Floor Score: Rolling and Resting︎︎︎
- Lie
down, on your back in the center of a room
- Stretch your legs and arms out towards the corners of the room, imagine your fingers and toes stretching to its four corners.
- Look at the ceiling and notice the edges of the room from your peripheral vision.
- Take a moment to notice, to settle, allow the breath to rise and fall, arrive in this place.
- Take a breath in and extend the body out into space, breath out and contract into a fetal position lying on one side of your body
- Breathe in and return to lying on your back, arms and legs outstretched
- Repeat from side to side, use your core, abdominal site to close the body inwards and focus on the spine opening out to open out along the floor.
- Gradually, extend the practice and, from the fetal position continue to roll onto your knees, then roll towards one side of the room to then open up again, notice and review your new position in the room.
- Continue rolling and opening up until you reach the side of the room or until you reach an object that marks the end of the journey
- Reverse the direction and roll back again, make a journey to the other side of the room
- Pause and observe details along the way.
This score inverts customary, vertical perspectives by placing the body on the floor, this repositions perceptual awareness and invites corporeal engagements through playful exploration of the horizontal realm. It echoes customary acts of repose and reclining that take place in home spaces afforded through intimate acts of sleeping and resting in which the body lays down, curls up and lounges. Such actions are not customarily practiced in exterior workspaces, public sites or when traveling and commuting, for example. Rolling from one side of a room to the other brings us into close contact with materials and textures through the sides, front and back of our bodies. Our faces and foreheads mold into floor coverings and massage across undulations and thresholds as our eyes close and open in response to the journey across this new-found terrain.
- Stretch your legs and arms out towards the corners of the room, imagine your fingers and toes stretching to its four corners.
- Look at the ceiling and notice the edges of the room from your peripheral vision.
- Take a moment to notice, to settle, allow the breath to rise and fall, arrive in this place.
- Take a breath in and extend the body out into space, breath out and contract into a fetal position lying on one side of your body
- Breathe in and return to lying on your back, arms and legs outstretched
- Repeat from side to side, use your core, abdominal site to close the body inwards and focus on the spine opening out to open out along the floor.
- Gradually, extend the practice and, from the fetal position continue to roll onto your knees, then roll towards one side of the room to then open up again, notice and review your new position in the room.
- Continue rolling and opening up until you reach the side of the room or until you reach an object that marks the end of the journey
- Reverse the direction and roll back again, make a journey to the other side of the room
- Pause and observe details along the way.
This score inverts customary, vertical perspectives by placing the body on the floor, this repositions perceptual awareness and invites corporeal engagements through playful exploration of the horizontal realm. It echoes customary acts of repose and reclining that take place in home spaces afforded through intimate acts of sleeping and resting in which the body lays down, curls up and lounges. Such actions are not customarily practiced in exterior workspaces, public sites or when traveling and commuting, for example. Rolling from one side of a room to the other brings us into close contact with materials and textures through the sides, front and back of our bodies. Our faces and foreheads mold into floor coverings and massage across undulations and thresholds as our eyes close and open in response to the journey across this new-found terrain.
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!
