Teaching Is Taking People on Journeys: A simple storytelling exercise that reminds teachers what learning really feels like.

The 10-Minute Exercise That Turns Strangers into Storytellers

In my Teaching Artistry workshops, I sometimes say something unusual to the group:

“Find a partner.
You’re about to take them on a journey.”

There are no slides.
No handouts.
No theory.

Just imagination.

Within minutes, the room transforms.

People begin walking slowly across the space, describing places that only they can see.

A childhood garden.
A beach they visited years ago.
A street where they once played.

Their partner listens carefully, asking questions, stepping into the imagined world.

What begins as a simple activity quickly becomes something much deeper.


A Tour of an Invisible World

One participant becomes the guide.

The other becomes the guest.

The guide takes their partner on an imaginary tour of a place they know well—somewhere meaningful, often connected with positive memories.

Perhaps:

  • the playground where they spent hours as a child
  • a favourite park or street
  • a family home or back garden

As they speak, the pair move through the room as if they are actually there.

“Over here is the old oak tree.”
“This is where we used to sit.”
“Careful—there’s a small stream just ahead.”

The guest listens, asks questions, and follows.

Not judging.
Not analysing.

Just entering the story.

After ten or fifteen minutes, they swap roles.

Another journey begins.


What Makes This So Powerful

On the surface, this exercise is about imagination and storytelling.

But something else happens too.

Participants start discovering unexpected things about each other:

  • memories that shaped them
  • landscapes connected to joy or belonging
  • details that reveal personality and history

Within half an hour, the group feels different.

Strangers become people with stories.

And the room becomes full of invisible places.


The Skills Beneath the Activity

Exercises like this quietly develop important abilities for teachers:

  • attentive listening
  • clear communication
  • improvisation
  • empathy
  • imagination

When guiding the tour, participants must keep the story alive.

They describe spaces, objects, sounds, and feelings.

When listening, they must stay curious and present.

They learn that communication is not just about speaking clearly—it’s about inviting someone into your world.


The Questions That Follow

After the journeys end, we reflect together.

Participants often share surprising insights:

  • What did it feel like to guide someone through your memories?
  • What was it like to follow someone else’s story?
  • Could you clearly picture the places described?
  • What emotions surfaced while telling or hearing the story?

And perhaps the most interesting question:

What made some journeys feel vivid and alive?

The answers almost always involve attention, imagination, and trust.

The same qualities that make great teaching possible.


Why This Matters for Teachers

Teaching is often framed as delivering knowledge.

But much of it is actually about guiding people through experiences.

We invite learners to imagine new possibilities.
To explore unfamiliar ideas.
To step into worlds they cannot yet see.

In many ways, every lesson is a journey.

And teachers are its guides.

Exercises like Take Me on a Journey help educators rediscover this fundamental truth.


This Is the Kind of Work We Explore

In the Performative ELT community, we explore many activities like this—simple, embodied exercises that reveal deeper insights about teaching, communication, and human connection.

They are not just warm-ups.

They are mirrors.

They help teachers reflect on:

  • how they communicate
  • how they listen
  • how they invite others into learning

If that resonates with you, you’re warmly invited to join us.

The community is free, and full of educators exploring creative and performative approaches to teaching.

👉 https://performativeelt.com/free-community-6779

Because sometimes the most powerful professional development doesn’t begin with a lecture.

It begins with a simple invitation:

“Take me somewhere you remember.”

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Map of the Floor: When Teachers Step Into Their Story

An embodied reflection on identity, presence, and the journeys that shape how we teach.

The Simple Workshop Exercise That Reveals a Teacher’s Journey

In my Teaching Artistry workshops, I sometimes ask teachers to do something unusual.

I tell them to imagine a giant map of the world spread across the floor.

North.
South.
East.
West.

Then I say:

“Place yourself on the map where you were born.”

And suddenly the room begins to move.

People walk slowly across the floor.
Some hesitate.
Some look around for others from nearby places.
Some smile with recognition.

What starts as a simple movement exercise quickly becomes something much deeper.


The Map Appears on the Floor

I explain that where I’m standing might represent one country.

Across the room might be another.

Someone stands in “South America.”
Someone else moves toward “Europe.”
Another drifts quietly toward “Asia.”

There’s always a moment of uncertainty.

“This isn’t a geography test,” I reassure them.

“If you’re not sure where you are, someone will help.”

Gradually, the map fills with people.

Not as teachers.

As stories.


When Geography Becomes Biography

Once everyone is standing somewhere on the map, I ask participants to look around.

Who is near you?

Who grew up close to where you did?

Who travelled the furthest to get here?

Conversations begin.

Participants explain:

  • where they were born
  • where their families come from
  • where they feel most at home

Within minutes, the room changes.

The group is no longer anonymous.

It becomes a community of journeys.


The Question Beneath the Map

After people have shared a little about where they come from, I ask a few reflective questions:

  • How do you feel about the place where you were born?
  • Where do you feel most at home?
  • How has your birthplace influenced your life path?

Sometimes the answers are light.

Sometimes they are surprisingly profound.

Because where we start shapes more than our passport.

It shapes our language, identity, confidence, belonging, and opportunity.


Why This Matters in Teacher Development

On the surface, Map of the Floor is a simple icebreaker.

But in practice, it does something much more powerful.

It invites:

  • personal disclosure
  • empathy
  • curiosity
  • awareness of difference and connection

And it reminds us that every teacher in the room carries a unique journey.

Behind every professional role is a story.

Behind every method is a human being shaped by experience.


When the Map Needs to Change

In some groups, asking about birthplace can feel too sensitive.

If that’s the case, the exercise shifts slightly.

Instead of “Where were you born?”, I ask:

  • Where would you love to visit?
  • Where would you go on your dream holiday?

The map still fills with movement.

The stories still emerge.

And the group still discovers something about itself.


Why Embodied Activities Matter

Teacher development often happens sitting down.

Talking about theory.

Looking at slides.

But teaching itself is embodied.

It happens in space.

Through movement, presence, and relationships.

Exercises like this help participants experience ideas physically, not just intellectually.

They create the conditions for connection, reflection, and participation.


This Is the Kind of Work We Explore

Activities like Map of the Floor are not just warm-ups.

They are windows into identity, experience, and community.

Inside the Performative ELT community, we explore many activities like this — practical, embodied exercises that help teachers reflect on who they are, how they teach, and how they connect with others.

If that resonates with you, you’re warmly invited to join us.

It’s free.

👉 https://performativeelt.com/free-community-6779

Because sometimes the most important professional question isn’t:

“What should I teach today?”

It’s:

“Where am I standing in my journey as a teacher?”

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What Are You Chasing?

The Game of Tag That Becomes a Mirror for Teachers

How a simple running game exposes burnout, ambition, and the hidden pressures shaping your teaching.

In my Teaching Artistry workshops, I sometimes begin with a game.

A running game.

Arms linked.
Laughter.
Energy rising.

It looks like something from a primary school playground.

It isn’t.

Within minutes, it becomes a metaphor for life, leadership, and why we became teachers in the first place.


The Game: Cat and Mouse

Participants link arms in pairs, forming a human chain.

One person is the cat (the chaser).
One person is the mouse (the chased).

The cat runs.
The mouse escapes.

The mouse is safe if they hook onto a linked pair.
That releases someone else — who instantly becomes the new mouse.

Chaos.
Speed.
Laughter.
Adrenaline.

And then the shift.


The Question That Changes Everything

After 10–15 minutes, breathless and smiling, I ask:

  • How did it feel to be chased?
  • How did it feel to chase?
  • Which role did you prefer?
  • What thoughts ran through your head?

Then the deeper question:

In your life, are you chasing — or being chased?

The room gets quieter.

Because suddenly it’s not a game anymore.


What It Reveals

This simple activity surfaces powerful dynamics:

  • urgency
  • fear
  • competitiveness
  • avoidance
  • collaboration
  • reliance on others

Some teachers love the thrill of chasing.

Others feel uncomfortable being pursued.

Some desperately look for safety.
Some hesitate to join a pair.

It becomes a live metaphor for:

  • ambition
  • burnout
  • purpose
  • escape
  • belonging

What are you running towards?
What are you running away from?

And how does that relate to why you’re here?


Variations That Deepen the Mirror

We sometimes play Stuck in the Mud.

When tagged, you freeze — legs apart — until someone crawls through to free you.

Suddenly the focus shifts:

Who helps?
Who notices?
Who leaves others stuck?

Or Linked Arms Tag.

When tagged, you link arms with “it.”

The chain grows.

Eventually, everyone is connected.

It stops being about speed.

It becomes about unity.


Why This Matters for Teachers

These are not icebreakers.

They are diagnostics.

They reveal:

  • how we relate to pressure
  • how we respond to being pursued
  • how we support others
  • how we seek safety
  • how we experience competition

Teaching is often described as intellectual work.

But it’s also embodied.

We chase targets.
We feel chased by deadlines.
We look for safety in institutions.
We link arms with colleagues — or we don’t.

Sometimes it takes a “children’s game” to surface what we’re really feeling.


This Is the Kind of Work We Explore

In the Performative ELT community, we explore activities like this — not as entertainment, but as reflection.

We ask:

What does this reveal about who I am as a teacher?
What patterns am I repeating?
Where am I running — and why?

If you’re interested in embodied, experiential approaches to teacher development — the kind that go beyond methodology and into identity — you’re warmly invited to join us.

It’s free.

👉 https://performativeelt.com/free-community-6779

Because sometimes the most important professional question isn’t:

“What should I teach next?”

It’s:

What am I chasing?

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Hypnosis And The Exercise That Reveals How You Handle Control

Columbian Hypnosis

(And Why Every Teacher Should Try It)

In my Teaching Artistry workshops, I sometimes tell teachers:

“You’re about to hypnotise each other.”

There’s always a pause.

Then laughter.

Then curiosity.

The activity is called Colombian Hypnosis, developed by Augusto Boal in Games for Actors and Non-Actors.

And in under 10 minutes, it reveals more about trust, control, and teacher identity than many theoretical discussions ever could. Watch a demo here:


What Happens

One participant holds their hand 20–40 cm from their partner’s face.

Palm forward. Fingers upright.

The partner must keep their face the same distance from the hand at all times.

Where the hand moves, the face follows.

Up. Down. Sideways. Diagonal. Slow spirals. Sudden shifts.

The leader must never stop completely.
The follower must never lose alignment.

Very quickly:

  • bodies bend into unusual shapes
  • forgotten muscles wake up
  • laughter mixes with discomfort
  • concentration sharpens

Then they switch.

Leader becomes follower.

Control becomes surrender.

Later, both extend a hand at the same time — becoming leader and follower simultaneously.

And that’s where it gets interesting.


What It’s Really About

On the surface, it’s a movement exercise.

In reality, it’s about:

  • focus and presence
  • spatial awareness
  • non-verbal communication
  • empathy
  • responsibility
  • power

It exposes how we relate to control.

Some participants love leading.

Others feel anxious holding responsibility for someone else’s body.

Some relax when following.

Others resist being directed.

In a few minutes, patterns emerge.


The Questions That Matter

After the movement, I don’t analyse technique.

I ask:

  • Which did you prefer — leading or being led?
  • Why?
  • Was it easy to trust your partner?
  • What helped it work well?
  • What made it difficult?

And then the deeper question:

How does this relate to how we teach?

Because teaching is a constant negotiation of:

  • authority and agency
  • guidance and autonomy
  • control and trust

In classrooms, we lead.
We invite.
We structure.
We respond.

But do we always notice how much control we hold?

Or how much we struggle to release it?


Why This Matters for Teachers

Colombian Hypnosis is not about theatre.

It’s about awareness.

It surfaces:

  • our instinct to dominate or withdraw
  • our comfort with vulnerability
  • our ability to read others non-verbally
  • our tolerance for uncertainty

And it reminds us that facilitation is embodied.

Before it’s a strategy, it’s a stance.

Before it’s a method, it’s a relationship.


This Is the Kind of Work We Explore

Activities like this aren’t icebreakers.

They’re mirrors.

They help teachers reflect on presence, power, empathy, and responsibility — through experience, not lecture.

If this kind of embodied exploration resonates, you’re warmly invited to join our free Performative ELT community.

It’s a space where we share practical activities like this, unpack the theory behind them, and explore what it really means to teach with presence and artistry.

You can join us here:

👉 https://performativeelt.com/free-community-6779

Because sometimes the most important professional question isn’t:

“What method should I use?”

It’s:

When do I lead — and when do I let go?

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Unlocking Teacher Potential: The Owl Transformation

The Owl Transformation

The 10-Minute Activity That Reveals More About Teaching Than a Lecture Ever Could

I often begin my Teaching Artistry workshops with a warning:

“This activity is dangerous.”

Teachers look concerned.

Then I tell them they’re going to transform.

Not sentences.
Not active to passive.
Not direct to reported speech.

Themselves.

Into an owl.

And that’s when the discomfort begins.


Why Ask Adults to Become Owls?

On the surface, it’s a simple concentration and voice exercise (inspired by work from Alan Maley).

But in reality, it’s something much deeper.

The Owl Transformation develops:

  • focus and presence
  • vocal strength
  • spatial awareness
  • group rapport
  • empathy and sensitivity
  • imaginative flexibility

And, perhaps most importantly, it exposes how easily adults lose access to play.


The Setup

Participants stand in a circle.

I describe the owl:

A bird that comes out at night.
Large eyes.
Wise.
Able to turn its head almost all the way around.

Then I say:

“Transformation is straightforward.
The danger comes when transforming back.”

That line always sharpens concentration.


The Transformation

  • Shake your wings (arms).
  • Close the windows (so no one flies off).
  • Place your right hand on your left shoulder.
  • Turn your head to look behind you.
  • Take a deep breath.
  • On “Go”, return slowly to centre.
  • Wide eyes.
  • A strong, focused owl hoot.

There is almost always nervous laughter.

I gently remind them:

“Owls do not laugh.”

We try again.

Concentration deepens.

The room changes.


The Real Work Begins After the Hoot

The transformation isn’t the point.

The reflection is.

I ask:

  • How did you feel?
  • Self-conscious? Resistant? Silly?
  • Did you laugh—or manage to stay focused?
  • What thoughts did you use to control the impulse to laugh?

Something powerful happens here.

Teachers begin to notice their internal dialogue.

Their self-talk.
Their resistance.
Their vulnerability.

And then we ask the bigger question:

Why does something that comes so naturally to children feel uncomfortable for adults?

Children transform constantly.
Soldier. Train driver. Witch. Frog. Princess.

No embarrassment. No irony. No apology.

So what changed?


What This Activity Really Teaches

The Owl Transformation is not about drama.

It’s about:

  • reclaiming imagination
  • managing self-consciousness
  • intervening in unhelpful self-talk
  • strengthening presence under pressure

It reveals how creativity requires concentration, not confidence.

And how professional growth often involves stepping through mild discomfort.

In many ways, this 10-minute exercise says more about teaching identity than a two-hour lecture on methodology.


Why This Matters for Teachers

In classrooms, we constantly ask learners to:

  • take risks
  • speak imperfectly
  • perform in front of others
  • suspend disbelief
  • imagine

If we cannot tolerate mild vulnerability ourselves, what message are we sending?

The Owl Transformation surfaces this tension gently, playfully, safely.

And that’s the power of performative pedagogy.


This Is the Kind of Work We Explore

Activities like this are not icebreakers.

They are diagnostic.

They reveal beliefs, habits, and hidden narratives about creativity and professionalism.

If this resonates, you’re warmly invited to join our free Performative ELT community.

It’s a space where teachers explore:

  • embodied approaches to teaching
  • facilitation as presence
  • imagination in professional identity
  • practical activities like this one (with reflection and theory behind them)

You can join us here:

👉 https://performativeelt.com/free-community-6779

Because sometimes, the path to becoming a more present, confident facilitator begins with one simple question:

Can you become an owl without laughing?

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Every Time You Give Feedback, You Choose Control or Trust

Feedback Isn’t Neutral: What Every Facilitator Is Really Choosing

Feedback feels like the responsible thing to do.

Learners expect it.
Institutions demand it.
Teachers are trained to provide it.

But feedback is never just feedback.

Every time a facilitator responds to learner work, they are making a deeper decision—often without realising it.

A decision about control, trust, and whose voice matters.


Before “how”, there’s a more important question

Before deciding how to give feedback, facilitators need to pause and ask:

What is this feedback actually for?

Common purposes include:

  • improving accuracy
  • helping learners notice gaps
  • encouraging reflection
  • building independence
  • meeting learner expectations

None of these are wrong.

Problems arise when these purposes conflict—or when they remain unexamined.


The trade-offs we don’t talk about

Teacher feedback offers real advantages:

  • clarity
  • efficiency
  • reassurance

But it also comes with costs:

  • learners may become dependent
  • attention narrows to correctness
  • learners slip into passive roles

Facilitation doesn’t reject teacher feedback.

It treats it as powerful—and therefore dangerous if overused.


Why peer feedback so often fails

Peer feedback is frequently described as “learner-centred”.

In practice, when it’s poorly facilitated, it can:

  • feel superficial
  • create discomfort
  • spread misinformation

The issue isn’t peer feedback.

It’s the assumption that learners already know how to do it.

Effective peer feedback requires:

  • clear criteria or guiding questions
  • modelling by the facilitator
  • a psychologically safe climate
  • explicit training and repeated practice

Peer feedback isn’t a shortcut.

It’s a skill learners must learn.


The real tension beneath feedback

At its core, feedback forces facilitators to negotiate a deeper tension:

  • control vs trust
  • certainty vs emergence
  • authority vs agency

Every feedback choice answers the question:

Do I step in—or do I step back?

Facilitation lives in this tension.


Feedback is not a technique. It’s a judgment.

There is no universally “best” feedback approach.

Facilitation involves:

  • reading the group
  • sensing the moment
  • choosing the response that best supports learning now

This judgment can’t be scripted.

It develops through:

  • reflection
  • experimentation
  • discomfort
  • self-awareness

When feedback builds community

Well-facilitated feedback does more than improve performance.

It:

  • normalises imperfection
  • values process as much as product
  • strengthens collective responsibility

It communicates not just what matters—but how we learn together.


By the time feedback happens, it’s already too late

By the moment feedback is given, facilitation has already shaped:

  • who spoke
  • how safe it felt to speak
  • how learning is interpreted

Feedback doesn’t stand alone.

It completes a facilitation arc that began long before anyone spoke.


A final reflection

  • Where do you feel the strongest pull between control and trust?
  • Which feedback habits feel hardest to let go of?
  • What kind of facilitator are your feedback choices shaping you into?

Facilitation is never finished.

It’s refined through noticing, reflecting, experimenting—and listening, not only to learners, but to oneself.

The most effective facilitators aren’t those with the most techniques.

They’re the ones with the clearest judgment and deepest presence.

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What You Do While Learners Are Talking Matters More Than What You Say

What Do You Do While Learners Are Talking?

The hidden craft of facilitating discussion

Facilitation doesn’t reveal itself in the lesson plan.

It reveals itself after the activity has started.

Once learners begin speaking freely—really speaking—the facilitator faces a very different challenge:

What do I do now?
Do I step in?
Do I correct?
Do I wait?

This is the moment where facilitation stops being theoretical and becomes visible.


Discussion is not a task. It’s an event.

Free discussion is unpredictable by nature.
Once learners start talking, outcomes can’t be fully planned or controlled.

From a facilitation perspective, discussion is:

  • emergent, not scripted
  • social, not individual
  • shaped moment by moment, not line by line

This unpredictability is exactly what makes discussion pedagogically powerful.

And exactly what makes it uncomfortable.


The hardest facilitation skill? Doing nothing.

During discussion, many facilitators feel an almost physical urge to intervene.

To:

  • correct language immediately
  • redirect ideas
  • summarise too early
  • fill silence

But effective facilitation doesn’t start with speaking.

It starts with watching.

Skilled facilitators attend to:

  • who is speaking—and who isn’t
  • how turns are taken
  • shifts in energy and engagement
  • moments of hesitation, excitement, or withdrawal

This observational stance isn’t passive.
It’s what makes principled feedback possible later.


The real question isn’t “Can I give feedback?”

It’s:

Why would I give feedback now?

After free discussion, feedback can serve many purposes:

  • helping learners notice effective communication
  • reinforcing confidence and risk-taking
  • drawing attention to interaction strategies
  • addressing patterns that genuinely matter

Facilitation is the art of choice.
Not everything you notice needs to be said.


Feedback should continue the discussion—not end it

Poorly handled feedback can:

  • shut down participation
  • recentre the teacher
  • turn discussion into evaluation

Well-facilitated feedback does the opposite. It:

  • extends learning
  • keeps learner voice central
  • validates participation rather than punishing it

One powerful move is to begin with learners’ perceptions:

  • What did you notice about the discussion?
  • What helped it keep going?
  • Where did communication break down?

Now feedback becomes shared inquiry, not judgement.


Five lenses facilitators can choose from

Feedback doesn’t have to mean “language correction”.

It can focus on different lenses:

  • Content – ideas, opinions, experiences
  • Interaction – turn-taking, listening, responding
  • Language – accuracy, range, pronunciation
  • Strategy – how learners managed the discussion
  • Affective factors – confidence, engagement, risk

The facilitation question is always the same:

Which lens best serves learning right now?


Why over-feedback kills discussion

One of the most common facilitation mistakes is saying too much.

When everything is commented on:

  • learners struggle to prioritise
  • confidence drops
  • discussion becomes performative rather than exploratory

Selective feedback isn’t withholding.

It’s protective.


Why this matters more than we admit

Discussion is one of the few classroom moments where:

  • learners experience real agency
  • meaning is negotiated socially
  • learning feels alive

How facilitators respond afterwards determines whether learners experience discussion as:

  • a space for growth
  • or a space for exposure

That difference shapes participation far beyond a single lesson.


A final reflection for facilitators

  • What do you notice first during discussion?
  • What do you feel compelled to comment on—and why?
  • How might selective feedback support confidence rather than control?
  • What would change if feedback were treated as part of the discussion itself?

Facilitation isn’t about saying the right thing.

Sometimes, it’s about knowing when not to speak.

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Every Time a Learner Speaks, They Take a Risk

Participation isn’t about confidence or motivation.
It’s about how much risk the learning space asks learners to carry.

Participation Isn’t About Confidence.
It’s About Risk.

Facilitation isn’t just about getting more people to speak.
It’s about how much risk speaking feels like.

Every time a learner contributes, they risk being:
misunderstood, judged, wrong, or ignored.

How we structure interaction determines whether that risk feels manageable — or overwhelming.


Participation always carries risk

Speaking in a learning space is never neutral.
It involves:

  • social exposure
  • cognitive effort
  • emotional vulnerability

Some learners find this energising.
Others find it threatening.

Facilitators can’t remove risk — but they can shape how it’s experienced.


Think–Pair–Share isn’t a technique. It’s risk management.

Think–Pair–Share works because it sequences visibility:

  • Think → private processing
  • Pair → rehearsal and support
  • Share → public contribution

Seen this way, it’s not a discussion activity.
It’s a way of protecting learners before asking them to be visible.

When sequencing is skipped:

  • confident voices dominate
  • hesitant learners withdraw
  • silence becomes uncomfortable

Sequencing widens access to voice without forcing it.


Open vs closed interaction (and why both matter)

Open interaction

  • spontaneous
  • unpredictable
  • high ownership
  • high risk

Closed interaction

  • guided turns
  • clearer expectations
  • lower risk
  • less spontaneity

Neither is “better”.

Facilitation is about asking:
Which structure serves this group, right now, for this purpose?

Skilled facilitators move between them — they don’t default.


Role play: powerful, risky, misunderstood

Role play can:

  • increase authenticity
  • allow experimentation with identity
  • shift risk from self to role

But without careful facilitation, it can feel exposing or threatening.

What makes the difference?

  • clear framing
  • optional participation routes
  • preparation time
  • reflective debriefing

Structure turns risk into play.


Talking Circles: redistributing voice

Talking Circles deliberately slow interaction and equalise speaking rights.

They:

  • protect quieter voices
  • foreground listening
  • reduce dominance

But only when silence is respected and participation isn’t coerced.

Equality of voice has to be held, not enforced.


This is an ethical issue, not a technical one

When we structure interaction, we decide:

  • whose risks are supported
  • whose voices are heard
  • whose silence is respected

Too much safety leads to passivity.
Too much risk leads to withdrawal.

Facilitation lives in the tension between the two.


A question to take into your next lesson 👇
Are you inviting participation — or managing risk?

(Adapted from Chapter 5 of my Facilitation Skills handbook.)

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The Importance of First Impressions in Facilitation

The First Five Minutes Matter More Than You Think

The first five minutes of a lesson, workshop, or course often do more pedagogical work than the next fifty.

Before learners engage with content or objectives, they encounter something more immediate:

the climate of the space.

This chapter of my Facilitation Skills handbook explores a simple but often overlooked idea:
facilitation begins before teaching.


Beginnings are not neutral

Ice breakers and warmers are often treated as optional extras — something to “get things going.”

From a facilitation perspective, this underestimates their power.

Beginnings quietly:

  • establish norms for participation
  • signal who is expected to speak
  • shape perceptions of safety and risk
  • influence who contributes later — and who stays silent

Facilitation starts the moment people enter the room.


Ice breakers aren’t about fun — they’re about positioning

Good ice breakers don’t entertain.
They position learners.

They position:

  • learners in relation to each other
  • learners in relation to the facilitator
  • learners in relation to voice and risk

Take a simple activity like Find Someone Who.
On the surface, it looks light and social.
Underneath, it:

  • invites personal disclosure without overexposure
  • equalises participation
  • creates immediate peer connection
  • shifts attention away from the teacher

That’s facilitation at work.


When ice breakers go wrong

Ice breakers usually fail not because learners are resistant, but because:

  • too much disclosure is demanded too soon
  • the purpose is unclear
  • the process is rushed
  • participation becomes uneven or exposed

Poorly facilitated openings can increase anxiety and reinforce silence.

Facilitation isn’t about doing an activity.
It’s about holding a process.


Warmers ≠ Ice breakers

Although we often use the terms interchangeably, facilitation benefits from distinguishing them.

  • Ice breakers build safety, trust, and connection
  • Warmers build energy, focus, and readiness

An energetic warmer without safety can still exclude.
A safe ice breaker without momentum can stall.

Skilled facilitators choose intentionally.


“Getting to know you” is pedagogical

Opening activities don’t just build rapport — they provide vital information.

They show us:

  • who speaks easily
  • who hesitates
  • who dominates
  • who withdraws

This is diagnostic data.
And it should shape how we facilitate everything that follows.


Presence at the beginning

Facilitation at the start of a session requires:

  • attentiveness
  • restraint
  • responsiveness

The facilitator’s job isn’t to perform confidence, but to contain uncertainty — both theirs and the group’s.

That’s why beginnings feel risky.
They reveal dynamics before control is established.


Why this matters later

The climate created at the beginning affects:

  • participation in discussion
  • willingness to give peer feedback
  • tolerance of ambiguity
  • how silence is experienced

Facilitation is cumulative.
What happens later depends on what was made possible earlier.


Reflection 👇
What do your lesson openings communicate — not about content, but about participation?

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Warmers and Ice Breakers

A mingling activity like ‘find someone who’ is an example of an effective warmer activity. And basically there are three stages. There’s the setting up stage where the instructions need to be clear. And you notice that the facilitator was eliciting the instructions and providing examples at each stage. Then there is the task itself where the people stand up and mill around asking each other questions and interacting. And then there is the feedback stage where the facilitator asks for reporting back on what was discovered. So I think the advantages of these kind of activities is that it helps participants gain confidence. They feel relaxed. They start interacting, they start speaking in English, if it’s a language classroom, but even if it’s a training session or a meeting, it gets them going, it sort of activates them.

It gives the facilitator or trainer an opportunity to diagnose the participants, see who they are, what do they know, what are their attitudes. If it’s a classroom, their level of English. it also gets participants to get to know each other as well as the trainer or facilitator. It’s a process of beginning to build a rapport and beginning to encourage self-disclosure. It sets the atmosphere for the course. It kind of says, okay, this is the way we’re going to interact. This is the way the learning is going to happen. And it’s an energizer. It gets people active and participating.

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