Intro to Improv Week 1 - Yes And
Yes And
Whenever your scene partner presents something to you within a scene, you should agree with it and then add your own piece to it. You can dislike what they say, but you should agree that it is the truth of the scene.
Yes-and means ‘I’ve heard you and I will honor what you brought by adding to it.’
Avoid saying “No” in scenes or negating information. “Yes, but…” is also problematic since it often deflects or negates.
Listening + Honoring + Adding
A lot of times people start an improv class putting a lot of pressure on themselves to say something funny, but actually improv is about listening to what the other person has said, honoring it by agreeing with it, and then responding and adding on to it in an honest way.
Using this Listen > Agree > Honor > Add process, fun and funny things will emerge all on their own, often effortlessly!
Sentences are Better than Questions - Gift Information
Sentences work much better for improv scenes than questions do. The main reason is because when you ask a question, more often than not, you are putting the weight of information on your scene mate, whereas a sentence gifts information to them. Gifting information is always better.
We are all wired up to ask questions. It will slip out sometimes and that’s okay. If you catch yourself asking a question, don’t correct it, but rather quickly answer your own question.
“What are we having for dinner? I’m hungry for meatloaf.”
Some questions are better than others. Questions that provide some specific information are usually fine.“How was your blind date last night?” is good because it brings some information. The other character had a date last night.
If someone else asks you a question in a scene, you can answer it however you want and that becomes absolutely true, because anything you say becomes true in a scene and they have to agree with it. If they ask a Yes/No type question, most of the time it will be more fun to say Yes to it, even if it’s not something that YOU would normally say yes to. But your character can!
“I don’t know what to say…”
If you try to start a scene but have a brain fart and can’t think of what to say, “I don’t know what to say.” is a sentence and we totally allow it. Consider it your ‘Get out of jail free’ card that you can use anytime you get stuck!
Got Your Back
Class Safety
Safety Phrases
We want improv to be a safe and fun space for everyone. We’re adults and we don’t censor, but we do want to be respectful of others’ boundaries at all times. Your teachers will be your guard rails, but if we miss something, please speak up!
Here are some phrases you can use at any time, for any reason, big or small.
“Banana-banana-banana”
Silly but effective ‘safe word’ to signal that a scene, topic, or situation is becoming unacceptable.
“New Choice”
If a subject is brought up that is uncomfortable, embarrassing or offensive, the teacher, player or classmate can request a ‘New choice’ and the person will go back and restate their sentence, but this time with a different, less problematic, choice.
“Time Out”
If you are uncomfortable with something, simply say “Time Out” and/or make a “T” motion with your hands. We’ll stop the scene immediately and reset with something brand new.
“I’m Uncomfortable”
The most direct version. “I’m uncomfortable and don’t like where this is going – let’s change the topic.”
Safety Basics
Keep things clean
For classes, we will keep things to a light R level or below. Innuendo is great, but graphic sexual descriptions are generally not. Poop, pee, blood, and bodily function humor can be very funny in small doses, but we advise against going to extremes to gross an audience out.
We are adults so adult language is fine if you are comfortable with it, and it’s also totally fine to avoid adult language if you are not comfortable with it. Fudge or F*ck, do what’s right for you! The exception is if a venue has specifically requested toned down language, which we will comply with.
Be excellent to each other
Please avoid negative stereotypes and offensive slurs of all kinds. Avoid making scenes about your fellow improviser’s real personal appearance. Avoid making fun of speech impediments (lisps, stutters, etc), culturally or racially insensitive accents and speech patterns. Have fun, but not any anyone else’s expense.
Respect personal boundaries
Always respect each others’ personal and physical boundaries. For everyone’s comfort, we keep physical contact to a minimum – things like high fives and pats on the back are probably fine as long as the other party is okay with it. Anything beyond that can be done with distance where you aren’t actually touching the person. If you’re not sure, ask first. You also have the right to opt out of all physical contact if you so choose.
Anxiety
Many of us deal with anxiety and know that it can manifest in various ways without warning. Improv can be an incredible tool to help with anxiety, but there may be moments where you get stuck and can’t think of what to say or do next – and that is totally okay! If anxiety triggers while you are in class within a scene or in any other situation, please feel free to call a time out and take a break to take care of yourself. Sit and watch for a bit, or take a walk to clear your head. And whenever you’re ready, you can join back in. We understand and there is no judgment.
Side-Coaching
Our teachers use a coaching technique called side-coaching. This means that while scenes are running, we will occasionally pause the scene or quickly interject to point out opportunities so you’ll have a better idea of what to do the next time you encounter something similar. This is never personal criticism of your performance or humor, and it is meant for the benefit of the entire class. If there are ever any problems or criticisms that need to be addressed, we will handle those directly and privately with you.
Improv Video of the Week
Inventing Improv: Viola Spolin
The origins of Improv were spawned from a daughter of Russian immigrants who taught theater games to teach English to new immigrants who arrived in Chicago. Her son would later found Second City.
The full hour-long documentary about Viola Spolin is embedded below from Youtube:
Improv Exercises
Zip Zap Zop
Clap Pass
Name Thumper
A great game to learn names! Each person will say their name, make a movement to go with their name, and then give a word to go along with their name – the word can start with the same letter, rhyme, be an animal, etc. it doesn’t matter – any word is good. Go around the room one by one with everyone repeating it back after the person gives the name, movement, word combo.
Once it’s gone around at least once, explain that you’re going to give your own name & symbol and then someone else’s name and symbol. When someone sees their name and symbol, they will give their own name and symbol and someone else’s, and so on. Let them know that this isn’t a competition, so anyone can stop and ask for a name, movement or symbol at any time – it’s encouraged to do so to learn names!
Intro to Improv Week 2 - Beginnings and Endings
A to C Instant Brainstorming
We don’t want the audience to get bored with our show. Sometimes we can get into a rut or get stuck on a singular idea over and over again. Audiences like variety. One easy way to get unstuck and generate a new idea on the fly is to A to C it.
So let’s say we get the word ‘grasshopper’ and we have WAY too many scenes that are focused on grasshoppers or we’ve said the word ‘grasshopper’ five times too often. Here’s how you can fix that:
It’s as simple as saying to yourself:
“Grasshopper (A) makes me think of legs (B), which makes me think of shaving (C). I’m going to start the next scene by shaving my legs.”
We’ve now created a brand new thread for the show.
You can easily keep a show fresh continually by watching the previous scene, picking something out of it to A to C, and then spinning off in a new direction.
How to Start Scenes
The biggest hurdle for many starting out in improv is getting a scene started. There are a few easy ways to get things going without much stress:
Start with a Sentence
Start with any normal sentence. Don’t worry about saying something clever or funny. Just start with ordinary. The yes-anding will usually get you to a fun place. “You need to take out the garbage.” is a great grounded way to start a scene. As we’ve stated before, sentences gift information to your scene partner, so that’s a very good thing.
If you ever get stuck for what to say “I don’t know what to say.” is a little meta, but it’s a sentence and we will totally accept it. Consider it your ‘Get Out of Jail Free’ card to use anytime you need it!
Start with an Emotion
Come out and show a big emotion – happy, sad, angry, scared. Don’t have any words yet, just pure emotion. Then let the other person come out and exactly name why you feel this way. “Oh you got a D on your report card…” and then you agree that is the turth of the scene. It’s pretty simple and easy to create a solid scene around an emotion!
Start by Naming the Other Character
Simply come out, make eye contact, and name the other character. Just naming the other character will often spur where the scene can go next. Let the name come out of the moment rather than pre-planning it.
We’re going for Seinfeld level “Jerry…” “Newman…” emotional vibes with these, which can be very funny. You can also name the relationship. “Honey…”, “Mother…”, “Boss…” etc.
Pro tip: After naming the other character, challenge yourself to use that name a few more times within the scene. This will help you to remember character names.
Start with Object Work
Come out and silently start doing some object work (folding laundry, making breakfast, working on a car, etc.). The second person should also come out silently and join in the activity or something that compliments it. Give yourselves a few seconds of silence together before making eye contact and starting the conversation.
Object work initiations are great for people who have a hard time thinking of what to say. It gives you some time to think, and takes a lot of the pressure off.
Scenes should always be about the relationships between people in the scene more than the objects in the scenes, but object work can go a long way to establishing the environment. We’ll dig deeper into object work in Week 3.
How to End Scenes
Once a scene is over, it is up to the rest of the troupe to edit it in order to end it and start a brand new scenes. There are a few different ways to edit a scene.
A Sweep Edit (also called a Wipe) works like this:
Once a scene is over, someone from the back line runs across the front of the stage to signify that it is done and a new scene should begin immediately.
By doing this, you are the human equivalent of the line that transitions from one scene to another on a movie screen. In Star Wars, the scene is on Tatooine and the line moves across and now it transitions to the Death Star. You’re the human equivalent of that line. It could also be thought of as pulling a curtain to end and start a new scene.
Sweep Edits will happen when:
- A funny button line is found – a moment that is the perfect end to the scene.
- The scene isn’t getting traction after a minute or so – go ahead and get it out of there. We’ll teach you some strategies for saving those scenes later in the curriculum, but for now, wipe and move on.
- Extremely rare: You have a Banana-banana-banana inappropriate moment on stage. You’ve made the audience uncomfortable (not in a fun way), wipe the secne and move on to something else. Audiences are very forgiving if it’s taken care of right away.
For Intro, we want you to learn to trust and depend upon your scene mates, so we’re going to ask that you stay in a scene until someone from the troupe’s back line (anyone not currently in the scene) runs across in front.
Who What Where
When starting new scenes, you want to hit three main things near the top of the scene: WHO (the relationship), WHAT (what the scene is about), and WHERE (the current location for the characters).
When a scene doesn’t quite work, it’s usually because one of these elements is missing from the scene.
For Intro, we have a solid ‘training wheels’ start to scenes that will hit Who, What and Where easily and consistently, but we’ll also teach you later in the semester how to rescue a scene that is missing one or more of these vital elements.
The PERFECT Scene Starter: Do > Feel > Know > Say > Play
We’ve developed an easy sure-fire way to start a great improv scene that sets you up for success every time. This is a great set of training wheels as you get used to starting improv scenes.
It’s super easy: Do > Feel > Know > Say > Play
It builds Who What and Where into your scene right away and will get you on the right foot for scenes!
DO: Object Work
We’ll dive more deeply into Object Work in Week 3, but it’s simply making up chores that utilize improv objects in a scene. Dig a hole. Fold laundry. Work on a car. Stand on the shore fishing. As long as you are interacting with real objects in this part of the scene, you’re good! Running, yoga, dancing, etc don’t usually have you interacting with improv objects – and can also be exhausting!
Do establishes WHERE you are in the scene pretty solidly.
Simply come out and start silently do object work for a few seconds. Don’t worry about what to say yet.
FEEL: Emotions
As you silently start digging that hole, think about how your character feels at this moment. Are they happy? Are they angry? Show that emotion. Emotions + Object Work = Gold!
Make the emotion big so it’s clear to the other person as they enter the stage. Continue to do your thing silently and with full emotions.
The second person now enters the stage area and joins you silently in that activity – either do the same thing or something that goes along with it. They will have their own emotion towards this as well. It can be the same emotion or it can be completely different – both will create a fun dynamic.
DO and FEEL this silently together for around 10 to 20 seconds.
KNOW: Relationship
Characters should almost always know each other. You can have a perfectly fine scene between total strangers, but you can get to the meat of the scene much faster if the characters know each other well and have strong opinions of the other person.
Naming the other character, or naming the relationship is a great way to establish that history together.
Once the Object Work and Emotions are underway with both characters, pause and make eye contact for a second or two and then state the other character’s first name or establish the relationship. Also let the name be inspired by the scene – try not to pre-plan or use in-real-life names.
Let the emotion come through in that naming.
“Samuel…” “Stacy…”
“Mother…” “Ethan…”
“Johnson…” “Mr. Stern…”
“Newman…” “Jerry…”
Naming goes a long way towards establishing that the characters know each other and have a relationship. Going even further by establishing if they are friends, neighbors, family members, spouses, co-workers, etc. is a gift that will fuel the scene.
SAY: Sentence
Once the Object Work and Emotions have been established, and the characters have named each other (or named the relationship), pause for a beat and then either character can start talking.
Normal everyday conversation is best with improv. Resist the urge to say something crazy or ‘funny’.
Trust the Yes-And process. The funny stuff WILL happen!
PLAY: Have Fun!
Now just have a nice scene. Eventually the WHAT of the scene will figure itself out. When it does, play with it.
You don’t need multiple things to play with, just the main WHAT. If Mom steals cars, what else is true about Mom?
Putting it All Together: DO > FEEL > KNOW > SAY > PLAY
Here are the steps:
- Get a word from the audience or use a word, concept or idea from a previous scene as your initiation – A to C it to create even more diversity of scene subjects so you don’t get stuck on the same concept over and over.
- Step out silently and use the word as inspiration to start object work along with a strong emotion. Don’t speak, just let it be silent for a bit.
- A second improviser will come into the scene and join you in that activity, silently either doing the same thing or doing something that goes along with what you are doing.
- They are also going to add their own strong emotion to what they are doing – it can be the same as the first character or completely different. If the first person is happily wiping tables, the second person might be angrily sweeping the floor. And the second person should actually interact with objects – not just supervise the first person!
- Give it about ten seconds or more of silently doing the object work together. Let the emotions flow.
Both characters, who know each other well, will pause, make eye contact, and silently hold that eye contact for a second or two. - While making eye contact, each character will say the other character’s first name – let this be inspired by the scene
- Now either character can kick things off with a sentence. Go for truth and honesty over crazy. Trust us: truth is far funnier!
- Play out the scene.
It’s a formula, but it works consistently and is a great way to get things going while you are learning.
After a bit, we’ll drop the formula, but the WHO WHAT WHERE elements should still be established near the top of the scene. Trust the Yes-And process to bring the funny part to light as you discover the scene together
The Anatomy of a Montage Improv Show
This is how to do a simple and diverse montage improv show with just a single word from the audience.
- Everyone comes out with high energy, hooping and hollering.
- A designated person will introduce the troupe and get a suggestion from the audience.
- The first person who steps out will use the word as an inspiration for their silent object work and big emotion. If you get “sunshine” from the audience, maybe you’re excitedly putting on sunscreen, or frustratingly adjusting the blinds.
- A second person will join in the activity, silently doing the same thing or something that goes along with it, also with their own emotion that doesn’t have to match the first person’s, but can.
- After a few seconds of silent activity, make eye contact and name each other, letting their emotions through as they say the name – let the names be inspired by the scene and don’t pre-plan. “Jessica…” “Trevor…”
- Now start talking and Yes-anding.
- When you find out what the scene is about together, play with what emerges.
- When the scene hits a funny moment (or stalls out), someone not currently in the scene will come from the back or side line and wipe the scene.
- Everyone that wasn’t in that scene should be picking something from it to A to C and then use that as potential inspiration for the next scene.
- Blinds make me think of cords which makes me think of computers. I’m going to start the next scene by happily typing in an office.
- Every scene try to find something from the previous scene to use to A to C for the next scene.
- If a third character is named that isn’t currently in the scene, someone from the back line can enter as that character. “My boss is coming over for dinner.” Keep Walk-ons to a minimum for now and only when someone is named – we’ll teach more on that topic later!
- String scenes together like this for the allotted time. A to C something said in the previous scene. The more tangental the better! This will create a thread through the entire show that connects each scene together, but doesn’t get repetitive or stuck in a rut.
- When the timer hits zero, everyone throws their arms up and says “THAT’S OUR SHOW!!!”
- Take a bow and exit the stage.
Improv Video of the Week
iO Theater: The Living Room
Want to see Amy Poehler (Saturday Night Live, Parks & Recreation), Tina Fey (SNL, 30 Rock), and Neil Flynn (Scrubs, The Middle) in the mid-90’s doing improv in Chicago several years before they were famous? Here you go…
Improv Exercises
Five Things
Intro to Improv Week 3 - Object Work
Object Work
On an improv stage we usually only have each other and a few chairs. Everything else we make up. We want to treat objects like they are real, with weight size, and volume, use them and put them away like we would real things. Phones aren’t two fingers because that’s not how we hold a real phone. When sweeping with a broom or mopping with a mop, try and keep the handle straight. And try not to let your improv objects disappear into thin air. If you’re holding an improv bottle of beer, you’re holding that beer until you set it down.
The more realistic we treat the object, the more the audience will buy into the illusion. Even if you have real things like phones on your person, still use improv objects. Pay with an improv wallet, take off improv clothes, tie improv shoes, etc. The only real objects you should interact with on an improv stage are the chairs, which can be used for couches, chairs and cars.
Make the Scene About the RELATIONSHIPS, Not the Objects
Object work can clearly establish WHERE the scene is taking place, and does a great job of filling in the scene. However, be careful to let scenes be about the people and their relationships more than the objects.
If a dad is working on his improv car while chatting with his son, it would be really easy to get into a scene where he’s teaching car maintenance. But that’s a boring teaching scene. The better option is while showing Jimmy how to change spark plugs, dad confesses “Hey buddy, I’ve got some news for you – your mom and I are splitting up.” while turning a improv ratchet. That is far more interesting!
The conversation should be about relationships and feelings, and the objects are just what you happen to be doing while talking. It enhances your improv world and makes it more realistic and far more interesting!
Environment Work
Environment Work takes things a step further than object work. Object works is dealing with an individual object, but Environment Work is playing with your entire space. Are you in a kitchen? Are you in a garage? Are you in the office? If so, what can you interact with in your environment?
Maybe while you’re talking you make a bowl of cereal, going to the cabinet, taking a box out, opening the box, grabbing a bowl from the sink, pouring the cereal into the bowl, putting milk on the cereal and eating it with a spoon… all the while continuing to talk about how your son, little Johnny, got a C on his math quiz that morning.
Often improvisers find themselves in what we call ‘Eleven Scenes’ where two people are standing talking to each other, but no movement is happening. They are usually fine verbally, but could be much more interesting physically.
If you find yourself in one of these, think you yourself ‘where am i right now and what could be be interacting with?’ and just start doing that. Your scene partner will likely pick up on it and join you in the activity or something that compliments it.
This simple move will often supercharge a scene from good to great!
Improv Video of the Week
Late Show: The Invisible Props Department
Here’s a great example of Stephen Colbert doing excellent object work on his show:
Improv Exercises
Snap Pass
A simple Object Work game. Form a circle. One person throws a ‘snap’ to another person in the circle. That person catches the snap, honoring the way it was thrown, and then throws it to someone else with a second snap. One snap to catch and another snap to throw.
When the game is ready to end, someone catches the snap in their mouth and swallows it.
Intro to Improv Week 4 - Relationships
Character Dynamics
Whatever character you play, try to embody the voice, physically and, most importantly, perspective of the person they are playing. Being great at voices and accents is great if you are good at it, but it isn’t necessary to create a solid character. Tom Hanks has made an entire excellent career playing versions of himself mostly (and a Forrest Gump or Col. Tom Parker every so often).
Looking at life from that character’s point of view is the most important element.
Emotions in Scenes
Characters should have a strong opinion and/or a strong emotion towards each other. On a scale of 1 to 10, we recommend starting at a 6 or 7 so it’s super clear to your scene mate and to the audience. Strong emotions also play better on an improv stage because they tend to project more. Playing a low emotion or indifferent to another character isn’t going to spark a scene very well, but having a clear and strong emotion will set you up for a great scene.
Relationships
While it is possible to have decent scenes between strangers, it’s much easier and more efficient for the characters to already know each other and have strong opinions about each other. That way you can start in the middle of the scene.
Try to not only name the other character near the top of the scene – to establish clearly that you already know each other – but also try to set in stone how these characters know each other.
Are they co-workers? Spouses? Roommates? Neighbors? Bitter rivals? Getting that out at the start of the scene will help make the scene pop easily.
The Ladder Show Format
The Ladder is a simple show format, created by Brian James O’Connell that generates great scenes with strong characters and an overall storytelling arc.
It generally involves 4 improvisers, and consists of a series of two person scenes where everyone in the group has a scene with everyone else.
Whatever character you establish in your first scene, that is your character for the entire show. If you are the mayor of the town, you are the mayor of the town in every scene during the show.
We’ll use tag-outs to cycle through everyone in the troupe for a total of 7 scenes. The final scene will return to the initial two characters.
The first two scenes will mention other characters for the others to possibly take on.
Example:
Scene 1: Alice and Ben are a couple worried about their teenage son.
Scene 2: Carl and Ben, his dad, talk about the trouble he is getting into in 10th grade. Carl complains that he can’t live up to his older sister’s example.
Scene 3: Carl and Dana, his sister, get into an argument over their parents’ affection.
Scene 4: Dana and Alice have a scene. Dana is upset at her brother.
Scene 5: Alice and Carl, her son, have a heart to heart.
Scene 6: Ben and Dana have a father daughter bonding moment.
Scene 7: Alice and Ben wrap the show run up, talking about how complicated a family is, but they love their kids.
Improv Video of the Week
Yes-Also Podcast with Suzi Barrett
Suzi Barrett, who ran a series of workshops with Reflex in October of 2025 has an excellent podcast where she interviews improvisers from all over the world to get their insights. This episode is with Ben Schwartz (Parks and Recreation, Middleditch & Schwartz). More details about her podcast can be found here.
Improv Exercises
Two Word at a Time Letter
Circle game. The group will write a letter together (complaint letter, job reference, love letter, etc) using two words at a time – no more and no less.
Punctuation doesn’t count as a word, so put a comma, period, or question mark wherever you need it to go.
When the letter comes to an end, someone can give a closing (“Sincerely yours…”) and the last person gives this letter a fictional first and last name for its author.
Intro to Improv Week 5 - Game
Game
Patterns
For Intro we focus on patterns for game but it can also be heightening, emotional reactions, emotion shifts, etc, etc. (all of which we dig into in future classes).
Discover patterns such as catch phrases, movements, etc. We forced them a bit in the class exercises to show how and why they work, but, when doing scenes, it is always best to stumble upon them naturally (and you won’t always have them). As stated above, you will know you’ve found it when the audience reacts strongly.
Patterns can also have variations. The rule is if you do it the exactly the same the second time as the first, then do it exactly the same the third time – if different the second time, then make it equally different the third time.
Let patterns breathe for awhile in between returning to them. It gives them more weight if you let there be around 30 seconds or more between coming back to them.
Rule of Threes
If you find something that the audience clearly likes, do it again, and then do it again for a total of three. Game usually happens best in threes. If you have a pattern, do it three times. If heightening do it three times. Return to scenes in threes. Our brains like the number three and find it entertaining and satisfying.
Multiples of three also work, so if you go beyond three, go ahead and make it six. If beyond six, go to nine.
Heightening
Heightening is when you make something bigger and more extreme, and then make it even bigger and more extreme again. This is why starting grounded and normal in scenes is important, because it gives you space to heighten to the weird and crazy things.
Not great example of heightening:
I bought a boat.
I bought two boats.
I bought three boats.
Great example of heightening:
Guess what? I bought a boat!
Guess what? I bought a yacht!!
Guess what? I bought a cruise ship!!!
Improv Video of the Week
Community's Three-Season Beetlejuice Joke (Rule of Threes)
One of the most patient Rule of Threes example took three seasons for the payoff. Watch the background after the third mention.
Improv Exercises
Squirrel Nut Tree
Circle game. Three people form a triptych together. First person out says “I’m a Squirrel” and puts their body in the shape of a squirrel. 2nd person says “I’m a Nut” and takes the shape of a nut. 3rd person says “I’m a Tree” and takes the shape of a tree. The person who was out there first (or longest) says who stays and the other two return to the circle (let’s say Tree for the example). The person remaining then says their own thing again “I’m a Tree” and two more people come out to join them doing something that goes along with a Tree that is neither a Squirrel or a Nut this time. (example “I’m a swing” and “I’m a leaf”). Person out longest says who stays and repeat again. Note: You’ll often have to remind the first person to say theirs again to get the pattern going, remind the one out there the longest to keep one, and also encourage them to keep it flowing and not leave anyone out there by themselves for long.
For the last one, find an easy one to have all of the class pile on to finish it off.
Intro to Improv Week 6 - Improv Shows
Stagecraft
Share the Energy
Project Your Voice
Talk louder than you think you may need to. We are generally not mic’d up, so you want to make sure that the person on the back row of seats can hear you clearly. If you are naturally soft-spoken, push your volume up.
If whispering in a scene, do a ‘stage whisper’ and change the tone of your voice to that of a whisper, but try to keep your volume up. The audience will understand that it’s a whisper.
Cheat Out Towards the Audience
Backline Etiquette
Improv Video of the Week
Keegan-Michael Key on How Improv Works
Improv Exercises
Bunny Bunny
Teach this one piece at a time, then combine it all together.
First part: Make a bunny motion with two fingers (both hands) towards yourself and say BUNNY BUNNY. Then make the same motion towards someone else and say BUNNY BUNNY again. Some people will get the motion backwards, but it’s not a huge deal. Let that go for a bit to solidify.
Second part: The two people to the sides of BUNNY BUNNY face that person, throw their arms out, and rock side to side saying TOKI TOKI in the same rhythm as BUNNY BUNNY. Let these play for awhile until it solidifies.
Third part: Everyone who isn’t BUNNY BUNNY or TOKI TOKI will keep the rhythm by saying OOM-CHA OOM-CHA and slapping their own thighs gently to make a clap sound. Start everyone doing this, then once the rhythm has been established, start the BUNNY BUNNY-TOKI TOKI up.
After they get good at it, you can speed it up slowly. Keep going faster until it falls apart.