Smallest Room, Largest Room︎︎︎
Aim: For students to create their own choreography that focuses on the manipulation of the element of space and shape using the spatial parameters in their own house.
Stimulus: Smallest room in your house and the largest room in your house
Task: Step 1: Go the smallest room in your house. (ie. Laundry, bathroom, toilet)
Create 4-6 frozen shapes that reflect this space.
Inspiration for these shapes could come from either the size, architecture or room features, feeling/mood/colour of the room, shape of the objects in this room. If possible, digitally record each of your shapes. You don’t have to record them in the room where they were created.
Step 2: Join each shape together by adding a range of other movements such as walks, runs, turns, jumps, glides, rolls. Try to develop your choreography so that you are traveling from wall to wall. There may not be enough room to travel in the small room so the movement will just be performed on the spot.
Your choreography should be a minimum of 30 secs.
Step 3: Go the largest room in your house (ie. Dining room, kitchen)
Repeat steps 1 & 2 for the largest room.
Now you should have 2 sets of different movement (small room, large room).
Go to an open space and perform all the movement together. Digitally record your dance in the open space.
If you would like to use music for your dance try to choose a piece with no lyrics. Here are three options for you to use if you can’t find your own (optional): ‘Howling Hand’ By Lane 8, ‘Take California’ By Propeller Heads, ‘Youth In Trouble’ By The Presets
Reflection Questions:
What did you enjoy about this task? What did you find challenging about this task? Why do you think that was? How did your choice of room impact on your choreography? Give two specific examples to help you explain your answer.
Stimulus: Smallest room in your house and the largest room in your house
Task: Step 1: Go the smallest room in your house. (ie. Laundry, bathroom, toilet)
Create 4-6 frozen shapes that reflect this space.
Inspiration for these shapes could come from either the size, architecture or room features, feeling/mood/colour of the room, shape of the objects in this room. If possible, digitally record each of your shapes. You don’t have to record them in the room where they were created.
Step 2: Join each shape together by adding a range of other movements such as walks, runs, turns, jumps, glides, rolls. Try to develop your choreography so that you are traveling from wall to wall. There may not be enough room to travel in the small room so the movement will just be performed on the spot.
Your choreography should be a minimum of 30 secs.
Step 3: Go the largest room in your house (ie. Dining room, kitchen)
Repeat steps 1 & 2 for the largest room.
Now you should have 2 sets of different movement (small room, large room).
Go to an open space and perform all the movement together. Digitally record your dance in the open space.
If you would like to use music for your dance try to choose a piece with no lyrics. Here are three options for you to use if you can’t find your own (optional): ‘Howling Hand’ By Lane 8, ‘Take California’ By Propeller Heads, ‘Youth In Trouble’ By The Presets
Reflection Questions:
What did you enjoy about this task? What did you find challenging about this task? Why do you think that was? How did your choice of room impact on your choreography? Give two specific examples to help you explain your answer.
︎︎︎from Candice Jayne Egan
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!
