Introduction
At Hoopla we bring the joy of improv to people in a fun and friendly way. We are helping people to be playful and spontaneous, however sometimes tricky situations or challenging students pop up that go against our code of conduct and risk upsetting the supportive atmosphere.
This additional guide helps us with those tricky situations.
General steps when dealing with difficult situations
1. If you need to stop a scene, stop a scene. The safety and support of our students is more important than the temporary existence of an impro scene. You can stop the scene by simple calling “scene”, and you don’t have the answer to everything before you do that.
2. If you feel unsafe you can put the class on a break or stop the whole class and leave the venue, your safety and the class safety is more important than improv.
3. Talk to the improvisers on the course involved, if you feel safe and able to do so. This can be done in private without the rest of the course watching, or you can open it up to a chat with the whole class, depending on the situation. If you don’t feel safe talking about it then you can ask our support team to do this at a later time. You don’t have to fix everything about tricky situations there and then, especially if you don’t feel safe.
4. Message or call the Hoopla support team to discuss and work out any follow up steps. This may include one of the Hoopla team talking to each person involved separately, to listen and gather information, and then later work out any changes and follow up actions required such as improvements in student behaviour.
5. Teacher to monitor student behaviour at future classes to see if they have made appropriate changes, and to check in with Hoopla support team about ongoing course of action. Teacher and support team also to check in with any victims of previous incidents to check changes have been effective.
Depending on the severity of the difficult situation we can look at changing the student’s behaviour with ongoing feedback and targetted exercises, moving them to a different course, or moving them out of Hoopla. We would always priortise the safety of students and teachers in this situation and the Hoopla support team would be happen to manage these difficult conversations with students so teachers aren’t in danger.
It’s not possible to predict and write up policies for every possible situation, so please chat to Hoopla’s support team when tricky situations pop up.
Setting the environment at start of courses and workshops
Near the start of courses and workshops, when the teacher feels it is appropriate, the teachers will have an short efficient way of setting the environment. If any students are late or miss this chat they should be spoken to in the break.
For instance:
“We are part of a team, say hello team! We are here to support each other. We are listening and accepting and building on ideas using Yes And to make each other look good. You can say and do the first thing that comes to you, as long as you are coming from a place of support for your scene partner. You’re not in competition with each other and you don’t have to be clever or funny. You’re allowed to make mistakes and get things wrong.”
We don’t have to do the full code of conduct in this chat, as that can actually freeze people and kill spontaneity, instead we can communicate culture as we go through the course at the most relevant points.
There is more about this in our environment training and feedback training.
Replacing unsupportive behaviour with supportive behaviour
When teaching if possible please give an example of the alternative behaviour you want to encourage, and give the student a chance to practice that behaviour. We are constantly enabling people to replace their unsupportive behaviour with supportive, and we do that in a patient and supportive way. It’s better to give them the positive behaviour, and to practice that behaviour, instead of just asking telling them what not to do.
For instance the following scene:
Character A: Would you like a cup of tea?
Character B: Go and fuck yourself.
This scene could continue, with the actors exploring why Character B is so grumpy, there’s nothing wrong with that especially if that was the actor’s emotional truth in the moment. Or we could use it as a chance to coach the actor playing Character B to make more positive choices at the start of a scene.
But rather than saying “don’t’ be negative” we give them the alternative behaviour we want, for instance “be as warm and positive and interested in what the other person gives you as possible”.
The scene now becomes:
Character A: Would you like a cup of tea?
Character B: Yes please! Wow, dahjeeling, my favourite! This reminds me of when we travelled around India together.
Character A: Those were the days.
Whenever possible we teach the positive action (do) rather than just the negative (don’t).
There is more about this in our feedback training.
Yes And is less important than safety, integrity and emotional honesty.
We should teach that Yes And isn’t always blind agreement to just go along with whatever the other person says, especially if what they offer is physically dangerous, sexually degrading or inappropriate. Instead we should side-coach or replay those scenes and coach the improvisers to play more real to those offers and respond with integrity, honesty and emotional intelligence, while also coaching the other person to give more supportive offers..
For instance in the following scene set in an office break room:
Colleague A: Oh hi, you work in accounts don’t you?
Colleague B: That’s right.
Colleague A: I think you’re really attractive, would you like to have sex?
Colleague B: Yes And!
Could instead be played as (with side coaching or re-playing with help from teacher):
Colleague A: Oh hi, you work in accounts don’t you?
Colleague B: That’s right.
Colleague A: I think you’re really attractive, would you like to have sex?
Colleague B: What? No, of course not. That’s really inappropriate.
And then explore the consequences of those actions and the ongoing story of the scene, perhaps cutting to an HR meeting where they replay the scene on CCTV.
If the actor playing Colleague A in the above scene then feels bad or embarrassed then we can side-coach them into using these emotions in the scene, as the character would also be feeling these feelings. We give permission to our students to be vulnerable, and support them in those emotional situations. For instance:
Colleague A: Oh hi, you work in accounts don’t you?
Colleague B: That’s right.
Colleague A: I think you’re really attractive, would you like to have sex?
Colleague B: What? No, of course not. That’s really inappropriate.
Colleague A: Oh, shit, errr, I feel shitty.
Colleague B: You should.
Colleague A: I don’t know why I said that.
What we’re now “Yes Anding” is the underlying emotion of the scene and the difficult conversation, not the face value initial offer of “let’s have sex”.
Constant rolling emotional honesty, also known as playing at the top of your intelligence, playing at the top of your emotional intelligence, being obvious and playing it real, is often more important than face value yes and. Emotional honesty enables us to deal with difficult offers there and then, in the scene, in character.
To do this our teachers need to patiently side-coach or replay these moments in these scenes, to find a more beautiful and emotionally honest scene where the actors feel supported. So they should stay calm and patient when dealing with these difficult moments, while also ensuring the physical and sexual safety of the actors.
Yes And is less important than safety, integrity and emotional honesty. Scenes can be stopped and side-coached through difficult moments, as the safety and support of our students is more important than the temporary existences of an improv scene.
Coaching to give inspiring offers, and how to deal with degrading offers.
Students should be coached to give offers that inspire their scene partner, and scenes can be side-coached or replayed when the opposite happens. Also students can be coached in how to turn a negative offer into something inspiring.
Just because everyone is going to Yes And is not an excuse to give degrading offers, and we can coach these type of scenes to give the student a more positive replacement behaviour.
When teaching these scenes, as they come up, the teacher should stay patient and calm so nobody feels they have done anything “wrong”.
Example scenes:
Character A: Here’s a shit sandwich.
Character B: Thanks! Yum yum yum yum.
In this scene it could be replayed so that Character A gives something more inspiring that the other person would actually wants, for example:
Character A: Here’s a lobster tail sandwich.
Character B: Wow, thanks, that’s the most expensive thing on the menu, and I love lobster. You’re really spoiling me taking me to the best restaurant in the harbour.
We can also coach Character B in how to cope with degrading offers. In the first example they blindly Yes Anded but the scene could be played with more emotional honesty/top of intelligence to result in:
Character A: Here’s a shit sandwich.
Character B: What? You’ve put shit in a sandwich? Why would you do that to me, that’s disgusting?
In this case they haven’t blocked that there is a shit sandwich, and we can now explore why it was done.
We can also coach them into how to turn the degrading offer into something beautiful, an example of making the other person look good:
Character A: Here’s a shit sandwich.
Character B: Well, the bread is good, that’s great bread. But I have to say that the shit filling, although I admire your experimentation, is not going to get you into Leith’s Cooking School.
Character A: I thought it was a statement, the bread is so good the filling doesn’t matter.
Character B: You’re a maverick, I like that, that’s why I became your cookery mentor in the first place.
Nobody in the audience wants to see someone eat a shit sandwich (or carry out a similarly degrading offer). They might think they do, but they don’t, and that scene is over pretty quickly. So when a degrading/controlling offer pops up we can replay with a more positive offer or side-coach to find something more beautiful.
Physical & Sexual Boundaries
Although there is touch and general physicality in improv workshops students are not allowed to touch any area of the body that would be considered a sexual area.
There is also no other sexual harassment, physical harming, violence, or other dangerous physical touch allowed.
Any other physical boundaries for a student can be requested to a teacher and these physical boundaries respected throughout the class.
During workshops we should immediately stop scenes before any of the following happen, as the safety and support of students is more important than the temporary existence of an improv scene:
– Hitting.
– Slapping.
– Punching
– Kicking.
– Pinching
– Jumping on someone’s back.
– Dragging someone across the floor.
– Kissing.
– Sexual acts.
– Groping.
– Grabbing.
– Carrying someone in a dangerous manner.
Basically anything that is physically or sexually harmful.
If one of these events accidentally happen, or we think it is about to happen, the scene should be stopped. Always prioritise the safety and support of students over the temporary existence of an impro scene. We then remind everyone, in a calm way, of our boundaries in a public workshop. Depending on the incident the teacher then may carry out the general steps to supporting students as outlined above.
If we think one of the above are deliberately happening we may stop the scene and class straight away and immediately talk to those involved if we feel it is safe to do so. If there is a big problem we reserve the right to stop the whole workshop, as the safety of our students is more important than improv.
Anything dangerous in the story or scene should actually be done in a safe way physically. For instance an exploding speed boat chase or Roman battle can be done in slow motion.
People being deliberately violent or sexually aggressive or harassing on or off stage will probably be made to leave the course and possibly all future Hoopla events.
Please talk to Hoopla’s support team if you are worried about any of these events, and we will work together for further actions.
In public workshop the following and similar are allowed, as long as everyone in the room is comfortable:
– Hugging.
– Embracing.
– Hand holding.
– Touching of non sexual areas in a non sexual way.
– Slow motion safe versions of action sequences.
Scene content and themes we can and can’t do on any courses
The wider world of improv and theatre can tackle any theme.
However we are an improv school for members of the public and many of our courses are aimed at complete beginners and people with limited experience, and we have a limited amount of time with them.
Therefore we can’t cover the following themes in scenes or games in any of our courses:
Rape.
Sexual Assault.
Sexual Abuse.
Pedophilia.
We don’t list all of those out at the start of the course or workshop as a list of what not to do, as that kills spontaneity. Instead we subtly nudge scenes that go into those themes into a different direction should they pop up. We do this patiently and calmly without making anyone feeling like they’ve got it wrong, as we don’t want to kill off their spontaneity and impulses.
An example of these helpful, patient and kind nudges are below:
“You’ve been doing a great job of listening and yes and, and yes and has brought you to this point of the scene where the characters are referencing sexual assault. That is a topic that could be intelligently explored in improvised theatre, but it’s outside the scope of this particular public course. So we’re going to rewind the scene to the point you both walked into the pub, and direct the scene towards a new topic.”
Performing groups may choose to intelligently explore those themes, but it is outside the scope of our public courses.
We could possibly cover the following themes in scenes probably in levels 3 and above, as long as they were dealt with intelligently and with support from the teacher, especially as the character’s point of view isn’t representative of the actor’s personal point of view. Also, improv should be able to approach bigger themes and connect to the wider experience of life:
Racism.
Sexism.
Homophobia.
Bullying.
Again as a teacher we aim to support people, not tell them off, and help them explore intelligent ways to explore these topics if they pop up.
An example of this thoughtful side coaching is below:
“Through yes-and you’ve ended up being endowed as a sexist character in a 1970s office. As a cast we can indeed play with that theme but let’s choose to play it intelligently. For example let’s cut to a next scene where this character in a pub playing darts with three friends who have a different view about women.”
Playing Unpleasant Characters
In all scenes and games students are playing a character. Sometimes the story, scene or offer will lead to an unpleasant character that differs in point of view and behaviour from the student’s own views. This is allowed in our courses and with the help of the teacher the students can explore this character in a safe way on stage.
The characters that the student plays on stage do not always reflect their own beliefs, however there are a number of safety nets that we include in this guide to keep the stage safe.
The person playing the unpleasant character should be coached to play with full emotional honesty. For instance if they feel bad about what they are saying or doing this should be in the scene. The other people in the scene also respond at the top of their emotional intelligence with ongoing emotional honesty. Then as the unpleasant view pops up it can be discussed in character in the scene and may become the point of the scene. Even if this stops it being comedy that’s allowed, and those serious moments are actually encouraged as they add variety and depth to a show.
After these type of scenes the person who played the unpleasant character and others in the scene should be supported and listened too, and everyone reminded that on stage we are playing a character who may have a different point of view from our normal selves.
We may also coach them into scenes where they are encouraged to make more positive and loving choices, so that aggression or negativity on stage doesn’t become a prop for the actor to hide their own vulnerability behind.
We do sometimes need bad guys or points of view different from our own to tell a story. For instance Schindler’s List without Nazis wouldn’t be a story.
However if someone always plays unpleasant offensive characters then there may be a problem. This can happen for many reasons. They should be first coached by the teacher to try to also play more loving characters on stage, as sometimes being aggressive on stage is a defence mechanism to hide vulnerability. If that doesn’t work they can also be spoken to in private, but only if the teacher feels safe to do so. The teacher may also then discuss this with Hoopla’s support team to decide further actions.
This is part of the supportive teaching process: to encourage the exploration and spontaneity of the student playing any character, but then over the course to gradually coach the student into playing different characters away from their defaults and into a more loving and generous emotional space.
This is one of the most difficult parts of teaching improv, encouraging character work while also keeping it safe for people. In reality it is different on a case by case basis, which is why ongoing training for our teachers is essential and also we encourage our teachers or students to talk to the director of Hoopla and support team at any time if they are confused about things.
Sexist, Racist, Homophobic and other prejudice language on stage
If a student has a habit of using sexist, racist, homophobic or other prejudice language on stage then the teacher is to side coach them into different language they could use and also how to play more positively.
The teacher is also to remind them in a relaxed patient and positive way that our job on stage is to support each other, and to discuss how we could do this.
The first time this happens side coaching and maybe another scene is advised. This gives the chance for the student to learn new behaviour in a safe and supportive place.
If it is a repeating problem, after side coaching and direction and exercises, then it may be reflective evidence of underlying prejudice with the student. In this case the teacher should escalate it to our support team to discuss.
Any reports from students regards prejudiced comments or other concerns are to be treated seriously by the teacher and escalated immediately to the support team who will also talk to the student and plan the best course of action.
A possible exception to this is, in the section below, is if a long-form is deliberately exploring those themes intelligently and a certain character is required.
Playing characters with prejudiced viewpoints when exploring themes
We don’t encourage playing characters with prejudiced viewpoints simply to get laughs, especially if the laughs are the expense of the victimised group.
However it is occasionally necessary to play a character with prejudiced viewpoints to explore a certain theme and story, and this is ok as long as it is the artistic choice of the group, and the scene is to be treated with full emotional intelligence and the themes and moral implications of those viewpoints fully explored in the ongoing story in an intelligent manner.
For example in the Level 4 Long-Form course if one of the monologues from a student in True Stories/Armando is about bullying the received at school, and they want to explore that, then others may have to play characters with different viewpoints from their own in order to intelligently explore that theme. To cut off that theme is to cut off the experience of that student and their truth.
Improv scenes can also explore themes with intelligence and morality, as long as the cast support each other and deal with the theme intelligently.
For example an actor might been endowed as a prejudiced character by another improviser. Or the audience suggestion suggests the exploration of a prejudiced character and the emotional impact of those views. Or the scene or story in general could explore a theme of a certain prejudice and its emotional impacts, for instance inspired by a real life experience expressed in the monologue in the opening of a long-form.
Also, the inner truth of the cast members during the exploration of these themes can be used and voiced in the scenes. Truth in Comedy.
For example:
Improviser 1 (playing bully as suggested from monologue): There’s the little shit!
Improviser 2: Let’s get him!
Improviser 3: No! This feels so wrong!
Improviser 1: What?
Improviser 3: I don’t want to get him!
Improviser 2: I’m glad you said, I feel shitty too.
However if someone always or often plays sexist, racist, homophobic or otherwise offensive characters then there may be a problem, please discuss with Hoopla’s support team.
Sexist or Racist Endowing Offers
If a student has a habit of repeatedly endowing others as degrading or sexist or racist roles the teacher is to side coach them into giving the other person roles they would actually want to play.
For instance if a student has a habit of endowing women with “prostitute” or “stripper” we need to train them to give offers the other person actually wants.
This goes back to the improv cores of making each other look good and supporting each other, and giving offers that the other person would want to do.
The first time this happens the teacher is to simply give them another scene, with the one direction to give more inspiring endowing offers, and is then to support the students when they achieve this. This is to be done in a calm way by the teacher without losing patience, as it is a negative behaviour that we are training out of someone in a controlled manner by giving them a replacement behaviour in a safe environment.
There are also exercises that train people to give each other fun characters that support each other, please ask Hoopla’s support team.
If it is a repeating problem, after side coaching and direction and exercises, then it may be reflective evidence of underlying prejudice with the student. In this case the teacher should escalate it to Hoopla’s support team.
We will also coach the strengthening of offers that can be done by the improviser receiving the endowment offer, to avoid for instance ongoing gender stereotypes. For instance the casting of someone as “Mother” or “Wife” doesn’t necessarily have to put them in a lower status position, as there is a lot more to “Mother” or “Wife” than the initial stereotype.
For example:
Improviser 1: Mummmmmm? Is breakfast ready?
Improviser 2: Yes it’s on the counter but you are going to have to get it yourself, you know I’m got the 100m Olympic Final this morning.
Racism and Sexism and other Prejudices on Stand Up course
Please note all the other categories listed also apply to the stand up course. This section is an addition specifically for our stand up course.
During stand up courses the teacher should try to train students in new directions away from being sexist or racist or similar on stage.
The advantage of teaching stand up is that we are teaching them to be funny, so if the workshops audience aren’t laughing we can point out that the material is not funny and that they should therefore try something else.
Overall we are teaching comedy and not a political or social movement, so if it’s not funny (overly sexist or racist material will tend not to be funny) we introduce other themes and inspirations for them to explore.
Any concerns should be addressed to the Hoopla’s support team to discuss further action, including possible removal from the course if a student insists on being overly sexist, racist or offensive.
On-stage intimacy shouldn’t be carried over to off-stage
Sometimes students, especially beginners, accidentally think that on-stage intimacy means something off-stage. For instance two improvisers are in a love story on-stage in character with real feelings involved, but then one accidentally thinks that this applies off-stage and that they may have the start of a relationship. Another example two improvisers are in an arguments on-stage in character but then off-stage there is still tension between them.
If a teacher feels like this is happening they should have a quiet private chat to the improvisers, explaining the boundary and gap between on-stage behaviour and off-stage behaviour.
It also helps to celebrate the end of scenes with applause and ask the cast to shake off the characters as a way to return to normal.
This may also involve a chat to the whole course, about the fact that we can use real emotions in the moment on-stage but that this intimacy is not carried off-stage with us.
“In Character” and “In Scene” Simulated Sexual Contact and Stage Kissing
For example a love story that builds up to a kiss. Or a story about people on a date about to have sex.
As we are teaching public workshops we can’t allow stage kissing or simulated sex, even if the class and actors on stage seem to think it is ok we have to be on the safe side.
So in scenes that are building up to a kiss the teacher will stop the scene before the kiss.
In scenes that are building up to sex the teacher cuts the scene before the sex, or cut to after the sex. Either way we don’t do any simulated sexual acts on stage in public workshops.
If the stage kiss or simulated sexual contact happens before we have cut the scene and stepped in we stop the scene immediately and explain that we can’t have stage kisses, real kisses or simulated sex in our public workshops. We do this patiently and calmly.
If it looks like someone is a problem with this, and has a habit of attempting to bring scenes to simulated sexual contact then the teacher should escalate this to the support team to discuss further action.
Actual Sexual Contact, Inappropriate or Dangerous Physical Contact on Stage
For example forced kissing on stage, sexual contact groping, grabbing, pulling, hitting, slapping or other.
First of all, attempt to stop the scene before this happens. If in doubt, stop the scene. The safety and well being of our students is more important than the temporary existence of an improv scene, so if in doubt stop the scene. Then flag up that you were concerned about what was about to happen, and calmly remind students that we are not allowed to have that behaviour even if it’s come from a place of spontaneity and being in character.
If an inappropriate touch actually does happen, for instance kiss, sexual contact, groping, grabbing, pulling, slapping, hitting or similar then stop the scene immediately. The safety and well being of our students is more important than the temporary existence of an improv scene, so if in doubt stop the scene. Discuss this moment with the group right there and then, in a calm and professional manner, that we are there to support each other and that that particular physical or sexual action is not allowed in improv.
In private discuss the event with the victim of the incident and give them the option of talking to our support team.
In the case of the following reasons given by offending students:
“But I was playing the bad guy, and the bad guy would have hit him in that case”
“But we were playing on a date, and it felt right to kiss and hold each other that way”
In those kind of cases we calmly remind the student that the physical and sexual safety of people in the group is more important than the reality of the character and scene. We also remind them that although it a show team a cast may choose to allow that we are in a public course so do have limitations.
Also inform the support team of what happened and we will discuss a course of action.
A participant continues to make scene offers of sexual nature / sexualising their scene partners: what do I do?
This is tricky. Sex and sexuality are such a huge part of the human experience and exploring those topics aren’t banned from improv. Some students will be very comfortable exploring these topics in a scene, some very uncomfortable and not wanting to explore those topics, and some will be uncomfortable happy to explore that in the scene.
We can’t do scenes with actual sexual touch, kissing, or simulated sex.
Regards explore themes of sexual nature this does depend from student to student and on the situation, so best to chat to the support team for a case by case chat about this.
Cheap jokes at the expense of the scene
Students should be coached away from jokes that are destructive to the reality of the scene that is being created by the team. This doesn’t mean scenes shouldn’t be fun and funny, they are hopefully hilarious! It just means not doing jokes at the expense of the scene.
For instance:
Actor A: Hey this is a great pub crawl!
Actor B: Yeah, what a great birthday thanks everyone, shall we walk into that bar?
Actor C: Ow! (mimes walking into a horizontal metal bar).
So that may get a bit of a laugh from the audience, but it’s undoing what Actor A and Actor B were setting up so is a joke at the expense of the scene.
Rather than just “telling people off” for cheap jokes we should coach them into the alternatives and let them practice this, for instance in the scene above we could coach them into accept on the birthday in a pub offer.
Ignoring Actors
Sometimes improvisers ignore the offers of the other actors, accidentally or deliberately, sometimes if they perceive them as lower status or having “less good ideas”. When this happens in workshops this should be patiently and calmly pointed out and the scene replayed with the improviser encouraged to listen and show greater interest in the other person’s offers and to use them in the scene, to encourage people to collaborate together.
The rewind exercise is especially good at helping this.
Playing Different Nationalities & Accents
Students can play different nationalities & accents in workshops as a healthy part of exploring character. However playing accents of a different ethnic origin, especially of a different colour, can be perceived as racist to an audience, so the teacher should make a judgement on a scene by scene basis and sometimes subtly steer performers away from certain accents without making the student feel like they are in trouble.
The joke/game of the scene shouldn’t be “look at this funny sounding foreign person”. If playing someone of a different ethnic background the character should be played at top of intelligence and with respect.
Playing Different Genders
Students can play different genders in scenes including male, female, transgender and others. The teacher should coach them into playing this at the top of the intelligence and with respect to that character, empathising with the character and exploring the rich life of the character rather than playing it to mock or laugh at them.
Playing Different Sexual Orientations
Students can play different sexual orientations in scenes including heterosexual, homosexual, bisexual and more. The character they are playing can have a different sexual orientation than their own.
The teacher should coach them into playing this at the top of the intelligence and with respect to that character, empathising with the character and exploring the rich life of the character rather than playing it to mock or laugh at them.
Can people swear on stage?
Yes. We’re doing improv classes for 18s and performing in an over 18s venue, so people can swear just as much as real life.
A participant keeps engaging in disruptive behaviour (e.g. criticising other pariticipants, antagonising the teacher…): what do I do?
Talk to Hoopla’s support team about this to get help and come up with an action plan.
The exact answer to this depends on student to student as it depends on the behaviour.
Some possible actions could include:
Chatting to the group as a whole about what behaviour we need as a team.
Having a private chat with the student if you feel safe and comfortable to do so.
Doing some exercises on how to be supportive off stage not just on stage.
One of the Hoopla support team contacting the student directly and asking them to change behaviour.
Directly asking the student to be more supportive at the time when instances happen.
But this really does depend on the exact student and situation, so most of all please contact the support team to work out a plan.
A student uses an offensive slur outside of a scene: what do I do?
How students support each other off stage is just as important as on stage.
If you feel someone is being offensive to other students please let our support team know so we can discuss with you and maybe choose to talk to the student in private as well as the person on the receiving end of their comments.
If you feel safe and comfortable to do so you can also ask them to correct this behaviour there and then as you experience it. For instance by saying calmly “Bob, we are all part of a team and have to support each other off stage as well as on stage, and I didn’t find your comment to Sue just then very supportive”.
This guide is open to feedback
This guide comes from ongoing consultation with improvisers, performers, teachers, students and external advisors.
If you have any feedback about please contact [email protected].