Walking patterns︎︎︎
At some point during the warm up ask the group to walk the space and give small tasks to get them working as a unit. Simple directions can be the most effective like asking them to all stop at a random time without talking. Others include: lift one person and carry them to another place in the room; take someone’s weight and lower them to the floor slowly; choose two people without letting them know and place your self between them; have a 1-minute conversation with someone and then keep walking. Getting the group to listen to multiple bodies in the room, to negotiate traffic and to sense the compositions being created in real time grounds them for the work.
Other Ideas:
- Pause without speaking
- As close as you can to bodies
- Equal distant from 2 people- a triangle
- Floor and up- from a slow or varied count
- Head/ rib cage/ hips
- Look for windows -cross
- One solo- rest follow quality
- Flocking- all move as one- shifting facings
- Speed gradations 1-5
- Clear the space
Have the participants create their own.
Other Ideas:
- Pause without speaking
- As close as you can to bodies
- Equal distant from 2 people- a triangle
- Floor and up- from a slow or varied count
- Head/ rib cage/ hips
- Look for windows -cross
- One solo- rest follow quality
- Flocking- all move as one- shifting facings
- Speed gradations 1-5
- Clear the space
Have the participants create their own.
︎︎︎variation on a common warm up from dance and theater training
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!
