The Bloodless Coop
Top of Mind: Another Street Training session, training the police from around the estate. And last night, our mini impro show planted at a great party (bands, collaborative painting, a capella rap), with lots of audience interaction.
Listening: A nice set from Daniel Burne at that same gig.
Reading: Between books just now.
Planning: Next weekend: whether to go to Indiecon. Or to Impro Jam. Or neither. Or…both.
Writing: Finished the fwd submissions. Check out Steve’s too.
And you?
My contribution to the FWD collaborative book project. I still have a little time to tweak it, so let me know what you think as it stands.
Top of Mind: Glad to have fulfilled my sitting practice this week: half an hour every morning.
Listening: Terence Blanchard’s Voices
Reading: Enjoyed Agatha Christie’s The Mystery at Styles. A country house, a highly mannered Belgian, unreliable narrators, the works. The Narrative Escape by Tom Stafford – an essay on stories, psychology and morality – you can see I was duty-bound to read it! Provocative and neat.
Planning: follow-up Street Training contributions, some shows next week (I know, I know, it’s improv. But still).
Writing: theFWD contributions.
And you?
Eccentric doesn’t bother me. “Eccentric” being a poetic interpretation of a mathematical term meaning something that doesn’t follow the lines – that’s okay.
I think what eccentricity can represent in terms of the fear it engenders is a challenge to what is already considered right or good by people who have invested a certain amount into their life and livelihood that is not eccentric, but centric.
If there’s a challenge to that, that can make people concerned that either what is considered a safe way of living or a good way of living may be pulled out from under them. I can understand that.
That’s why countercultural film movements are important since it’s lacking in the culture right now.
There’s an idea that there’s value to an alternate point of view, but everything that’s presented in the media is procultural, and it makes people nervous when there hasn’t been a true discussion of alternate points of view. There’s no general discussion in the media.
There are always coincidences: always what turns up. There is a pattern because there is the ability to see patterns. It is through seeing this ability that we create our way through the maze.
Top of Mind: A fun audition for a Chicago long-form course. Today, a lovely day out walking to the Horniman Museum, checking out African ritual, children’s storytelling, and getting my hands on some cool masks and puppets.
Listening: The Bad Plus, soon in the UK for a series of jazz festival shows
Reading: Just finished Anarchism: A Very Short Introduction by Colin Ward, on the heels of Eaarth by Bill McKibben. Both excellent.
Planning: A trip to Bristol for the Old Vic Improv festival.
Writing: Some pieces for leashless’ The Future We Deserve.
Because comments are now enabled, I can also ask: And you?
Top of mind: A Saturday full of making and creating at Brixton Village. This was the first time we – the umbrella collective of Brixton Village Idiots – curated a days-full of activities, and with the support (loaned furniture, suggestions, crepes) of Brick Box it went really well.
Listening: Godspeed You! Black Emperor. Back from hiatus, brilliant, in the UK this December.
Reading: Finishing up The Case for Working with Your Hands by Matthew Crawford. I have a lot to say about this book – I agree with much of it and where I don’t, it’s forced me to sharpen my own position.
Planning: Scheming the bones of a performing company with some improvisation co-conspirators. We hope to see this forming in the coming months. Now toying with a new format and thinking of when, where, and who else to bring on board.
Writing: impro – the uncivilised theatre, an article I’m hoping to submit to the Dark Mountain journal. Also, I’m ready to return to my political game, A Journey, thanks to a kind review of the rough draft I posted up online. Stage one is to get it into a playable state and take it to a table.
This Wednesday I led a Street Training session at the South London Gallery. A practice developed by the artist Lottie Child, Street Training discovers and encourages different ways of being joyful and creative on the streets.
I came on some sessions this summer, where we walked on railings, used the bells from chained bicycles as an orchestra, hid in bushes and made human arches for pedestrians to walk through. I quickly became interested in how improvisation fed in to the principles Lottie was investigating; her living Street Training bibliography – a box of key texts, films and magazines – includes a copy of Impro. So I jumped at the chance to take this session, the first in a series with a group of teenagers living in Peckham.
I put together some games and exercises focused on collaboration and agreement, some of them tailored to face ‘out’ – at the environment, real physical space and objects – and introduced them to the dozen or so young people there. We then went freeform into the streets and estates, where I was looking to see if these impro principles guided certain patterns of behaviour.
What I learned
This group quickly let me know when their interest was waning: with in-jokes, rough and tumble play or simply by wandering off.
This made big demands on my attention and energy, but all in all I found this refreshing and really useful. My suspicion is that many times where the kids’ attention wandered, an older group would be doing the same, but are conditioned not to show it – at least, not at the earlier stages.
They were comfortable messing about, breaking taboos, touching and getting inside each others’ space.
For the purposes of impro, this is great; I’d say it’s great generally. It fits with Keith Johnstone’s insight that you start creative, and find that faculty stripped away by education (1). Johnstone is in fact critical of much of the civilising apparatus of society, which feeds a precarious and fragile egoic perspective, where failure must be avoided and elaborate social personas are needed to protect us from the judgments of others. We can’t fail, and failure is in the eye of our beholders.
However,
There was still lots of blocking and avoidance going on. Only certain behaviours accepted.
I get the most insight from this through returning to Johnstone’s view, unpacked from a simplified ‘school blunts creativity’ to (hopefully) the truer rendition as ‘all social expectations constrain us in all manner of ways, including what we term creativity’. Teenage life may be one where we can disregard the social judgments of adults and authority figures, getting a kick from offence or daring, but the social judgments of peers? That’s a whole other thing. Consequently, acting edgy or knowing was a commonplace during the session, whereas exposing weakness or vulnerability was very infrequent. I suspect the opposite pattern would hold in other groups, eg those that hold values of pacifism, openness and revelation (2).
The point is that whichever social environments we evolve in are reproduced within us as a social persona: it is this that is problematic for genuine expression. I would be really excited to explore these avoided areas with this group, hopefully later this year. To me improvisation is an emancipatory practice, and its joy comes from opening up possibilities and being truly free in action and thought. I believe that it achieves this via its medium of play, so the trick is to ensure that the fun never gets sacrificed in order to address the important, as this would be self-defeating.
We had fun.
Which was great. At the start of the session I felt uncertain that everyone would be prepared to participate; this was an unknown quality to most of the group and I was a stranger to them. By session end, we had duelled in slow motion, worked together to get up and down safely onto garage roofs, and staged a record-breaking sprint, complete with medal ceremony.
Did Improv translate to the street?
I’m really happy with how things went. First sessions of anything have some work to do – to clarify what the practise is meant to be about, to allow participants to test the edges and figure out for themselves what they want from it. We seemed to do this pretty smoothly, and gave the group opportunities to safely interact, ways to reveal in a playful context, at your own pace. Even if the improvisation techniques only served to warm-up, connect and encourage a playful, safe mindset, then that’s a big success. Many improvisers argue that this is really all there is to improvisation in any case: be in a good state and the rest follows.
I’m still thinking about how the games we played, of rehearsal room origin, translate into the wider world. I wholeheartedly want to avoid enforcing ways of playing that are counterintuitive and unnatural, that introduce a ‘thinking step’ to an otherwise effortless process of play. So I didn’t push it when the first thing suggested out in the streets was to just play a big hide and seek, even though on its face this bears little relationship to the ethos of building ideas and finding new ways of interacting by focusing on your partners. Hide and seek it was! We just kept adding stuff to it: relationships, agendas, specialist hunting weaponry, whatever excited us to introduce.
In this way, and others, I saw enough glimpses to reassure me that, used with the right lightness of touch, the techniques and philosophies of impro do port across.
So thank you to Lottie and the South London Gallery, and all the young people who Street Trained with me. I hope to see you all again soon.
Links:
South London Gallery
(1) ideas similar to those currently promoted by education advisor Ken Robinson.
(2) And in fact, I’ve heard evidence second hand that this is the case.
All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they act their dream with eyes open, to make it possible.