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Drama for Drishya

Facilitators Workshop
June 2nd & 3rd 2009

Facilitated by
Evan Hastings
evan.hastings@gmail.com
http://www.evanhastings.com
Drishya Facilitators Workshop
DAY 1
Introduce the Workshop
I 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 the
greater community?
2. How can we encourage youth to cultivate self-awareness and express their truths
through multiple modalities?
3. How can we use drama to build community while addressing issues of social
justice?

Then we did call and response with a Hip Hop Instrumental. In the picture below is
Arzu in full participation!
Lightening Round
Players stand in a circle. The Facilitator makes a sound and movement that is imitated by everyone in the
group, one at a time, in quick succession. (You know “the wave” at sporting events) When the sound and
movement returns to the Facilitator, the next person immediately creates a different sound and movement to
be 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 a
security guard joined in!

Rhythm Categories
Players 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 the
players 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 the
categories: food then cities.
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 everyone
has been pointed at. The Last person points back to the facilitator. Everybody looks at the person they
pointed at, not the person who pointed at them. Looking at the person you were pointing, take a deep
breathe, relax and get a blank look on your face. When the facilitator says go everyone mirrors the person
they are looking at. Mirror Every subtle movement even twitches.

This activity was confusing to the group. I English speaking groups in the US with
this 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 of
the participants expressed that they would like to try using this activity with youth in the
classes they facilitate.
7-Step
1. Line up in parallel lines facing a partner.
2. Shake hands close your eye
3. 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 couple
rounds I invited the participants to memorize the feel of their partners hands. Then I had them walk
around the room with their eyes closed and try to find their way back to their partner by feeling hands. This
took a higher degree of trust (freely moving with eyes closed) and it intimacy (the sensuality of feeling each
others hands). The group rose to the occasion.

Complete the Image: Body Storm
With the whole group in a circle, one person makes the first image by freezing in place like a statue. A
second person enters the image by placing themselves in a still position in relation to the first statue. The
person who offered the initial image now comes out of the image making room for someone else to step in
and complete the image.
After a round of this I asked "What images are a source of strength for you?" We
did another round of Complete the Image focused on Body Storming images that sources
of strength. Once the tempo slowed I invited the group name single words that represent
something that is source of strength to them. Pictured below are the words the group
came up with.
DJing Images
Remixing 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 a
sampler.

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 in
relation 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 tongue
speaking until I say stop..."GO"
C. "Stop! Deep breathe. Now take the essential from what you just said. Just a
word, sound or short phrase, when I say 'go' this time say that essential bit over
and 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 vocals
on the recording) I use Hip Hop beats.
F. "Time to DJ this image, when I tap you do your sound and movement once
then return to your still image"
G. Tap people in rhythm with the beat try tapping people multiple times and play
with different juxtapositions
H. "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 most
sense 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, and
finally Religion, as shown in that order in the pictures on the next pages.
Debrief with Guiding Questions
1. How can drama nurture social awareness among youth, facilitators, and the
greater community?
2. How can we encourage youth to cultivate self-awareness and express their truths
through multiple modalities?
3. How can we use drama to build community while addressing issues of social
justice?

A few highlight quotes from participants during the debrief in reference to the DJing
Image 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 game
about religion and laugh"
"I think it works on social awareness because Hindu, Muslum and
Christian where all together... it shows that we are all one"
Drishya Facilitators Workshop
DAY 2
Guiding Questions
1. How can drama nurture social awareness among youth, facilitators, and the
greater community?
2. How can we encourage youth to cultivate self-awareness and express their truths
through multiple modalities?
3. How can we use drama to build community while addressing issues of social
justice?

Call and Response
1. Names and movement
2. Sound and movement

Group Mirror - Pass the Dance
What are you doing?
Two people are “on stage” A asks B, “what are you doing?” B responds with an action, ie. “
I’m flying a kite, what are you doing?” A then has to instantly start pantomiming the action, in this case
flying a kite while responding by saying they are doing something totally different, which B then has to do
and so on, back and forth until their brains freeze.

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

Sound Gates
Partners 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 Storm
What challenges do you face living in Bangalore?
How do approach creating change in your community?
Brain Storm on the Chalk Wall
What challenges do you face living in Bangalore?
How do approach creating change in your community?
Arms of Another - Debate
One player sits in a chair and the other player kneels behind the chair and acts as the first player’s
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.
Small group scenes about social issues
Create a scene portraying an unresolved conflict involving a social issue that's relevant in
your community.
Small group share scenes

Sociometric selection of which scene to role play with

Forum Theatre / Role Play of group selected scene
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.

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