Verbal Proposition︎︎︎
List A: What?
The space, the body, the movement, the intention (what are you intending?), the noticing
List B: How or Where?
Over, along, behind, above, within, through, between, alongside
I share the scores with the group at the beginning of a session, before our solo warm-up. During the solo warm-up, we dance with the scores and begin to see how we might understand the possibilities that they offer for that day. After the solo warm-up, we have a discussion about what happened for us as individuals, particularly in relation to the scores. There is no obligation to speak. From there we move on to the next part of the session. We discuss, before going on, how the scores might be of use in the next part of the session. As the session progresses, we use the score to discuss our dancing experiences. There is never any obligation to use the scores in a particular way, or even to use them. Sometimes one or more members of the group discard them early in the session. Sometimes they are used by all of us very closely for the whole session.
The space, the body, the movement, the intention (what are you intending?), the noticing
List B: How or Where?
Over, along, behind, above, within, through, between, alongside
I share the scores with the group at the beginning of a session, before our solo warm-up. During the solo warm-up, we dance with the scores and begin to see how we might understand the possibilities that they offer for that day. After the solo warm-up, we have a discussion about what happened for us as individuals, particularly in relation to the scores. There is no obligation to speak. From there we move on to the next part of the session. We discuss, before going on, how the scores might be of use in the next part of the session. As the session progresses, we use the score to discuss our dancing experiences. There is never any obligation to use the scores in a particular way, or even to use them. Sometimes one or more members of the group discard them early in the session. Sometimes they are used by all of us very closely for the whole session.
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!
