General note:

Most of the scores are aimed towards generating group awareness. In order this to happen, most scores can, and should be done with quite normal, everyday, movement material. After all it is easy the be aware of your group if they all do something abnormal. At the same time in order to focus and to not to fall into normal social modes of behaviour, silence is being asked. This might create reactions with the surrounding people. However, the aim is not to perform, the aim is to train certain skill.

About the Origin of the scores:
As Myriam Van Imschoot writes in What’s the score:

“Contrary to the music tradition, dance practice has never strictly reserved the word “score” for a specific object, encoded in notation on a piece of paper, indicating a body of work that can then be instantiated with great rigor in performance. Likewise, it has never depended on copyright laws and distribution networks to publish and sell these scores. Up to date there is only one known example in contemporary dance, of such an autonomously and officially published dance score in the form of a marketable book: Schreibstück (2002), by the German choreographer Thomas Lehmen. But for the rest, most scores in dance do not aspire to “autonomy” or “self-sufficiency”; they are heteronomous working tools, whose use is ad hoc, local and mostly in tandem with verbally or physically communicated agreements.”

Like wise, the scores presented here are in no means mine, and I don’t claim any ownership over them. Most of them I have encountered in my own dance training through various teachers or collaborators. I’ve met the scores in a studio settings, and have done a little tweaking for the score to work in the outside urban environment. There is two exceptions however. I don’t remember doing the inclusion or choreographing the table with anyone, and feel that I have come up with them through different experiences. However, I claim no ownership over either of them, since I’m sure that many people have had similar ideas.