Exploring and moving with objects︎︎︎
Choose an object that piques your curiosity. Imagine that you’re discovering this object for the first time. Let go of all known aspects and associations with this object.
Sensing Experience with the Object: Respond to the object through a sensing experience and allow the object to take you into a movement exploration that invites a sensorial/kinaesthetic experience. Notice the object’s shape, texture, look or sound. How does that evoke your movement experience? Explore the materiality of the object with your eyes closed. Let your body respond… echo its shape, texture, and properties within your own body.
Moving in relation to the object as your partner: Move with the object to explore being in relation to it as if it is your partner. You can move towards, away from, with, over, under, around, move in contrast to it – the possibilities are endless. Continue to find ways that you can be relation to the object and how that relation invites you to move.
Invent/Find the ‘new’: As you explore moving with the object notice how that can invite you to invent a ‘new’ movement vocabulary? How does the object or prop take you out of your habitual ways of moving? Once you have discovered movement patterns that emerge from being with the object set the object aside and explore the same movement patterns without the object. What do you notice?
An extension of you: Another exploration is to imagine that this object is an extension of your body. How do you move when that object is an extension of you? If that object is now a part of you, how does it invite you to bridge out into your environment or reach out into space?
Sensing Experience with the Object: Respond to the object through a sensing experience and allow the object to take you into a movement exploration that invites a sensorial/kinaesthetic experience. Notice the object’s shape, texture, look or sound. How does that evoke your movement experience? Explore the materiality of the object with your eyes closed. Let your body respond… echo its shape, texture, and properties within your own body.
Moving in relation to the object as your partner: Move with the object to explore being in relation to it as if it is your partner. You can move towards, away from, with, over, under, around, move in contrast to it – the possibilities are endless. Continue to find ways that you can be relation to the object and how that relation invites you to move.
Invent/Find the ‘new’: As you explore moving with the object notice how that can invite you to invent a ‘new’ movement vocabulary? How does the object or prop take you out of your habitual ways of moving? Once you have discovered movement patterns that emerge from being with the object set the object aside and explore the same movement patterns without the object. What do you notice?
An extension of you: Another exploration is to imagine that this object is an extension of your body. How do you move when that object is an extension of you? If that object is now a part of you, how does it invite you to bridge out into your environment or reach out into space?
︎︎︎objects can be a great way to invite new kinaesthetic experiences and move beyond habitual movement patterns
︎︎︎from Donna Redlick
︎︎︎from Donna Redlick
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!
