Welcome to an insightful discussion on how improvisational theater, or improv, can transform educational experiences. Today, we delve into this topic with Jamie Nunez and Jordan Elizabeth, a New York Training Manager at Girls Leadership. This organization is dedicated to empowering girls by helping them find and use their voices effectively.
Girls Leadership is a national nonprofit that emerged from research conducted by Carol Gilligan and her team at Harvard’s Graduate School of Education. They discovered that middle school girls often lose confidence in their voices, a phenomenon that laid the groundwork for the psychology of girls. However, when this programming was introduced to diverse groups, it didn’t always resonate, prompting the need for a culturally responsive curriculum.
Jordan Elizabeth’s role involves collaborating with all-girls public schools in New York. She engages with teachers, administrators, and students to identify the social-emotional skills they wish to cultivate. Her task is to tailor the curriculum to these needs and train educators to deliver it effectively.
In recent times, students face significant challenges, including anxiety and trauma, especially in the context of online or hybrid learning. The mid-90s research by the CDC and Kaiser highlighted that early childhood trauma, categorized as abuse, neglect, or household dysfunction, significantly increases the risk of various health issues. Today, our understanding of trauma has expanded, and current crises like the pandemic and systemic racism add to the burden students carry.
Educators often misinterpret trauma responses such as disassociation, fatigue, confusion, and withdrawal as defiant behavior. Instead, these should be met with empathy and understanding.
Improv, a form of live theater where dialogue, characters, and plot are created spontaneously, can be a powerful tool in education. Jordan Elizabeth first applied improv in her work on sexual assault prevention, using it to foster an environment where participants felt empowered to voice their thoughts and engage in meaningful discussions.
Improv encourages educators to embrace vulnerability and engage with challenging topics like trauma and anxiety. Many educators are already adept at improvisation, especially with the demands of distance learning, which requires quick thinking and adaptability.
Jordan Elizabeth highlights three key improv principles that educators can apply:
This principle involves accepting and building upon suggestions from students, fostering a collaborative learning environment.
Educators should create a supportive atmosphere where students can thrive, equipping themselves to be fully present and engaged.
Creating a brave space where mistakes are welcomed encourages learning and growth for both educators and students.
In practice, these principles can be applied in situations where classroom tensions are high. Educators can openly acknowledge the situation, share their feelings, and invite students to co-create a supportive environment.
Here are a couple of improv games to engage students:
The facilitator sits in the “hot seat,” allowing students to ask yes or no questions to learn more about them.
Participants contribute one word at a time to collaboratively create a story, enhancing creativity and teamwork.
For further engagement and to connect with Jordan Elizabeth, you can reach her at [email protected] or find her on LinkedIn and Instagram.
Thank you for joining this enlightening conversation on using improv to redefine education!
Participate in an improv workshop where you will practice the principles of “Yes, And,” “Setting Up Your Scene Partner for Success,” and “Giving Up Looking Good.” This hands-on experience will help you understand how to create a collaborative and supportive learning environment.
Engage in role-playing exercises that simulate classroom situations involving trauma responses. This activity will help you develop empathy and learn how to respond to students’ needs with understanding and support.
Form small groups and participate in a “One Word Story” exercise. This activity will enhance your creativity and teamwork skills, demonstrating the power of collective input in educational settings.
After participating in improv activities, write a reflective journal entry about your experiences. Consider how the principles of improv can be applied to your educational practices and how they might impact your interactions with students.
Conduct a peer feedback session where you and your colleagues share insights and experiences from the improv activities. Discuss how these can be integrated into your teaching methods to address challenges like trauma and anxiety in the classroom.
Here’s a sanitized version of the provided YouTube transcript:
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I hope you all are doing well out there! Today, my name is Jamie Nunez, and I welcome you to another amazing edition of our distance learning chats with Common Sense. I’m so excited to be speaking with the wonderful Miss Jordan Elizabeth.
I want to start our conversation by acknowledging that whether you’re an artist or a teacher joining us today, or if you’re feeling challenged by being in front of a camera, we’re right there with you. Hopefully, as we discuss improv, we can understand that while it can be light-hearted, it often addresses serious topics.
Jordan Elizabeth works for an organization called Girls Leadership. She is a New York trainer, a former actress, and has an amazing skill set around improv. Jordan, can you tell us a bit about your role at Girls Leadership and what excites you about improv?
Thank you so much for having me! I work at Girls Leadership as the New York Training Manager. Girls Leadership is a national nonprofit with the mission of equipping girls with the skills to exercise the power of their voice. My work involves modifying our curriculum to be culturally responsive.
Girls Leadership was founded 10 years ago, informed by data from Carol Gilligan and her team at Harvard’s Graduate School of Education. They noticed that middle school girls were losing their voices, which became the foundation of what is known as the psychology of girls. When this programming was presented to diverse populations, a lot of it didn’t resonate, so my job is to modify the curriculum accordingly.
I work with a network of all-girls public schools in New York, interviewing teachers, administrators, and students to understand the social-emotional skills they want to develop. I create curriculum to meet those specific needs and train educators on how to deliver it effectively.
I want to discuss the current state of our kids, particularly regarding anxiety and trauma as they prepare for online or hybrid learning. What are you seeing in the field?
When I talk to educators about trauma, I start with some background data. In the mid-90s, the CDC and Kaiser discovered that early childhood trauma dramatically increases the risk of many leading causes of death in the U.S. They defined trauma as existing within three categories: abuse, neglect, or household dysfunction. Many participants had experienced one or more of these traumas, and since then, we’ve expanded our understanding of what constitutes a traumatic experience.
Given the current crises, including the pandemic and systemic racism, our students are carrying a lot. When I spoke with guidance counselors and teachers, I heard about disassociation, fatigue, confusion, and withdrawal among students. Trauma responses are often misinterpreted as defiant behavior instead of being met with compassion and empathy.
Improv can be helpful in equipping ourselves to respond to these situations. Improv, or improvisational theater, is a form of live theater where dialogue, characters, and plot are made up on the spot, often informed by audience suggestions.
I first used improv in my teaching while working in sexual assault prevention. The first part of the program was a half-improvised, half-scripted show, followed by a facilitation where we discussed victim-blaming culture and consent. The improv component allowed me to create a space where participants felt they had a voice and choice, fostering an environment of listening and co-creation.
I encourage everyone to share what makes them feel vulnerable as educators. This practice can help us engage with the heavy topics of trauma and anxiety.
As educators, many of us are already master improvisers. Distance learning has required us to think on our feet and adapt quickly. I’d love to offer some ways to harness that skill intentionally.
When coaching educators, I utilize some improv principles. The three I often draw upon are:
1. **Saying Yes, And**: This involves accepting suggestions from your audience or participants and building on them.
2. **Setting Up Your Scene Partner for Success**: This means equipping yourself to show up fully for your students and creating an environment where they can flourish.
3. **Giving Up Looking Good**: This helps create a brave space where everyone feels comfortable making mistakes.
To apply these principles in a classroom scenario, consider a situation where tensions are high due to recent conflicts among students. Acknowledge the situation openly and ask how you can best support your students. Model vulnerability by sharing your own feelings and inviting them to co-create a supportive learning environment.
For assessment, evaluate engagement in the same way you would with any lesson. Ensure that your lessons allow for student input and co-creation.
Lastly, here are a couple of quick improv games you can play with your students:
– **Hot Seat**: As the facilitator, sit in the hot seat and allow students to ask you yes or no questions to get to know you better.
– **One Word Story**: Each participant contributes one word to create a story together.
Thank you for this engaging conversation, Jordan! If anyone wants to connect with you further, where can they reach you?
You can reach me at [email protected] or find me on LinkedIn and Instagram.
Thank you all for joining us today!
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This version maintains the essence of the conversation while removing any informal language and personal anecdotes that may not be suitable for all audiences.
Improv – A form of live theatre in which most or all of what is performed is created spontaneously by the performers, without a script. – During the workshop, the actors engaged in improv exercises to enhance their spontaneity and quick thinking skills.
Education – The process of receiving or giving systematic instruction, especially in a formal setting, aimed at developing knowledge, skills, and character. – The education program at the performing arts school includes courses in acting, dance, and music theory.
Trauma – A deeply distressing or disturbing experience that can have significant psychological impacts, often explored in performance art to convey emotional depth. – The play addressed themes of trauma and healing, providing a powerful narrative that resonated with the audience.
Psychology – The scientific study of the human mind and its functions, particularly those affecting behavior in a given context. – Understanding psychology is crucial for actors to authentically portray complex characters and emotions on stage.
Confidence – A feeling of self-assurance arising from an appreciation of one’s own abilities or qualities, essential for performers to engage effectively with their audience. – The actor’s confidence was evident in her commanding stage presence and compelling performance.
Vulnerability – The quality of being open to emotional exposure, which can enhance the authenticity and relatability of a performance. – Embracing vulnerability allowed the dancer to connect more deeply with the audience, making her performance unforgettable.
Collaboration – The action of working with others to create or produce something, often leading to innovative and dynamic performances in the arts. – The success of the theater production was largely due to the seamless collaboration between the director, cast, and crew.
Creativity – The use of imagination or original ideas to create something; a vital component in the performing arts for developing unique and engaging works. – The choreographer’s creativity shone through in the innovative dance routines that captivated the audience.
Empowerment – The process of becoming stronger and more confident, especially in controlling one’s life and claiming one’s rights, often explored in performances to inspire audiences. – The play’s narrative focused on the empowerment of marginalized voices, leaving a lasting impact on its viewers.
Curriculum – A structured set of educational experiences provided by an institution, often including a range of subjects and activities in the performing arts. – The drama school’s curriculum is designed to provide students with comprehensive training in acting, directing, and stage management.
