Arriving Score︎︎︎
Purpose:
to encourage
participants to ‘tune in’ to their environment or the particular site of
inquiry selected for movement exploration
Walk around the space, feel the space through your feet.
Feel the space through the front, side, back of the body, feel ‘3D’ in the space.
Send your awareness out into the space and acknowledge the entire space, encompassing the formal features, architecture, sound, light and the presence of other bodies, acknowledge their presence bodily, feel the disturbance of air caused by the flow of bodies.
Acknowledge your attention outside and inside the body, internally through an awareness of the sensations of the space upon the body, externally through the effects of the other’ energies, movements and presence in the room, become aware of the internal/external exchange between your body and the space.
As the walking practice develops, begin to find within your journey moments of ‘arriving’ in the space—arrive at a place and be present in the space. Become aware, present, engaged in the exchange between self and site—notice—avoid analyzing /thinking/describing—take the time to be present.
Follow the body’s impulse to leave and re-locate, moving through space to discover another moment of arrival. (V. Hunter ‘Arriving’ Score, Site-Dance Workshop CORD/SDHS Conference, Centre Nationale de la Danse, Paris 2007).
Walk around the space, feel the space through your feet.
Feel the space through the front, side, back of the body, feel ‘3D’ in the space.
Send your awareness out into the space and acknowledge the entire space, encompassing the formal features, architecture, sound, light and the presence of other bodies, acknowledge their presence bodily, feel the disturbance of air caused by the flow of bodies.
Acknowledge your attention outside and inside the body, internally through an awareness of the sensations of the space upon the body, externally through the effects of the other’ energies, movements and presence in the room, become aware of the internal/external exchange between your body and the space.
As the walking practice develops, begin to find within your journey moments of ‘arriving’ in the space—arrive at a place and be present in the space. Become aware, present, engaged in the exchange between self and site—notice—avoid analyzing /thinking/describing—take the time to be present.
Follow the body’s impulse to leave and re-locate, moving through space to discover another moment of arrival. (V. Hunter ‘Arriving’ Score, Site-Dance Workshop CORD/SDHS Conference, Centre Nationale de la Danse, Paris 2007).
Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.
We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.
Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
