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
MODULE 1 NEEDS ANALYSIS
Needs analysis activities
MODULE 2 MUSIC AND MOVEMENT
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).