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Laugh and Learn 95 Ways to Use Humor for More
Effective Teaching and Training 1st Edition Doni
Tamblyn Digital Instant Download
Author(s): Doni Tamblyn
ISBN(s): 9780814407455, 0814407455
Edition: 1
File Details: PDF, 3.36 MB
Year: 2003
Language: english
laugh and learn
95 ways to use humor for more
effective teaching and training
This Page Intentionally Left Blank
laugh and learn
95 ways to use humor for more
effective teaching and training

D O N I TA M B LY N

A M E R I C A N M A N A G E M E N T A S S O C I AT I O N
N e w Yo r k  A t l a n t a  B r u s s e l s  B u e n o s A i r e s  C h i c a g o
London  M e x i c o C i t y  San Francisco  Shanghai  To k y o
To r o n t o  W a s h i n g t o n, D.C.
This Page Intentionally Left Blank
 Special discounts on bulk quantities of AMACOM books are available to cor-
porations, professional associations, and other organizations. For details, con-
tact Special Sales Department, AMACOM, a division of American Management
Association, 1601 Broadway, New York, NY 10019.
Tel.: 212-903-8316. Fax: 212-903-8083.
Web site: www.amacombooks.org

This publication is designed to provide accurate and authoritative information in

regard to the subject matter covered. It is sold with the understanding that the pub-
lisher is not engaged in rendering legal, accounting, or other professional service. If
legal advice or other expert assistance is required, the services of a competent profes-
sional person should be sought.

Library of Congress Cataloging-in-Publication Data

Tamblyn, Doni.
Laugh and learn : 95 ways to use humor for more effective teaching and training / Doni
Tamblyn.
p. cm.
Includes bibliographical references and index.
ISBN 0-8144-0745-5
1. Employees—Training of. 2. Humor in business. I. Title
HF5549.5.T7 T256 2002
658.3'124—dc21
2002011301

© 2003 Doni Tamblyn

All rights reserved.

Printed in the United States of America.

This publication may not be reproduced, stored in a retrieval system, or transmitted

in whole or in part, in any form or by any means, electronic, mechanical, photocopy-
ing, recording, or otherwise, without the prior written permission of AMACOM, a
division of American Management Association, 1601 Broadway, New York, NY 10019.

Printing number
10 9 8 7 6 5 4 3 2 1
This book is dedicated with gratitude to every gifted
teacher I have been lucky enough to have. It is also dedi-
cated to Doug Ryan, who gave me a chance to grow from
a comedian to a teacher. Finally, it is dedicated to Edward
De Bono, who inspired me by saying, “Humor is by far
the most significant behavior of the human brain.”
contents
ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
LIST OF THE 95 WAYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
INTRODUCTION . ................................................1

PART I THE WHAT AND WHY

CHAPTER 1 You’ve Got to Start Here: What Is Humor, Anyway? . . . . . . . 7

The Case Against Teaching Through Stand-Up Comedy . . . . . . . . . . 9
The Case for Using Humor in Teaching (and Life in General) . . . . . 10

CHAPTER 2Come to Think of It, What Is

Brain-Compatible Learning? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Uniqueness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Cycles, Rhythms, and Making Meaning . . . . . . . . . . . . . . . . . . . . . . . 22
Intrinsic Motivation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The Von Restorff Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Nonconscious Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Multipath Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Rhyme, Rhythm, and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
VIII C O N T E N T S

CHAPTER 3Okay, So Why Use Humor to Deliver

Brain-Compatible Learning? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
The First and Best Reason: It’s Easy and Everyone’s
Naturally Good at It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The Second Reason: It Substantially Reduces Stress
and Threat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
The Third Reason: It Draws People Together . . . . . . . . . . . . . . . . . . 37
The Fourth Reason: It Enlists Two of the Communicator’s
Best Friends—Relevancy and Visual Memory . . . . . . . . . . . . . . . . 37
The Fifth Reason: It Engages Emotion. . . . . . . . . . . . . . . . . . . . . . . . 38
The Sixth Reason: It Allows the Brain to Take Regular
“Breathers” for Meaning-Making, Heightened Attention,
and Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

PART II THE HOW

CHAPTER 4 It’s Easy—And You Can Make It Easier! Five Rules for
Using Humor Naturally, Successfully, and Without Fear . . . . . . . . 47
Rule #1: Cut Yourself—and Others—Some Gosh-Darned Slack! . . 49
Rule #2: Don’t Be Original . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Rule #3: Make Positive Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Rule #4: Focus Out, Not In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Rule #5: Always Acknowledge the “Bomb”! . . . . . . . . . . . . . . . . . . . . 74
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Deposing the Brain’s Great Oppressors: Threat

CHAPTER 5
and High Stress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Stress-Buster #1: Give Your Learners a Sense of Choice . . . . . . . . . . 87
Stress-Buster #2: Keep It Positive . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
 CONTENTS IX

Stress-Buster #3: Keep Assessment Nonthreatening . . . . . . . . . . . . . 95

Making Sure Exams Measure Mastery, Not Fear . . . . . . . . . . . . . . . . 99
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

CHAPTER 6 Drawing People Together to Enlist “the Social Brain” . . . 105

Safety Item #1: Your Credibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Safety Item #2: Your Approachability . . . . . . . . . . . . . . . . . . . . . . . 112
Safety Item #3: Rapport Among Your Learners . . . . . . . . . . . . . . . . 116
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Relevancy and Visual Memory—Two

CHAPTER 7
Powerful Mnemonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Personal Relevancy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Visual Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

CHAPTER 8 Engaging Emotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Step 1: “Reading” Ourselves Accurately . . . . . . . . . . . . . . . . . . . . . . 154
Step 2: Accepting the Emotions of Others . . . . . . . . . . . . . . . . . . . . 156
Step 3: Emotional Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

CHAPTER 9“I Need My Space!”— Giving the Brain Regular

Breathers for Enhanced Learning . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Axe-Sharpener #1: Making Meaning . . . . . . . . . . . . . . . . . . . . . . . . 169
Axe-Sharpener #2: Heightening Attention . . . . . . . . . . . . . . . . . . 173
Axe-Sharpener #3: Reviewing Information . . . . . . . . . . . . . . . . . . . 179
Some Next Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
X CONTENTS

PART III THE “WHO, ME?”

CHAPTER 10 Laugh in the Face of Fear! . . . . . . . . . . . . . . . . . . . . . . . . . 193

Fear #1: “My Audience/Subject Is Too Serious” . . . . . . . . . . . . . . . . 195
Fear #2: “I’m Not Funny!” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Fear #3 (and the Only Well-Founded Fear): “Will I Offend
Someone?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Fear #4: “How Do I Control These People?” . . . . . . . . . . . . . . . . . . 200

CHAPTER 11 I Can’t Believe I’m Writing This Chapter . . . . . . . . . . . . 211

Step 1: Keep It Short . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Step 2: Make It Specific . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Step 3: Put the Punch Line at the End!. . . . . . . . . . . . . . . . . . . . . . . 214
Step 4: …Pause . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

CHAPTER 12 The Best Chapter in the Book . . . . . . . . . . . . . . . . . . . . . . 217

Day One on the One-a-Day Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Month One on the One-a-Day Plan. . . . . . . . . . . . . . . . . . . . . . . . . 220
Month Six on the One-a-Day Plan. . . . . . . . . . . . . . . . . . . . . . . . . . 221
Month Twelve on the One-a-Day Plan. . . . . . . . . . . . . . . . . . . . . . . 223

ENDNOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

ABOUT THE AUTHOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

acknowledgments
First and foremost, thanks to Eric Jensen for talking me into writing this
book way back in 1997, and for his continued assistance as it was being
written.
Thanks also to Malcolm Kushner, whose many insights and rigorous
research on humor in business have long acted as a catalyst to my think-
ing. And thanks for all your personal help and encouragement, Malcolm.
My first book might not have gotten written if not for you.
Thanks to Pat Wolfe of Mind Matters, Inc., who took time from her
enormously full schedule to talk with me about the brain.
The team at AMACOM has been wonderful to work with. First, my
warmest thanks to Jacquie Flynn for giving so generously of both her time
and her superb ideas for improvement; this is a far better book than it
would have been without her. Editor Niels Buessem not only polished the
book but also “got” it, a fact that must bring moisture to any writer’s eyes.
Thanks also to Jim Bessent for his patience in the face of deadlines, and to
Vera Sarkanj for her work in promoting this book.
And finally, to all those talented comedians at Traffic Safety Taught with
Humor, whose creativity and enthusiasm in teaching “violators” will always
inspire and amaze me: Thanks for taking the job seriously. It was an honor
working with you.
This Page Intentionally Left Blank
the 95 ways
Acknowledge the “Bomb” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Acknowledge Learner “Bombs” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Aerobic Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Affirmations—Oral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Affirmations—Written . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Anger Aikido Move #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Anger Aikido Move #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Ask Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Assign Break Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Avoid Derogatory Humor! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Avoid Humor About Controversial Topics . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Avoid Using Humor When People are Seriously Upset . . . . . . . . . . . . . . . . 206
Award Scores in Learning Competitions . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Award Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Award Bonus Points! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Award Fabulous Prizes! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Balloon Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Cartoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Clown Bow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Create a Joke-and-Cartoon File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Create a Metaphor: Genres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Create a Metaphor: Industry settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Create a Metaphor: Major events and holidays . . . . . . . . . . . . . . . . . . . . . . 170
Create a Metaphor: Popular movies, plays, TV shows, or books . . . . . . . . 170
Cross Lateral #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Cross Lateral #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Cross Lateral #3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Cross Lateral #4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Cross Lateral #5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Cross Lateral #6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
“Do It Without Instructions” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
“Dr. Truth” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
“Find a Common Enemy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
XIV

Finish-the-Sentence Ball Toss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

“Fortunately . . . ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Fun Ways to Break Study Buddy Duos into Partners A and B . . . . . . . . . . 189
“Game Show” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
“Go” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Goal Assessment Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Group Brainstorming Behavior #1: Never Deride Anyone Else’s Idea . . . . . 52
Group Brainstorming Behavior #2: Share “Bad” Ideas . . . . . . . . . . . . . . . . . 53
Group Chants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
“Group Count” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
“It’s Tuesday” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Joke-Telling Technique #1: Keep It Short . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Joke-Telling Technique #2: Make It Specific . . . . . . . . . . . . . . . . . . . . . . . . . 214
Joke-Telling Technique #3: Put the Punch Line at the End . . . . . . . . . . . . . 214
Joke-Telling Technique #4: Pause . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Keep It Simple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Laugh at Your Learners’ Jokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Light Answers to Heavy Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Make Positive Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Messing with Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Metaphor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Mind Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Modify Humor for “TJ” Learners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122, 177
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
“Music and Poetry Corner” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
“Numbers Horseshoe” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
“One-Word Instructions” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Partial List of Appropriate Fabulous Prizes . . . . . . . . . . . . . . . . . . . . . . . . . 140
Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Proactive Show-of-Hands Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Professional Comedian’ s Secret Weapon . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Pulse-Taking Flip Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Quirky Show-of-Hands Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
 XV

“Random Access” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53, 111

Relevant Cartoons on Overheads and Handouts . . . . . . . . . . . . . . . . . . . . . 115
“Rent-A-Cloud” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Scarf Juggling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Self-Deprecating Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Self-Management Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
“So Sue Me (But I Know You Won’t)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Standard Phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Start Program Off with a Joke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Study-Buddy Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Suffer Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
“Supply the Word” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Take a Theatre Improv Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Teams (Larger Groups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Teams (Smaller Groups) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Team Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Team Cheers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
“The Look” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
“Today’s Experts” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Treats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
“Two Minutes of Heaven” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Unusual Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Ways to Compile Quirky Show-of-Hands Questions . . . . . . . . . . . . . . . . . 118
“What, You Thought I Was Einstein?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
“What’s in the Box?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Where to Find “Game Show” Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
“Which One Is the Bomb?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
“Wounded Trainer” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
“Yes But/Yes And” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
 N
O
everybody’s

I
T
a comic

C
U
THE MINUTE people find out you used to be a comedian, they pos-

D
itively burst into life. They move closer; they tell you about their
favorite club. They ask, who’s your favorite stand-up? Didn’t they
see you on Comedy Showcase?
O

And then they always, always do one thing: They tell you a joke.
Verily spoke the vaudevillian: “Everybody’s a comic.”
In 1990, I was instructor coordinator for a San Francisco traffic
R

violator school. Traffic school in California is a sort of penance for

speeders and stop sign cruisers—regular folks like you and me.
They opt to sit through seven-hour lectures on stopping distances
T

and decapitation, in return for keeping their tickets off the record.
It’s a little like hell: Lots of people attend, but no one wants to be
there. At one point, some of these state-licensed schools started hir-
N

ing comedians to teach. (Yes, only in California.*)

*Although at the time of this writing the idea has also been adopted by Texas
and Florida.
I
2 LAUGH AND LEARN

In my job I recruited over forty-five professional comedians statewide,

and trained them to get their “violators” on their feet teaching each other,
using, among other things, original skits, rap
“ The mediocre teacher tells. songs, and bad celebrity impersonations. At the
The good teacher explains.
end of their day in detention, our attendees went
The superior teacher demon-
away energized, flushed with their own creativ-
strates. The great teacher
inspires.” ity—and sold on driver safety. It was both thrilling
William Arthur Ward, and fascinating to see how the simple experience of
college administrator
fun had so completely reversed attitudes. Many
learners said things like, “This class should be mandatory,”“You are saving
lives,” and “I’m glad I came.” When one person, a lawyer, asked, “Would I
have to get another ticket to come back here?” I decided that maybe it was
time to take this stuff on the road.
Most teachers and trainers believe, either from research or gut instinct,
that humor helps people learn better. Relatively few, however, give much
time to building this very easy skill.
One reason is that they don’t think humor is a “skill” that can be “built.”
Humor is a gift, they believe; you’re either born with it or not. They’re
almost right. Just a hair off. In actual fact, humor is a gift—and Chapter 4
will prove that you, I, and everyone else, were born with it.
Another reason teachers and trainers resist using humor is that they fear
the possible negative repercussions. Maybe they will “bomb.” Maybe they
will inadvertently make an inappropriate joke. Maybe their topic is too
serious for humor. Maybe a humorous, playful audience will be too hard
to control. Some of these fears are well-founded. Most, as you will see in
reading this book, are not.
Perhaps the most immediate cause for the reluctance to use humor,
however, is the simple fact that professional development costs money.
When it comes to allocating scarce funds, training managers must think
carefully. Sure, speakers’ and trainers’ evaluation scores may go up when
they use humor—but will their listeners actually learn better? Will they
make the desired behavior changes? Will they score higher on exams? Will
 INTRODUCTION 3

they do better on the job? Is there any proof that humor actually improves
retention or retrieval of information? Is humor really an effective teach-
ing tool, or just a feel-good contrivance? Aren’t we safer using the budget
to build the currently-needed technical skills rather than training train-
ers to be funny?
This book is written to provide a low-risk, affordable way for teach-
ers, trainers, and speakers to start putting humor to work for them. In
the process, however, I freely confess that I hope to lead all communica-
tors to an appreciation of how humor can help them convey virtually any
topic far more effectively, resulting in substantial long-term benefits for
themselves, their listeners, and their organizations. I am confident that
readers will be as fascinated as I am by the research that strongly suggests
humor fulfills several biological purposes—a major one of which seems
to be to make us think and work better. Like every other biological func-
tion, humor seems essentially to have been implanted to ensure the con-
tinuance of the species.
Okay, after that last sentence you’re probably thinking this won’t be a
funny book to read. Stay with me! Nobody knows better than I how
pathetic it would be to write an unfunny book on the subject of humor.
Therefore, I herewith offer this personal guarantee: If you don’t laugh at
least once while reading this book, I will eat a raw Japanese sea urchin. I
swear. All you have to do is write.**
And now with that vital issue out of the way, let’s get back to the sub-
ject at hand.
This book will first clarify what humor is. (Ever notice how much dis-
agreement there is on that point?) Next it will examine why humor should
be used in virtually any classroom setting, and give some basics about what
is called “brain compatible learning.” After that it will outline, over several

**Only the author may be held to this guarantee. It should be understood that neither
the publisher nor any of the publisher’s employees, freelancers, or business partners
are obliged to participate in the eating of said sea urchins, nor of any other flora or
fauna the author might offer to ingest in the future. If we eat sushi or anything else,
we’ll do it of our own free will, thank you very much.
4 LAUGH AND LEARN

chapters, how to use humor in your work successfully, appropriately, and

without fear.
(Speaking of fear, Chapter 10 is devoted to the concerns, noted above,
that many people have about using humor. If you’re really trepidant, you
might want to read that chapter first.)
Finally, the appendix offers an example of a teaching module designed
with humor, and the bibliography provides a list of resources for further
learning.
It is my intent that after reading this book you will:

❖ Feel clear about the benefits humor can bring to the invaluable
work you do

❖ Be convinced to start using humor

❖ Have a ready “tool box” of tried-and-true techniques to draw on

❖ Feel fearless about using humor in your classroom (and outside

it, too)

So let’s not waste any time. With a subject as big as “humor,” the ques-
tion is, where to start? Fortunately, I think I have the answer.
Discovering Diverse Content Through
Random Scribd Documents
SALON TYTTÖ KAUPUNGISSA.

Oi, ihmiset, ihmiset, ilmaiskaa, miks minut on tänne tuotu! Ja

miksi on vihreä laaksomaa niin kauvaksi jättää suotu? Miks
täytyvi kaihota ruikuttain, salon tuntea sulot vain kaihossain?

Mun mieleni halajavi hiljaista

sulosoppea rannalla lammen.
Kera kultani mielisin kuunnella
käen kukkua latvassa tammen.
Mut vallassa maailman myrskyjen
mä itken ja orpona tuskailen.

Mun mieleni halajavi liidellä yli lehtojen, laihojen, vetten, ja

katsoa päivyen säihkyssä yli maitten ja manteretten. Mut
miero mun siipeni poikki lyö, ja toivoni päivyen peittää yö.

Mun mieleni halajavi hengittää

salon rauhaa suurta ja syvää.
Se halajavi elää elämää
ikikaunista, totta ja hyvää.
Mut kätkössä kalliomuurien
jääharkoksi jäätyvi sydämen.
 Mun mieleni halajavi vihantaa
ja vehmasta onnen oksaa.
Mut muitten on metsä ja muitten maa,
vain muureja silmäni hoksaa.
Jos jossakin lehväkin liplattais,
miten täällä sen taittaa uskaltais!

Kai ovatkin toivoni turhia, kai suotta on mieleni paha.

Salcunelmani kai ovat houreita ja totta vain touhu ja raha.
Mut ihana on sentään salomaa, ja sinne mun mieleni halajaa!
LUONNON SYLIIN!

I.

Varjoissa uinuvi sulotonta unta homehtunut oppinut

yhteiskunta. Kirjoissa henki sen nuutuu, niihin se turtuu ja
puutuu.

Pitäkää sielujen palanut tuhka,

pitäkää kirjojen kuivunut ruhka,
joka eli — ennenkun kuoli!
En minä kuorista huoli!

Luontoa, elämätä huokua tahdon,

helmiä etsiä pohjalta vahdon!
Luonnossa, suloa mi helää,
elämäni halajan elää!

Luonto on nuortean elämän virta, luonnossa virisevi

sointujen pirta kaunista kangasta luoden, iloa ja riemua
suoden!

II.
 Jos astuvi hetkeksi köyhään majaan tai vaikkapa pistäkse
seppien pajaan, niin rinta, mi kirjaan kyltyy, taas uudesti
elämään yltyy.

Jos hetkeksi ottavi varresta paljan,

niin tuntuu kuin olis raskaan taljan
pois heittänyt hartehilta,
ja voimasta kuohuu rinta.

Jos hetkisen lavertaa vaimojen kanssa

ja kuulevi iloja ja murheitansa,
niin hellästi heläjää mieli
ja lauluhun läikkyy kieli.

Vaan entä jos leikkivi parvessa lasten,

sinisilmien, raitisten valkohasten!
Oi, iloa sun sydämesi silloin!
Nukut ruusujen tuoksuun illoin!

III.

Kun kevähällä jättävi kaupungin ja kulkevi ympäri maata, ihan

onnesta, riemusta hullautuu! Sitä ei edes kertoa saata — oma
itse kun kokonaan unhottuu ja luonto vain mielehen
heijastuu!

Ohi vaarojen vilkkuvat kirkkainnaan sinijärvet ja vihreät

lehdot, ja vainiot tuoksuvat tuoreuttaan, ja tuutivat tuulien
kehdot, ja kukkia, kukkia täynnä on maa, ja perhoset
päivässä liihottaa.
 Ja karjojen kellot ne kalkattaa, ja lintuset livertävät kilvan,
ja vaaleat hattarat kaihottaa yli kirkkahan, siintävän ilman, ja
loistava aurinko kirkastaa tien varrella talosen ikkunaa.

Joka hetkenä kulkija nähdä saa yhä uuden ja ihanan

taulun, on suloa ja kauneutta täynnään maa ja helinätä soiton
ja laulun. Elo on kuin lintusen vapaa ain — oli pitkin tai
poikittain!

IV.

Mut silloin elämä on parhaallaan, kun niitylle heinään lähtee!

On ihan kuin janon sais sammuttaa sulovetosella lirisevän
lähteen, kun tuoresta heinää niittelee ja heinillä perhona
liitelee, ja heleänä päivä paistaa, ja nurmi ja lehto loistaa!

Oi, ihanata heiniä huiskuttaa on rinnalla neitosen vilman, ja

silmää iskien kuiskuttaa kera viehkeän sirkeäsilmän! Välin
punasena poskuet hiilottaa, välin huivihin silmät hän piilottaa!
Ja heleänä päivä paistaa, ja nurmi ja lehto loistaa!

Miten ilosena hilskaten, kilpaillen pere illalla saunahan

saikaan! Oli löylyssä saunan lämpöisen koko karjamme yhteen
aikaan! Mut hämärässä jälkeen iltasen pojat koputtavat aitan
ovehen. On sulosen valonen suvinen yö, sydän leutona
sykkien lyö.

Ja aitassa soidessa hyttysen on armasta vaipua uneen, ja

neitojen vaipassa uinaillen jää maailma unhon lumeen. Mut
olo niin suvisen sulonen on ja uni niin ilosen huoleton. On
sulosen valonen suvinen yö, sydän leutona sykkien lyö.
KYNTÄJÄPOJAN LAULU.

Minä maatani kynnän.

Kivikumpujen kuohkea, möyheä maa
orasnousua vehmasta ennustaa
kevättenholla tuorehen tuoksun.
Hepo astuvi verkkahan vakoaan,
johon virittävi aurinko soitsullaan
soman kultarihmojen juoksun.
Kun kiteilee
ja säteilee
näin peltoni verhossa kultien,
oi ihanaa
ja juhlaisaa
on toivokas toimeni keväinen!

Niin maatani kynnän. Ja lähtösen tummahan kalvohon, joka

peilinä vihreän lehdon on, luo aurinko loiston kumman. Koko
maisema välkkyen väräjää. Käki kaihoten kukkua helkyttää
käpylatvassa kuusikon tumman. Käen kaihontaan
lurituksellaan satakielonen riemua soinnuttaa. Se valtaa mun,
ihan innostun — mun lintuset laulelukilpaan saa.
 Minä kynnän ja laulan. Ja hevoseni nuori ja eloinen, mun
kiiltäväkarvani heloinen, vaon varrella astuskellen elokatsehin
tutkivi maisemaa ja herkkiä korvia liikuttaa kevätkaikuja
kuulostellen. Kun istuudun ja laulelun lepohetkenä nurmella
viritän, hepo kuulostaa… jopa hirnahtaa… minä hevoseni
riemuksi liritän…

Minä kynnän ja laulan. Niin viehkeän kaunonen mulla on

maa, niin kiehtova, mieleni ettei saa, ei voi olla laulua ilman.
Mä laulelen työssä, ja iltaisin — oi, silloin vasta mä laulankin
kun luon' olen armahan Vilman. Hänen silmistään sadepäivän
nään, näen pohjolan siintävän taivahan; ja vihreän maan, ja
aallokkaan ja siintävän päilyvän lahdelman.

Mun täytyvi laulaa. Mun täytyvi laulaa aurastain,

kotipellosta, nuoresta kaurastain, kotimaastani armahasta,
kevätpäivästä, laulusta lintujen ja ilmeistä kultani silmien —
jos niistä ei, mistäs vasta! Oi, enimmin ja hellimmin mä silloin
lauluja laulaisin, kun varjoitta ja vapaana valo pääsisi kansani
rintoihin!
TYÖT KAHDEN HÄN YKSIN
SUORITTAA.

Näki neitonen herkkä ja hehkuinen punaposkisen

nuorukaisen. Toi poikanen neidolle sormuksen ja lempensä
paulahan sai sen. Ja lemmen hedelmänä syntyi laps, niin
terve ja kukkea pellavahaps.

Mut miehessä puuta ei ollutkaan

sitä hedelmätä hoivaten kantaa.
Meni toisia tyttöjä narraamaan
hän ympäri maailman rantaa.
Nuor äiti nyt huokasi häpeissään —
mut eipähän yltynyt itkemään!

Hän herroille laittoi ruokalan ja vastukset tarmolla taittoi, ja

lapsensa sorjan ja reippahan kuin muutkin hän kouluun laittoi.
Työt kahden hän yksin suorittaa — oi, kunnia kunnolle
antakaa!
OLI PUNAPOSKINEN NEITONEN
KERRAN…

Oli punaposkinen neitonen kerran.

Lauleli, liverteli luonnossa Herran.
Suven sulonurmella leikkiä löi.
Muonaksi mättähän marjoja söi.

Vaan tuli talvi ja tuprusi lunta.

Uinuen suvisien muistojen unta
harhaili hankea neitonen,
lauleli kylmässä värjyillen.

Sävy oli katkera neitosen laulun.

Kasvoilla väri oli kuoleman kauhun.
Vilusta ja nälästä laulaen näin
rimpusi neitonen eellehen päin.

Pakastii piipitti pihlajapuusta:

"Älä, älä siitä! Sä laulele muusta!" —
"Laulelen sitä mitä sisälläni on;
vilu on, nälkä on armoton."
 "Omiasi älä, vaan muista sa laula!"
"Ensiksi leipää, sä seppelekaula!" —
"Mistäpä sulle sen leivän sain?"
"Älä edes estele laulelujain!"

Vilustansa neitonen lauleli hetken,

vaan pian nälkä jo katkasi retken. —
Neitonen kaatui. — Miksi? — Ken ties.
Hangelta löysi sen hiihtävä mies.
VAATTEISSA JA ALASTONNA.

Meni nuoria herroja rannalle uimaan, meni seitsemän sorjassa

parvessa. He säälien silmivät kulkijapoikaa repaleista ja
paljasjalkaista.

Kiviniemestä heittyen vetosen helmaan,

he laiskana lahdessa loiskivat.
Mut lahdesta lasketti järvelle poika,
teki kääntehet sotkasen soreat.

Ihastuksella katsovat nuoret herrat, miten pulskivi poikanen

taidokas. Hän joka oli vaatteissa kerjuri kurja — alastonna on
sankari, kuningas!
 *** END OF THE PROJECT GUTENBERG EBOOK PUNASTA JA
VIHREÄÄ ***

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