Floyd on the Floor is a performance-based project that investigates how time-based practices—movement, notation, counting, and repetition—produce form. The work explores translation and measurement across choreography, mechanics, and weather systems.
“Floyd” is both a proper name and the name of a hurricane. The project imagines Floyd flattened onto the horizontal plane, with sky and ground collapsing into a single field. Bodies and environment move together through clockwise rotation, treating weather as a spatial and temporal structure rather than metaphor.
The performance was presented on the basketball court at Judson Memorial Church. A white Marley floor overlaid with black vinyl Labanotation diagrams functioned as both score and spatial instrument. The choreography draws from cooperative movement exercises, including parachute-based actions that emphasize coordination and timing, generating temporary architectures—domes and changing volumes.
The score for Floyd on the Floor is organized into six sections: Polar Bears, Stopped Shapes, Shifting Shapes, Clouds, and Clocks. The work unfolds through structured sequences of paired dancers governed by counted intervals and rotational patterns.
Costumes, fabric structures, and the built environment function as extensions of the choreography, and rhythmic movement shapes space. Critics noted the work’s synthesis of notation and embodiment, describing it as a convergence of symbols, numbers, voice, and motion that situates performance within a broader field of visual and conceptual art. The project emphasizes duration and measured transformation, positioning movement as a method of perceptual and spatial research.
