“Improv-Eyes without the drama”: Am examination of proven improvisation techniques as a teaching resource.
SECTION ONE – WHAT IS IMPROV AND HOW COULD IT HELP TEACHING
Improvisation in this context is a series of games or exercises played regularly. With regular practise, these exercises lead to increased creativity levels, which in turn boosts problem solving and idea generation. Dave Asprey, a prolific technology entrepreneur describes the process as follows: “During improvisation, the self-monitoring part of the brain deactivated, while the self-expression part of the brain got activated (medial prefrontal). Literally, that means that to be creative, you have to stop picking on yourself while boosting your self-expression abilities.”[1]
Although improv is more widely accepted as a stage device, mainly for comedians, there is a growing body of research to suggest improvisation has applications in education[2]. The notion of improvisation in education refers to the exploration of ideas and queries from learners which are facilitated by the teacher within the framework of the curriculum (Maths, English etc.). Improv is currently seen as linked to English as a means of developing the English curriculum. It should also be noted that improvisational drama is also seen by the NCCA as “”having a contribution to make to the development of the child which is quite independent of any learning objective for which it may be used in any curriculum area”[3]
Improvisation (improv)is a tool which all people use, though unconsciously. The problems when using improvisation in a teaching environment often arise due to the teacher having to consciously think about improvising in the classroom. This conscious improvisation brings with it a barrage of judgement, doubt and negative thinking. Using improv games is an effective way of introducing improv into the classroom and developing improvisational skills in teaching, whilst still retaining control over the classroom activity.
In the past year the author has had the opportunity to work with several Special Needs Assistants’ groups and Resource Teachers Groups, and is soon to begin working with Newly-Qualified Teachers to equip them with these skills. It is important to see improv, not as an additional thing for teaching staff to learn, but rather as a way of complimenting the existing school curriculum (Yes) as well as offering a way to play while obtaining specific learning outcomes (And).
It has been noted that the most effective interactions in classroom balance structure and flexibility[4]. Our current teacher training methods focus on structure, which is vital for classroom order and maintaining learner focus. Effective play methods can build on this structure, enabling learners who do not engage with mainstream methods to be active participants in the classroom. They do not require learning to be “dumbed down” or indeed abandoned altogether. In fact improv games are structured in such a way to guarantee logic, insofar as the output must be understandable to a wider audience. As Dr. Katherine McKnight noted: “In this stripped - down, bare – bones dramatic form, there is no limit to what the imagination can conjure into being; yet the form demands specificity, clarity, and logic if it is to be meaningful to the audience.[5]
One of the arguments for using improv as a teaching tool is that children in a primary school setting are playing anyway when they come into school, so it is in effect meeting them where they are. (Sawyer 1997, Lobman 2005). Children learn through play, and engage with learning when it is delivered in a fun way. Play is considered the characteristic mode of behaviour of the young child, an expression of the natural spirit of childhood and thus a key defining feature of childhood[6]. What improvisation adds to the play state is a process of incorporation of the offer of play into the learning objectives of the day; be it Maths, English or Social Skills. The key to making the transition between children playing and teachers harnessing this current play state to deliver learning objectives is equipping teaching staff with the ability to both identify this offer of play, accept it and build on it by linking it to the school curriculum.
Teachers create lesson plans which help structure learning and development. In this improvised teaching scenario, there is room for offers for learning being taken from the learners themselves. In recent feedback from the group of learners whom I have been delivering weekly improv games for, the main feedback from them was that not only did they enjoy it, they were also learning spellings and about Geography. Improv takes a subject away from a two dimensional screen or book and lets learners play with the information, and it also lets them learn from each other, not just a teacher. The control still rests with the teacher, but the offer of play is a very tempting one for young learners, and the author has noticed that improvisation sessions have often been perceived as a “treat”, notwithstanding they develop core literacy, numeracy and social skills. This temptation factor gives any teacher a “bargaining chip” to elicit cooperation from their class.
It is important we look at resourcing teachers in improvisation skills in order to give them confidence to use this tool regularly in the classroom. Lobman (2005) also found that improv
training helped teachers use skills associated with responsive teaching, including attending to children’s interests,building on children’s play, and giving directions that follow from the activity the children are doing. She found thatafter participating in improv training, teachers reported increased confidence in facilitating play.[7]I has been practising improvisation for 7 years, and it is worth noting that this type of learning is one which yields incremental benefits in terms of creativity, problem-solving skills and flexibility. It much be borne in mind that some sort of regular play for teachers is also necessary, be it improv or some other form of play which engages teachers. In this way, they understand playfulness and give permission to their learners to play.
LOCAL APPLICATION OF IMPROVISATION: THE IMPROV-EYES® PROJECT
We mustn’t forget, and it hard to try and ignore the increasing amount of learners with Special Educational Needs in classrooms[8]. Improv can help integrate learners with Special Educational Needs and has specific games which help certain types of learning disability, in particular, autism.
In 2013 the author commenced weekly improvisation classes in St John the Baptist Boy’s National School. This is a DEIS Band School, and some learners in the class have Special Educational Needs such as Attention Deficit Hyperactive Disorder (ADHD), Autism and Emotional Behavioural Difficulties.
Outcomes
The following changes were observed with the continued use of the games:
- The team-building skills in the group had improved. Games such as 3-noses, which look at mathematical skills also built on the necessity of the group working together to achieve a shared outcome. The collective celebration was definitely a reflection of the sense of accomplishment the group felt. The group also mix better and are more likely to work with different group members than sticking with their best friend.
- The learning environment is definitely improved when the right balance of physical and mental focus games are played. The pupils are energetic but a range of purely physical games serves only to cause disruption and chaos in the group.
- The group’s listening skills had improved, and individuals were less likely to get distracted between and during games. Games such as Group Count, which demand concentration and listening showed huge progress in terms of group focus and listening to both verbal and non-verbal cues.
- Narrative skills continue to be challenging. Story games have proved challenging with the group, with individuals pursuing individual story lines as opposed to following a “common thread” which is established by the group.
In Autumn 2014 funding was secured to work with an additional class. Corpus Christi National School is also a DEIS Band 1 School, with similar learning challenges to the class in St Johns. This school has mixed classes, so it offered an opportunity to see whether improv is perceived differently by girls and boys. The class is Corpus Christiis substantially larger, with at least 20 learners in each session, as opposed to 8. This group are highly energetic and have engaged very well with all aspects of the course, including literacy, numeracy and drama.
WHERE TO START: SOME PRACTICAL EXAMPLES FOR TEACHERS TO USE
Examples of improvised teaching:
Harnessing the Surrounding Environment
Improvisation requires that teachers use resources available in the surrounding area. Those training teachers can hold workshops in the area and give teachers advice on using available resources to perform classroom experiments, especially in disadvantaged areas. Despite having knowledge of the subject, many teachers do not realize that they have plenty of resources available to bring a lesson to life. Once the teachers begin to understand the principles behind improvisation, they can begin improvising their own tools.[9]
Play Making within the Curriculum
The History Bus[10]is an example of a game created by a teacher who did a short course in improvisation. In this game children board an imaginary bus as their chosen historical character and have to interact with their fellow passenger in that character’s style. Having practised this game with children in 6th class the author observed that it was an effective way to encourage peer learning, as well as engage learners who weren’t very interested in history.
Improvisational teaching allows teachers to see these opportunities in every subject. In workshops facilitated with Resource Teachers, several options for adapting games to specific subjects were happened upon after playing these games.
Story Building: 3-part Story
This is often used as a warm up for performing improvisers to ensure that they are working as a team and listening effectively. Three learners must develop a short story using the following framework:
- Once there was a ______.
- Unfortunately he/she/it ______.
- Fortunately for him/her/it ______.
I have observed this exercise with children of several ages. It is effective in generating ideas and using the “hive mind” of the classroom to layer ideas together. This can be used to start the story writing process, explore historical accounts, or even identify parts of story structure in text.
CONCLUSIONS AND RECOMMENDATIONS
- CONTINUOUS PROFESSIONAL DEVELOPMENT FOR TEACHERS
One of the findings from the NCCA 2005 report was that many teachers did not feel comfortable in using improvisation as they had not received formal training in the subject[11]. At present few qualified improvisation teachers operate in Ireland, and current budgetary constraints also limit the Professional Development options for teachers. As Robert Fisher argued, creative learners need creative teachers who provide both order and adventure, and who are willing to do the unexpected and take risks[12] (Fisher, 2002). It is the author’s view that investment in this area is important and will help develop both teacher and learner levels of creativity, and can be facilitated at a relatively low cost.
- TEACHERS’ ATTITUDES TO PLAY
At a recent training session with SNA’s the author observed how they needed some time themselves to get into a “play state” in order to understand the mechanics of the improvisation exercises. In sessions with the 6th class group in Corpus Christi National School, the class teacher participates in the games, and the author believes this is an effective way of legitimising play and making it permissible as a learning tool. Play skills are unlearned through years of work and routine, and these simply cannot be switched back on in an instant, and they will not be switched back on unless the teacher can see the importance of being part of the play process.
- BEYOND THE PRIMARY CURRICULUM
Play promotes divergent thinking, and the ability to think flexibly and critically is vitally important in today’s knowledge economy. Introducing improv into Primary Schools builds a solid foundation for creative thinking, but to stop this practise in secondary school would be counter-productive. Giving a learners the chance to generate solutions to problems, ask probing questions and challenge existing theory will build creative confidence, and this is essential to increasing our output of creative thinkers[13].
[1] visited 13/2/2014
[2] Noteworthy researchers in the field being Carrie Lobman, R Keith Sawyer, and Alane Jane Starko
[3] National Council for Curriculum and Assessment English Primary School Curriculum visited 13/1/13
[4] Borko, H & Livingston, C (1989) Expert-Novice Differences in Teaching: A Cognitive Analysis and Implications for Teacher Education, American Educational Research Journel. 26(4), 473-498.
[5] - visited 13/2/15
[6] Play as a context for Early Learning and Development A research paper Margaret Kernan, Ph D, Commissioned by the National Council for Curriculum and Assessment, NCCA. © NCCA 2007
[7]Lobman, C., & M. Lundquist. 2007. Unscripted Learning: Using Improv Activities across the K–8 Curriculum. New York: Teachers College Press.
[8]
[9]
[10] Lobman C. The Developing Teachers Fellowship Program: Exploring the use of Improv Theatre for the Professional Development of Inner City Teachers - Paper presented at the annual meeting of the American Educational Research Association, Chicago, IL: April, 2007
[11] National Council for Curriculum and Assessment Primary Curriculum Review Phase 1 Final Report May 2005 ref pg. 39. Visited 16/1/13
Fisher R Creative Minds: Building Communities of Learning for the Creative Age[12] visited 14/1/13
[13] Sawyer, K. (2006) Educating for Innovation. Journal of thinking skills and creativity, 1(1), 41-48