Sensory Poem — Synaesthesia in six lines
Sensory Poem — Synaesthesia in six lines
Participants answer a short sensory questionnaire that evokes synaesthetic associations — colours that sound like something, textures that hold a memory, smells that carry a feeling — and turn these responses into a short poem. Each person then performs their poem from a marked square on the floor, holding eye contact with the audience until the applause ends.
THEME
Creative Expression, Presence, and Performance
COMPLEXITY
Advanced
GROUP SIZE
8–20 participants
AGE
16 +
TIME
60–90 minutes
Objectives
- To develop creative writing and poetic expression through sensory associations
- To practise presence, eye contact, and physical stillness in performance
- To explore the connection between senses, language, and emotional memory
- To build confidence in sharing personal creative work with an audience
Materials
- Sensory questionnaire sheets (prepared in advance), pens, floor tape or markers to define individual squares for performance
Overview
Participants complete a short sensory questionnaire designed to evoke synaesthetic associations — colours that sound like something, textures that remind them of a moment, smells that carry an emotion. Using these responses as raw material, each participant composes a short poem. In the performance phase, each person reads their poem from a designated square on the floor, maintaining eye contact with the audience and remaining in place until the applause finishes. The activity combines creative writing with performance practice, reinforcing presence, vulnerability, and expressive clarity.
Step-by-Step Instructions:
- Introduction (5 min): Introduce the concept of synaesthesia — when one sense triggers associations with another (a colour that sounds like something, a sound that has a texture). Explain that the questionnaire will invite them to explore this territory.
- Sensory questionnaire (15 min): Distribute the questionnaire. Sample questions: What colour sounds the loudest? What texture reminds you of a memory? What smell makes you feel safe? What sound has a colour? What emotion has a taste? What sound describes your childhood? Participants answer freely and quickly — first instinct, not analysis.
- Writing the poem (20 min): Using their questionnaire answers as the raw material, participants write a short poem of any form — it does not need to rhyme or follow a structure. It can be as long or short as feels right. Encourage them to stay close to the sensory images rather than explaining them.
- Performance preparation (5 min): Mark out individual squares on the floor — one per participant. Explain that each person will stand in their square, make eye contact with the audience before starting, read their poem, and then remain still in their square until the applause finishes. Stillness after the poem is part of the performance.
- Performances (15–25 min): Each participant performs their poem in turn. The rest of the group acts as the audience. Facilitators encourage attentive, respectful watchingA short group discussion follows the performances.
Debriefing and Evaluation:
Reflection Questions:
- What was it like to write from the senses rather than from ideas or arguments?
- How did it feel to perform and hold eye contact with the audience?
- What did you notice about other participants’ poems — what surprised you?
- What did the exercise reveal about how you experience the world through your senses?
For evaluation, observe participants’ engagement with the writing process, the quality of presence during performance, and the group’s capacity to witness each other with attention and respect.
Tips for Facilitators:
- Prepare the sensory questionnaire in advance — test it on yourself to check that the questions evoke genuine images.
- Reassure participants that there is no ‘good’ or ‘bad’ poetry here — only honest responses.
- Model the performance format yourself first: stand in a square, make eye contact, read, and stay still after.
- Remind the audience of their role: active, respectful, generous attention.
Variations:
- For participants with language barriers, allow the poem to incorporate words from their native language or to use images and drawings instead.
- For more advanced groups, experiment with collective poems built from one line contributed by each participant.
- Can be combined with the Storytelling activity (sensory exploration through touch and smell) as a two-part session.
Disclaimer:
The synaesthesia questionnaire can surface personal memories and emotions — writing and sharing the poem are always voluntary, and participants can keep their work private. The final performance (standing in a square, eye contact, stillness) is an invitation, not a requirement: any participant who prefers to read from their seat, to have the facilitator read for them, or to skip performing entirely is fully participating. Check in briefly with the group before the performance round, and remind them that witnessing others with attention is also an act of participation.
Theatre activities
Nimic gasit.
Contact
Iuliana Adriana PAVEL (project manager)
iuliana.pavel@a4action.ro
A4ACTION – Antim Ivireanu Culture House, Islaz Alley, Ghermănești, Snagov, Ilfov District, Romania, 077170
Co-funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the ANPCDEFP. Neither the European Union nor the ANPCDEFP can be held responsible for them.
The project is conducted by the following organisations: A4ACTION (Romania) – coordinator, Udruga Delta (Croatia), InterAktion (Austria), Asociación Espacio Rojo (Spain) and GAIA Museum Outsider Art (Denmark).
Remixing tradition
Remixing tradition
Participants collaboratively explore traditional music and dance from their regions, working together to create new expressions inspired by these traditions. This method uses dance, music and songwriting to foster inter-cultural dialogue, creativity and tolerance. Both by honouring and questioning different traditional songs and dances, it aims at connection with cultural heritage and open a dialogue between tradition and contemporary topics and social issues.
THEME
Intercultural dialogue, tradition, inclusion and diversity
COMPLEXITY
Advanced
GROUP SIZE
15-20
participants
AGE
15+
TIME
110
min.
Step-by-Step Instructions:
- Introduction (5 min): Explain the purpose of the activity (cultural exchange, self-expression, creating “new traditions” by remixing traditional dances and songs).
- Breaking the ice (15 min): At the beginning, the participants stand in a circle, and throw a ball to each other. In the first round, whoever gets the ball must say a word that answers the question “What does tradition mean to you?”. If you work with a group of people who don’t know each other, incorporate a name game previously.
- Traditional music and dances (35 min): Participants are invited to reflect on their country or region’s traditional music and/or dances. If some participants know a song or some steps, they can teach the others some simple steps or melodies. If not, they can research online and find a video representing their tradition to share with others. The group then watches together a couple of videos and reflects on the differences and similarities of the folk music and dances they’ve seen. They should name the characteristics of traditional and folk expression, what topics they represent, what was the life of people when it was created compared to today, and how they feel towards it. The group is then divided in two – one group chooses a song from any cultural background they watched, and the other group chooses a dance. They are given 15-20 minutes to rehearse a couple of verses/steps.
- New tradition (40 min): Now the participants are given the task to use the verses and steps they’ve learned and rehearsed to create some modified song or dance that can resemble the traditional dances and songs, but can be altered using any kind of creative expression. For instance, they can mix different region’s materials, add some new motifs, words or steps that might come from contemporary dances or topics. They can express the song’s topic in a new way, changing the lyrics and the dance movements in a contemporary way. Each group should practice their newly created material a few times, making sure to reach a choreography and mutual pace. They can repeat the sequence in a „loop” a couple of times and add an ending. The groups then show each other their short song and choreography. At the end the whole group can try to do it simultaneously, blending the song and dance into one performance.
- Reflection and evaluation (15 min): The participants sit in a circle and share thoughts on the shared experience.
Reflection Questions:
-
- How was the exercise for you?
- Was it difficult to learn a traditional song/dance and modify it?
- What was the most interesting part?
- Did your view on ‘tradition’ change in some way?
For evaluation, observe participant engagement and mood, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally, via a quick survey or through association cards.
Tips for Facilitators:
- Create a welcoming and non-judgmental atmosphere.
- Make sure the participants feel comfortable and free to express themselves.
- Provide extra support to participants who might struggle with the task.
Variations and adjustments:
- This activity can be modified for discussing different topics and social issues. This can be done by changing the topic of the traditional song that is being altered, or the moves in the dance that send different messages. For instance, the facilitator can prepare in advance some words like: democracy, climate change, gender (in)equality, solidarity, peace, and so on, and the group chooses one of them as the topic for creating their remix of the traditional dance/song.
- If there is not enough time or the group is smaller, the method can be focused on only a song or a dance.
- If there is more time and the group discussion is fruitful, deeper questions can be raised related to tradition, identity and culture.
- If the group can work together continuously for a period of time, the remixed song/dance can be further developed and rehearsed, and even performed in front of an audience.
Disclaimer:
- The activity is especially interesting for participants that come from different cultures in a mixed group. Be mindful about their relationship with tradition and explain that the activity is about creation with tradition and connecting with it, as well as intercultural exchange, without any intention to dishonour tradition. This can be well communicated from the start, even in the invitation and description of the activity.
Music and movement activities
Nimic gasit.
Contact
Iuliana Adriana PAVEL (project manager)
iuliana.pavel@a4action.ro
A4ACTION – Antim Ivireanu Culture House, Islaz Alley, Ghermănești, Snagov, Ilfov District, Romania, 077170
Co-funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the ANPCDEFP. Neither the European Union nor the ANPCDEFP can be held responsible for them.
The project is conducted by the following organisations: A4ACTION (Romania) – coordinator, Udruga Delta (Croatia), InterAktion (Austria), Asociación Espacio Rojo (Spain) and GAIA Museum Outsider Art (Denmark).