Commedia Stock Characters — The old men - Pantalone ( bent over, shuffling, hands in front of purse — sex and money, Turkey), Il Doctore ( Pig, Fat, talks a lot of nonsense — food and money — and sex); The Lovers — airy, in love with being in love, non carnal love; Zanni — bent leg, horizontal axis, many different types — Arlecchino ( monkey, runs on spot, in love with Colombina — sex, food, money. Acrobatic, falls asleep ), Colombina — dove, contact with audience — clever, unmasked, Il Capitano — king of prat falls, bombastic — braggart — but really a coward, chest — peacock; Senora — tango dancer, lovers grown up — knows about sex, manipulative. Lazzi- fly lazzi, loves suicide lazzi, line in sand — Il Capitano and Pantalone lazzi. Lots of Lazzi — Burla Slapstick
MUTM TRAINING
15
Engaging with hard to reach Young People by Jason Camileri Activity 1 Question — What makes a Young Person Hard to reach? The general feel is that there are dozens of answers
Why is it important to find out this information? Discuss possible factors. Some examples below: 1. Why ‘Who it’s for?’.
to the above question. There is absolutely no way that a
Age
workshop facilitator can be aware of all the issues which
Gender
may be affecting a group or individual/s. This makes the
School or youth group — Extended Opps, problem groups
task of engagement in some ways a negotiation as you
(behaviour or academic), young offenders, homeless young
try to analyse the best way to work with a group. Some
people, an established performing arts group, a group that
information may be given to you prior to your workshop,
includes people with disabilities, issue based group such
this will only tell you so much, and the success of
as anti bullying, lesbian & gay group, excluded young
engagement is down to the facilitators’ preparation,
people, etc.
plan and approach.
Cultural or faith groups.
Discussion Point 1 The planning of a workshop is central to its success.
2. Why ‘Where it’s held?’ Noise issues:
Can you make noise during the workshop?
Gathering as much information about the group you are to
Is the room next to a noisy room?
work with, or the workshop objective, will help you decide
Room size:
how to proceed with your plan. Some of the factors I always
require running?
consider before planning a workshop are listed below.
Time session can be held:
is it suitable for active exercises that During school hours, only in
the evening. What are you planning to do?
Length of the session:
What kind of workshop are you running?
how many weeks does it run for, if a session runs over is
Factors include : 1. Who it’s for! 2. Where it’s held 3. a) What the centre want to achieve b) What you want to achieve 4. Group numbers
Is it an hour, half day, full day,
there any extra time allowed, etc.
16
MUTM TRAINING
3. Why ‘What it achieves?’ Confidence Team building Basic skills / ESOL Fun Activities To recruit for a future course.
Discussion Point 2 Approach to the workshop is vital: Always expect different levels of participation and prepare accordingly. What types of exercises you choose. Cater these to the information gathered about your group. How you and the centre communicate the workshop you
4. Why ‘Group numbers’ The whole session and activity plan can be dependent on numbers. Some activities are more suited for larger groups and vice versa. If a large
are running. Advertise correctly. Remember something as simple as the title or session description on a poster can have an effect on who attends the workshop. Have an arsenal of exercises in your head or in a
group session is planned and only 3 participants
notebook that you can refer to in any given situation.
turn up then the session can be difficult to run.
At times you may have to deviate from your plan, or it
Are there too many students for one tutor, is there a need for a support tutor.
has to be scrapped completely leaving you to call on your experience to help you deliver. (Some examples — The plan may not be working, you were given wrong
Once you are aware of who you are working with preparation can begin.
information about the type of group or its size, you feel a different exercise may work better, etc) Don’t be a school teacher.(The teacher approach works fine in many situations, but some hard to reach groups can have an issue seeing teachers as fun or engaging people. I have experienced a blatant desire to rebel against ‘teacher figures’ but a willingness to cooperate with ‘tutors, youth workers or workshop leaders.’ It’s a difficult one to gauge but it’s about your initial approach. There are many good teachers who struggle to engage a group simply because they are labelled a teacher or the session they are running is labelled as ‘a lesson’. Some teachers have explained to me how certain classes will not engage if they feel as though they are taking part in a ‘drama lesson’, making it impossible for the teacher to work with them, but an outside source providing a similar provision is often seen as an extra activity which encourages engagement.)
MUTM TRAINING
17
Discussion Point 3
1. Bean bag game
Your first job is to assess the dynamic of the group.
Stage 1
Many groups have similar traits:
Stand in a circle. The facilitator calls out some ones
Confidence
name loud and clear, they then throw a bean bag to that
Insecurities
person. This action is then repeated by the new holder of
Cliques, factions
the beanbag, and this action is continued until everyone
Who gets picked on
in the circle has received the bean bag once, it then gets
Who does the picking
thrown back to the facilitator. The group are asked to
Who’s going to prove difficult & who’s going to
repeat the pattern, throwing to the same person and
get involved
calling their names. This continues until the group are
Who may need more encouragement
quite used to the pattern that they have created.
etc.
Another bean bag is introduced (different colour) the exercise is repeated, only this time each person must
There are a few different exercises that I use to try to
throw the bean bag to a different person, once again
work out the dynamics of a group. To the group these are
calling their name, and once again make sure each person
just games, but to you it’s a tool that gives you an insight
in the group receives it once. Continue this pattern until
to them.
the group are comfortable with it. Then finally introduce both bean bags at the same time. See how long they can
This is something that you get better at over time.
follow the 2 different patterns. Do they improve? I always explain exercises and reason for doing each exercise by either asking the group what they gained from it, or by simply pointing out the skills needed to achieve it. Stage 2 Keeping the same two patterns the group are now asked to walk around the space repeating the exercise. With the familiarity of the circle dispersed the exercise requires more concentration and awareness. Once again feedback on the different skills required. N.B. — I always explain exercise and reason for doing each exercise by either asking the group what they gained from it, or by simply pointing out the skills needed to achieve it.
18
MUTM TRAINING
Discussion Point 4 Introduce a competitive exercise to encourage the group to mix and work together.
If they shout Hurricane, everyone must move and try to become part of a new group of 3. At this point anyone can become either a house or a person. Once everyone
Often within a group the young people will gather in groups with their friends and sometimes avoid working with
settles there will of course be one person left over who then continues the game by calling one of the 3 words.
other members of the group. The beauty of this type of game is that people are more competitive than they admit, so in
The game continues until the facilitator decides to bring it
these circumstances the group will mix well to avoid losing
to an end.
the game. If the exercise can include the need for the group to also work together to avoid losing then you are allowing the group to integrate through their own will with the use of a fun activity.
2. Hurricane Best suited for larger groups. The game requires people to
Hug Tag This game works as a typical game of Tag but is designed to encourage participants to shed any further inhibitions. One person is ‘On It’, and they have to catch the others by touching them, then the person who has been caught becomes ‘On It’, and has to catch someone else.
initially split into split groups of 3. 2 people from each group create a house by facing each
The difference is that to catch someone the only place a
other and raising their arms up to form a roof. The 3rd person
person can be touched is on the stomach. The only way to
stands inside the house. These groups of people should be
avoid being touched is by keeping away from the person who
scattered around the room. There needs to be one person
is ‘On It’ or by protecting their stomach through HUGGING
left over who is not part of a group of 3. The object of this
someone else.
exercise is for the solo person to try to become part of a group of 3 by taking the place of someone else. The solo person controls the flow of the game by shouting one of 3 words that the rest of the group must respond to. These words are: Person
There are a few rules to help the game run smoothly: You can only hug in couples. Group hugs of 3 or above are not allowed. When you hug you can still move but you cannot just run around hugging for the whole time.
House
A hug can only last a few seconds
Hurricane.
When someone gets caught they must raise their hand to indicate that they are now ‘On It’.
If they shout person, then each of the people standing in each house must leave the safety of their home and try
The game ends at the facilitators’ discretion.
to find another. The solo person must try to enter one of the houses.
Feedback on the 2 games — were they effective? What problems could occur due to these types of games?
If they shout house, then the 2 people who are forming each house must leave and form a house somewhere else. The people in each house stay completely still and the houses must be formed over one of these standing people. The pairs that made up a house don’t have to stay together; they can form part of any new house. The solo person must try to become part of one of the houses.
— A group may have physical contact issues through faith, gender or other circumstances. Discuss suggestions on alternative games that could be played
MUTM TRAINING
19
Activity 2
Activity 3 Improvised Forum Scenario
Yes Circle
I set up a short scene displaying a possible situation
This easy exercise is used to encourage participants to
involving a potentially ‘Hard to Reach Young Person’.
give everything a go. It shows a group the value in saying
The one displayed at the workshop was: A Young Person is
yes to an exercise rather than blocking it.
on their mobile phone; they are talking loudly and disturbing
I usually use this in improv sessions but have found it
the rest of the group. The Workshop Leader tries to get the
to be a successful exercise when working with harder
young person to participate in the session or to leave the
to reach groups.
room, but deals with the situation horribly wrong, they end up physically ejecting the young person in a violent manner.
Stage 1 Stand in a circle. One person (The Caller) calls the name of someone on the other side of the circle (The Receiver), this person responds with the word ‘YES’, they then swap positions in the circle. This continues until everyone in the circle has been either a Caller or Reciever.
Discuss the issues in the scene Offer participants a chance to volunteer to replace the ‘Workshop Leader’ in the scene and employ a different tactic to the issue. It is important to remember that there are no real right or wrong answers (only alternative solutions) the rest of the
Stage 2 The pattern of Caller/Receiver from stage 1 is repeated. This time as they meet in the middle of the circle The Caller is to ask The Receiver a question, (any question- How are
participants are encouraged to support the person who volunteers to take part. The different solutions that are presented can be discussed amongst the group.
you today? Did you enjoy your holiday? Will you help me choose a new mobile phone? Can you look after this for me?
The original improvised scenario can be changed to suit
Etc) The Receiver is to say ‘No’ to the question and walk
any workshop situation that you may wish to present. It is
on by. The Caller can try to continue a conversation but the
important however that the original situation ends badly.
Receiver is to always respond with a ‘NO’ or any other short
This gives volunteers something to ‘fix’.
(but acceptable) negative reply. Stage 3 As stage 2, but this time The Receiver answers with ‘YES’ and then together they are to develop a small scene with the Receivers positive responses helping it forward. They are to find a nice way to finish it then leave. The difference between a BLOCKED scene (Scenario 2) and an OPEN scene (scenario 3) can then be discussed to highlight the benefit of ‘saying YES’.
20
MUTM TRAINING
Activity 4 Hour Workshop challenge The object is to design a workshop based on the brief that would be about an hour long. 1.
2.
A group of 14 –16 year olds at a high school. They are
3.
There are 2 groups of girls at a youth club who have
all Asylum Seekers or Refugees from various countries.
been in conflict with each other. One group has bullied
Most have been in the UK for less than 8 months and
the other group over a long period of time. The latest
have very limited English. They want an hour taster
situation involved indecent text messages being sent
workshop to see if the group can engage with a drama
around the school about 1 of the girls. The school would
provision and if it can assist with language issues in
like them to work together in a group on some creative
any way.
activity in a bid to get them to work together.
A young offenders unit has a group of boys aged
4.
A primary school is having trouble getting a group of
between 16 and 18 who have difficulty socialising.
boys (aged 10–11) to engage with reading and writing.
They have been unable to settle into any workshops
They are trying more creative approaches to getting the
so far and are known to have issues focussing on any
boys to enjoy writing in particular. They want a drama
session for more than half an hour. There have been
session that can make creative writing seem more fun.
some issues of violence toward visiting tutors.
If it is successful they would want a longer term provision. None of them have any previous drama experience.
MUTM TRAINING
21
Jason’s Top 5 Tips. 1. Think ahead
Get as much info as you think you personally need
4. Expect the unexpected.
If you enter a workshop expecting it to run exactly as
about who you will be working with. Different people
you have planned you could be in for a nasty surprise.
require different levels to feel comfortable in running
You can never predict how a session will run so it helps
a session.
to anticipate the fact that there may be unexpected factors. If you are well prepared you will be equipped to
2. Prepare as best you can.
deal with this.
Always prepare a session before hand based on your group. It is helpful to prepare more than you think you
5. Don’t panic
will need, but be sure to include your main exercises in
Some workshops will go brilliantly, some not so
the workshop, don’t let extra exercises stop you from
well. That is just the way it is! If you feel a session is
delivering the most important work.
struggling do not panic. If you begin to stress then this will translate into your work and ultimately affect the
3. Always have a plan B
This is helpful should the unexpected occur as it often does. This could include group numbers, participation levels, experience levels etc. It helps to have a range of exercises in your head or written down that you can call on in these circumstances.
outcome of your delivery. Be confident in what you do and in your delivery.
22
MUTM TRAINING
Youth Arts Methods and Uses
Text based:
This is when a group uses a written text to
Education:
Arts workshops, projects and productions
stage a play. This can still be a great way to explore issues
can be developed to build young peoples knowledge,
as must plays have central issues/themes at their core.
understanding and competencies in a range of subjects and
Plays can also be used as starting points for discussion of
issues. From assertiveness to sex education workshops can
issues or offshoots for original material. For example Romeo
be tailored for specific learning outcomes using many of the
and Juliet explore issues of love, hate, suicide.
techniques discussed today. Young people themselves can use the arts as a powerful peer learning resource and can
Community Arts:
Young people can create art for a
be supported to pass on messages to other young people.
particular community audience such as children or senior citizens. This could be used as an opportunity to develop
Other issues to consider when using the arts with
young people leadership skills or build cross generational
young people:
understanding. By working alongside that group they could
Physical and emotional safety
learn about new topics such as local history or
Child protection
child development.
Funding Progression routes
Personal development:
Most youth arts experiences
should build young peoples development as people from confidence to communication and leadership. It is possible for this to be the central aim of the course and a great way to empower young people.
Appropriate space Group expectations
MUTM TRAINING
Bibliography
House of Games: Making Theatre from everyday life by Chris Johnston Games for Actors and Non-Actors: Augusto Boal Why is that so funny: John Wright, Theatre Games: Clive Barker Further reading Improv by Keith Jonstone Theatre Games by Clive Barker
23