Improvisation/conversation

Improvisation/conversation is useful for groups which tend to be focused on results. This form of working

teaches the participants to once again focus on receptiveness and keep an open mind by improvisation.

The way it works

This form is an exercise in sensitivity for what is about to unfold; there is no room for purposiveness. Participants

may stay close to playing, speech is a continuation and reliving of the improvisation. Strict boundaries are put

aside as a result.

By speaking in a searching manner after the first time playing, participants experience multiple visions. They

relive the improvisation via someone else and per consequence they understand what has been played better.

As a result of this multiple experience the perception and content of the following rounds of improvisation

becomes more real. The repetition of improvising allows for a widening admission of non-cognitive

receptiveness.

Clues

The supervisor gives a short introduction in which she asks the participants to forget all their experiences until

then. She brings their attention to here and now by looking about in the space where everyone is present. She

helps them to wipe clean their minds and start this form with a tabula rasa. After the introduction/explanation

there is silence.

In three or four rounds that follow the group improvises collectively. After each round the supervisor asks about

the personal experiences (hearing, feeling, seeing) of the participants and whether they are absorbed in the

improvisation. In the conversation the supervisor emphasises on speech in a searching manner, words spoken

before the thought. Participants may stammer and stutter. Speaking is still part of the improvisation .

Duration Group size Requisites

60 minutes plus evaluative minimum: 3 - a neutral space

conversation maximum: 12 - where people can play

- musical instruments, other creative or theatrical attributes (drawing materials, objects, et cetera)

Photography: Godfried IJsseling

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Polyphonic reading

Polyphonic reading is useful for reading complex texts or texts that are still developing, because

the response is rather exploratory than purposeful.

The way it works

By cutting up a text in fragments and dividing those among participants a polyphony of perspectives will arise. The

dictatorship of the one perspective has been eliminated by breaking up structure and purposefulness of the text.

This plurality is enhanced by adding questions and sources, through which new thoughts and perspectives are added to the

conversation.

Clues

This form is made up of two parts. The first is an individual part, the second a collective one.

Part 1:

1. A substantial text in hard copy is cut up in printed pieces. The supervisor brings as many images/photos as fragments

of text. Each fragment is placed under an image. Every participant chooses an image accompanied by the

connected fragment.

2. The participants read their fragment in silence and underline what is for them the bearing piece of the text,

the piece which challenges them the most.

3. The participants write a commentary on their choice.

4. The participants formulate an investigative question based on their fragment.

5. The participants write down a source (film, book, poem, image, et cetera) associated with the fragment of text

they just read.

Part 2:

What follows are three rounds. In the first round participants read their underlined quotes out loud. In the second round

they read in turn their commentary and investigative question. A conversation will develop. In the third round every

participant presents his or her own added source.

Duration Group size Requisites

60 minutes; minimum: 6 - text on paper in fragments, as much or more than the number of participants

20 minutes individually, maximum: 15 - as much images as fragments

40 minutes collectively - pens and paper for writing Photography: Godfried IJsseling

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Associative writing

Dear reader,

I ask you to become a writer for the next couple of minutes. And a specific one at that. Try to make use of the

following clues:

1. Find a quiet and peaceful place to write.

2. Try to focus on yourself and start writing a thought or feeling. Where are you? What is on your mind at this

moment?

3. Keep on writing and don’t remove your pen from the paper.

4. When writing, try to make complete sentences and finish paragraphs.

5. After a paragraph leave white space.

6. Try not to stop writing for too long. A short moment is fine, but if you are stuck try to solve it by writing. For

example: ‘I don’t know what to write.’ Or try writing about the space you are in.

7. Write for 6 or 7 minutes.

Please come back to me after writing and you and your partner can read your text to each other.

Maybe we will have short talk afterward. Maybe not.

Happy writing.

Kind regards,

Bart

Photography: Godfried IJsseling

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Artistic resonance

Artistic resonance is wonderful for groups with an artistic and creative background to

express themselves through art rather than normal conversation.

The way it works

The improvisations by the participants are a gift for the storyteller. He or she receives an additional story about

his of her source or quote, he or she gains new perspectives. What has been evoked receives resonance,

thereby deepening the meaning of the source or the quote.

In this form speech and play are intertwined.

Clues

Two groups form two circles: an inner circle and an outer circle. The inner circle is made up of ‘participants’, the

outer circle is made up of ‘spectators’ – a so called fishbowl.

One by one, in turn, the participants in the inner circle take place in the centre of the room. Each participant talks

a minute (or two maximum) about a source or quote that inspires him of her. The inner circle responds with a

short improvisation of 2 or 3 minutes.

Speaking and playing does not add up to more than five minutes in total. This time frame is strict.

When all participants took their turn, the inner and outer circle swap places and participants become spectators

and vice versa.

Duration Group size Requisites

No. of participants x 5 minutes minimum: 8 - invitation to participants to bring an inspiring quote or source

maximum: 20 - requisites for improvisation; musicalinstruments, theatrical attributes, et cetera

Photography: Godfried IJsseling