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Sound = movement = drawing

Participants collaboratively create an abstract drawing inspired by music and movement, using ad hoc created ‘drawing mechanisms’. The lines in the drawing serve as a visual documentation of movement— like an extension of the body—shaped by the rhythm of music and sound.

THEME

Co-creation, group building, inclusion, synesthesia

COMPLEXITY

Can be modified depending on the participants

GROUP SIZE

10-15

participants

AGE

13+

TIME

At least 60 minutes (can be prolonged to 90min, depending on the context)

Objectives

  • Foster creativity, spontaneity and experimentation
  • Develop a sense of collaboration through collective creation
  • Create a feeling of ownership
  • Celebrate diversity and inclusion
  • Connect different art media which enables the connection of different senses (synesthesia)

Materials

  • A big piece of paper (at least 1 meter wide and 3-4 meters long) of thicker quality, alternatively a white textile material.
  • A music play-list and reproduction device (for instance, mobile phone and portable Bluetooth speakers).
  • Drawing utensils (pens and pencils, markers, charcoal, ink, brushes and paint…).
  • Different tools and items to create ‘drawing mechanisms’ (sticks, umbrellas, kitchenware, adhesive tape, fabric string).

Overview

Participants collaboratively create an abstract drawing inspired by music and movement, using ad hoc created ‘drawing mechanisms’. The lines in the drawing serve as a visual documentation of movement— like an extension of the body—shaped by the rhythm of music and sound.

Step-by-Step Instructions:

  1. Introduction (10 min): Set up the room and prepare the materials. Explain the purpose of the activity (expression, collaboration, inclusion, synesthetic experience, and exploration). Make a name game ice-breaker or ‘getting to know each other’ activity if the participants don’t know each other. Divide the participants into smaller groups.

Outline the rules:

    • Work in smaller groups.
    • Move and draw in response to the music. Refrain from drawing figurative images, but think of the lines as “movement on paper”.
    • Use only non-dominant hands or other body parts to draw.
    • Avoid walking on the paper. You can walk on the paper only barefoot and if drawing with your feet.

In the second part:

    • Use the provided tools and items to assemble a ‘drawing mechanism’.
  1. Materials set-up and demonstration (5 min): Distribute the materials. Demonstrate how to use different body parts (except the dominant hand) by patching up drawing utensils to feet, elbows, fingers and so on, by helping each other in the smaller groups.
  2. Drawing creation (at least 30 min): Participants collaboratively create an abstract drawing while following the set rules. The facilitator gradually introduces new tasks and variations. The music rhythm is changed periodically to influence movement and drawing dynamics. In the second half the task to create ‘drawing mechanisms’ is introduced and demonstrated.
  3. Reflection and evaluation (15 min): Participants step back to observe the drawing that represents their collective artwork. They share their thoughts and impressions on the process and outcome.

The final experimental collective artwork can be displayed in a shared space where the group spends time together or in a public setting. Alternatively, it can be cut into smaller pieces to be exhibited in that form or given to participants as a keepsake and reminder of the experience.

Reflection Questions:

    • How did creating the drawing make you feel?
    • What was the most difficult part and how did you overcome it?
    • What did you learn about yourself and others through this process?

For evaluation, observe participant engagement and their willingness to share, the way they react to the assignment and how they collaborate in groups. Collect feedback verbally or via a quick survey.

Tips for Facilitators:

  • Give clear instructions, offer some rules and demonstrate first.
  • Read the room. Add tasks if/when needed.
  • Adapt the activity to specific needs of the group.
  • Provide extra support to participants who might struggle with self-expression.
  • It’s important to create a safe and brave space by encouraging mutual respect, openness, and inclusivity. Invite participants to be mindful of each other’s well-being, ensuring safety and consent in all interactions. Foster an environment where everyone feels comfortable expressing themselves while also respecting personal boundaries.
  • Encourage participants to embrace exploration and experimentation in artistic expression, emphasizing that there is no right or wrong. Invite them to let go of self-judgment, stay open to the process, and enjoy the experience. Most importantly, remind them to have fun!

Variations and adjustments:

  • The duration of the activity can be extended depending on the time frame and number of participants. The dimensions of the paper should be adjusted based on the room size, as well as the number and type of participants. It can be done as a public or closed event.
  • The activity can be framed around a topic that is relevant to the group’s current context. For example, in a class approaching the end of high school, the activity can serve as a creative reflection on their shared experiences. It can be adapted to include a music playlist created by them to represent their high school years as the basis for the drawing component, and an introductory segment where participants share stories, memories, and anecdotes from their time as a class.
  • It is essential to closely follow the group dynamics and remain flexible, especially when working with highly vulnerable groups. The facilitator should adapt the activity to the specific needs, abilities, and engagement levels of the participants, modifying the complexity as needed. For example, certain elements—such as drawing with the non-dominant hand, using other body parts and mechanisms, or creating a group drawing—can be omitted if they seem too challenging or uncomfortable for the group.
  • If it’s difficult for participants to draw on paper on the floor, provide a big table (or connect more tables) so they can draw while sitting.
  • For advanced groups or when time allows, the background music can be replaced with the conductor exercise. This requires dividing participants into two groups—one acting as a choir and the other drawing. The choir produces sounds (each participant choosing their own) based on the conductor’s instructions. After some time, the groups switch roles. This variation requires two facilitators.
  • When working with participants with developmental disabilities, it is important to simplify the workshop structure to ensure accessibility and inclusivity. Incorporating smaller preparatory tasks before the drawing activity—such as warm-up exercises, group movement, clapping rhythms, listening to music, or imagining colors—can help participants engage more comfortably and gradually ease into the creative process.

Disclaimer:

  • When implementing this activity with a group of young people with whom you don’t work regularly and they have special needs, is important to get informed about their specific needs beforehand from the youth workers/social workers that are working with them on a regular basis, in order to adjust the activity

Music and movement activities

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).

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