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Avila
The global conference of the Applied Improvisation Network was held in Avila, Spain in July. I was there!
A group of improv nerds in Spain . . .
In late July of this year, the Applied Improvisation Network (AIN) held its global conference in the sun-drenched medieval town of Avila, Spain. For about a week, people from all over the world met to share the ways they use improvisation to improve the lives of others. This conference was supposed to have happened in 2020, and then again in 2021, postponed both times for health and safety concerns. So those of us who made it there in July were like kids for whom a birthday party had been delayed, and then delayed again. We were giddy with excitement and overjoyed to be in each other’s company, off screen and in person.
At the end of my “quest” at the beginning of the workshop.
What is applied improvisation you ask? Think of it this way. Performed improv is used as entertainment. Applied improv is when improvisation and the exercises, games and mindset supporting it are used for any other purpose. Most commonly, applied improvisors work in the business consulting marketplace as coaches, team builders and workshop leaders. But we also work in the fields of healthcare, education and therapeutic research. We have found that the potential application of improvisation to improve the lives of people extends to any field where human beings strive to be in healthy, creative and dynamic relationships with each other.
I was invited by AIN to deliver a workshop on “Using Structured Improvisation with People with Disabilities.” I had an hour to condense the years I have spent with people with autism, cerebral palsy and other disabilities, co-creating structured improvisations and devising pieces of theatre. I delivered the workshop to a small group Saturday morning and it went well. I was even able to squeeze in a short slideshow of our Ability In Action classes at the end. On the last day I led a spontaneous session examining the issue of diversity and inclusion at AIN, which remains a very white network. That has led to an ongoing relationship with like-minded AINers and a commitment to hold each other accountable as we work towards a more diverse AIN.
First night dinner out. Nations represented: Norway, France, New Zealand and the U.S. Waiter looks pissed but he was actually nice.
But if I’m honest, the most meaningful aspect of the trip were the connections I made with applied improvisors from Norway, The Netherlands, Bermuda, New Zealand, Sweden and other places. These were my tribe, and we spent many hours over meals, walks and late night drinks and coffees connecting, sharing, listening and rejoicing in our shared commitment to this extraordinary art form. And yes, the Spaniards stay out late. Speaking of Spaniards: the whole event was organized and facilitated by group of Spanish applied improvisors who were heroic, both in their accomplishment and also in their cheerfulness under duress. Ole tu!
For weeks now I have been trying to distill some punchline, some “moral of the story” to put a neat little bow on this experience. But I can’t. Like improvisation itself, the event was ineffable. But I will say that the world is waking up to the value of skillfully facilitated group experiences grounded in the innate optimism and problem-solving of improvisation. Bright Invention is part of a worldwide movement and, like improvisation, the possibilities are limitless.
Next year, the conference will be in Vancouver. I plan on being there. In the meantime, visit the AIN website and look for ways you can get involved!
George Floyd, Whiteness and Improv
PAINTING OF GEORGE FLOYD
Bright Invention unequivocally denounces the murder of George Floyd and stands with those who are protesting for an end to racist policing, institutional racism and the systemic oppression of people of color in this country. It may seem odd for a small, creative non-profit based in improvisation to make a statement like that. But in my opinion we would be complicit in Mr. Floyd’s murder if we did not.
It’s worth noting that performed theatrical improv is a white male world. As such, theatrical improv more often than not fails to represent the diverse experience of people of color (and, it’s worth noting, other marginalized populations, such as the LGBTQ and disability communities.) This week has made it clear to me as a leader of an improv group that only intentional and focused work by straight, cis-gender white people will make this change happen.
Yesterday I took part in a short online focus group through the weekly online Open Space facilitated by the Applied Improvisation Network, which I am a member of. AIN is a worldwide collective of professional practitioners of applied improvisation, which means using improvisation for ends other than the delight it brings when performed. We are therapists, workshop leaders and trainers. And for the most part, our clients are white and well-off, as are we. The focus group I was in was about white privilege. I wish I could report that the 12 of us white people in that focus group came away with a unified response to the inequity we represent. At best, we had 30 minutes to have frank conversation and experiment with one exercise. It was paltry, but it was a start. I thank Mallory Penney for having the courage to offer this space for us.
PROTEST IN PHILADELPHIA, MAY 30,2020. PHOTO BY SARAH BLOOM.
My goal for funding a more diverse application of our work uses money made through our Creative Corporate Training program to subsidize workshops offered to marginalized communities. Last year, we were able to offer an eight-week structured improv class to The Village: Hope in Action for Children and Families as the beginning of this vision. Kiersten Adams (one of the two people of color in our ensemble) and I led this class for 20 - 25 young women, predominantly black and latina. In order for Bright Invention to be a force for diversity, equity and inclusion we must offer more programs like this to marginalized communities, and continue to diversify our ensemble of performing artists.
Today I will participate in board and staff meeting for Bright Invention. We are considering ways to raise money to get us through the pandemic, which has put our organization in jeopardy. I intend to raise up the issues described in this post, and to suggest that a funding priority for money raised be on diversifying our ensemble and subsidizing workshops offered at little or no cost to marginalized communities. This is the only way we will lift those voices up and hear the stories they tell. This is the only way we will begin to dismantle institutional racism and awaken to the roles we as white people have played in preserving it.
PROTEST IN PHILADELPHIA, MAY 30,2020. PHOTO BY SARAH BLOOM.
TJ Jagodowski is one half of the legendary longform improv duo TJ and Dave. I heard TJ interviewed on a podcast once and he was asked about the famous improv exercise “Yes, and . . . “ This exercise is usually described as one that teaches students to accept their partner’s offers, and build a story based on it. In this interview, TJ described his slightly different take on it. He said he feels that the “Yes” part is about acknowledging that “this is really happening”, and the “And” part is about going more deeply into what is really happening.
People of color are being systemically oppressed, and sometimes murdered, by a white majority culture defended by racist policing. This is really happening. Let’s go more deeply into it, so we can begin to come out of it.
PROTEST IN PHILADELPHIA, MAY 30,2020. PHOTO BY SARAH BLOOM.
Sarah R. Bloom is a professional photographer that takes our ensemble portraits. Please check out her remarkable photos of the Philadelphia protest here.