Drishya Facilitators Workshop Documentation

8/14/2019 Drishya Facilitators Workshop Documentation

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Dr ama for D r i s hya

Facilitators WorkshopJune 2nd & 3rd 2009

Facilitated byEvan [email protected]://www.evanhastings.com


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Drishya Faci l itators WorkshopDAY 1

Introduce the WorkshopI introduced the workshop in English, which was translated into Kannada (local

Language). The group was very attentive and focused on me, and later in the workshop

when the group warmed up they became chattier.

Guiding Questions

1. How can drama nurture social awareness among youth, facilitators, and thegreater community?

2. How can we encourage youth to cultivate self-awareness and express their truthsthrough multiple modalities?

3. How can we use drama to build community while addressing issues of socialjustice?

Then we did call and response with a Hip Hop Instrumental. In the picture below isArzu in full participation!


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Lightening RoundPlayers stand in a circle. The Facilitator makes a sound and movement that is imitated by everyone in thegroup, one at a time, in quick succession. (You know the wave at sporting events) When the sound andmovement returns to the Facilitator, the next person immediately creates a different sound and movement tobe passed around the circle. This continues until everyone in the circle has had a turn to create his/her own

sound and movement to send around the circle.

The Group got open and silly with this, and a few workers, the cook and asecurity guard joined in!

Rhythm CategoriesPlayers stand in a circle. The Facilitator states a category, for example 'food', then you go around the circle

one at a time saying a word from that category, like French Fries, Dosa, Curry.... Add a beat and theplayers must say there word on beat, no repeating what other have said.

We played this game using a Hip Hop instrumental as a metronome, and thecategories: food then cities.


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French Telephone/Group Mirror Emunah(1994, p.154)Everyone put one arm up with a finger pointing to the sky. Facilitator lowers their arm to point at someone

in the circle. Now that person points at someone who hasn't been pointed at yet, and continue until everyonehas been pointed at. The Last person points back to the facilitator. Everybody looks at the person theypointed at, not the person who pointed at them. Looking at the person you were pointing, take a deepbreathe, relax and get a blank look on your face. When the facilitator says go everyone mirrors the personthey are looking at. Mirror Every subtle movement even twitches.

This activity was confusing to the group. I English speaking groups in the US withthis activity, so I it surprising when the language difference compounded the confusion.

Columbian Hypnosis Boal (1992, p. 63)1. One partner tries to keep their face aligned with the other partner's hand as they move that hand around.

2. Switch roles, so that the previous leader follows.3. Both partners follow and lead at the same time.

The group had a blast with this activity and when we debriefed it people spoke of

the sense of equality that emerged from leading and following at the same time. Many ofthe participants expressed that they would like to try using this activity with youth in theclasses they facilitate.


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7-Step1. Line up in parallel lines facing a partner.2. Shake hands close your eye3. Facilitator says " step back one, step two, three, four..." up to seven

4. Now step forward "one, two three.....seven" now shake hands with your partner.The group took well to this, although it was more like 3 step, because the space was small. After a couplerounds I invited the participants to memorize the feel of their partners hands. Then I had them walkaround the room with their eyes closed and try to find their way back to their partner by feeling hands. Thistook a higher degree of trust (freely moving with eyes closed) and it intimacy (the sensuality of feeling eachothers hands). The group rose to the occasion.

Complete the Image: Body StormWith the whole group in a circle, one person makes the first image by freezing in place like a statue. Asecond person enters the image by placing themselves in a still position in relation to the first statue. Theperson who offered the initial image now comes out of the image making room for someone else to step inand complete the image.


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After a round of this I asked "What images are a source of strength for you?" Wedid another round of Complete the Image focused on Body Storming images that sourcesof strength. Once the tempo slowed I invited the group name single words that representsomething that is source of strength to them. Pictured below are the words the group

came up with.


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DJing ImagesRemixing Dramatic Embodiment & Personification

This activity is similar to Boal's Orchestra and the Conductor(1992, p. 96) and

Emunah's Emotional Orchestra (1994, p.159) The DJ conducts the group like playing asampler.

1. Play the Complete the Image as a warm-up. (see previous page for instructions)

2. Say one of the words from the brainstorm and have everyone self sculpt themselves inrelation to the group to create a group image of the word.3. After the group holds an image for at least 5 seconds in silence, announce the next

word/image.4. When the group strikes a poignant image ask everyone to hold that image and take a

deep breathe.A. Invite them to saturate their minds with the inner voice of the position their in.B. Say "when I say 'go' you're going to speak your sculptures inner monologue,like a free write where your pen doesn't leave the paper, keep your tonguespeaking until I say stop..."GO"C. "Stop! Deep breathe. Now take the essential from what you just said. Just aword, sound or short phrase, when I say 'go' this time say that essential bit overand over""GO"D. "Stop! Now add a short repetitive movement to go with your essential word,

phrase or sound. When I say 'go' do the sound and the movement"....."GO"E. "Stop! hold that position for a sec." you put on instrumental music (no vocalson the recording) I use Hip Hop beats.F. "Time to DJ this image, when I tap you do your sound and movement oncethen return to your still image"G. Tap people in rhythm with the beat try tapping people multiple times and play

with different juxtapositionsH. "Who wants to try being the DJ?" remind them to DJ with the music.I. Be attentive to the DJ's composition and switch DJ's when it makes the mostsense musically and energetically.

5. Read through more of the brainstorm words and have the group strike images.

6. When you get to another image you'd like to use for DJing repeat step 4

We did DJing Images personifying strength from first Food, then Sleep, andfinally Religion, as shown in that order in the pictures on the next pages.


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Debrief with Guiding Questions

1. How can drama nurture social awareness among youth, facilitators, and thegreater community?



A few highlight quotes from participants during the debrief in reference to the DJingImage about Religion;

"It felt liberating to say 'Allahu Akbar', I've never said that before""Religion is such a serious topic, so it was powerful to do this gameabout religion and laugh""I think it works on social awareness because Hindu, Muslum andChristian where all together... it shows that we are all one"


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Drishya Faci l itators WorkshopDAY 2

Guiding Questions1. How can drama nurture social awareness among youth, facilitators, and the

greater community?



Call and Response1. Names and movement2. Sound and movement

Group Mirror - Pass the Dance


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What are you doing?Two people are on stage A asks B, what are you doing? B responds with an action, ie.

Im flying a kite, what are you doing? A then has to instantly start pantomiming the action, in this caseflying a kite while responding by saying they are doing something totally different, which B then has to doand so on, back and forth until their brains freeze.

Partner blind walk with soundOne person leads the blind other by a sound, which they become familiar with before they start.

Sound GatesPartners with arms linked in the air make a sound in unison thus a sound gate. Half the partners

release from their gate role to close their eyes and walk through the other gates by following the sounds.

Complete the Image: Body StormWhat challenges do you face living in Bangalore?How do approach creating change in your community?


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Brain Storm on the Chalk Wall

What challenges do you face living in Bangalore?How do approach creating change in your community?


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Arms of Another - DebateOne player sits in a chair and the other player kneels behind the chair and acts as the first players

arms. A second pair in the same formation acts as another person debating the other side of an issue.

Advice Game- How to approach creating social change in your community?3 experts give advise, one good, one bad and one horrible. Other participants seek advice in their

efforts to create change in their communities.


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Small group scenes about social issues

Create a scene portraying an unresolved conflict involving a social issue that's relevant inyour community.


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Small group share scenes

Sociometric selection of which scene to role play with

Forum Theatre / Role Play of group selected scene


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Closing Debrief

Closing Thumb Circle

What are you taking away from this workshop?

References:Boal, A.(1992) Games for Actors and Non-actors. London: Routledge.Emunah, R. (1994). Acting For Real: Drama Therapy Process, Technique, and Performance. New York:Brunner/Mazel.

Drishya Facilitators Workshop Documentation

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