The development period involved time spent developing the work with a young cast, inserting their ideas within the work, and working with the mentor, Matthew Hawkins, to develop ways in which to influence the work through involving younger people. Our work Lycanthropy follows the story of Little Red Riding Hood. Aside from being one of the best-known and loved fairytales in Western Europe, it is one with themes and ideas that still resonate with young people today: family, obedience, rebellion, choosing one’s own path, resourcefulness and self-identity. We looked at both the movement to whether it was relevant to expressing the original intentions. Part of this process involved reviewing the audio sound element used within the structure. The existing soundtrack uses binaural sound technology, ambient sound, music, acting and storytelling to transport the listener to an imaginary shared space where the story becomes ‘real’ through the combination of sound and movement. We looked at whether, similarly to the movement, it is conveying the intentions of the work and explored ways to ensure it does so effectively.
We developed this work with target youth groups in two establishments: Dance Base, Edinburgh and Platform, Glasgow.
The work was funded through Creative Scotland’s Professional Development fund.
The purpose of these residencies was to support the development of Liminal Dance under the mentorship of Matthew Hawkins and research and explores ways of integrating a young cast through their observations, critical feedback and their overall involvement in the development of the piece.
This period of development allowed us to discover processes which can relate to future practices of the company and my own. These are methodologies which have been devised through our practice or refined from past experience of working with young people. From this development we devised a model which would combine young participants within future work to then perform it with their community.
Red and the Wolf was born.
‘I am interested in looking at the intentions within the movement and how this can be translated the audience. How is it the audience could be immersived within the work but not be forced to understand or see the same story, I wish to create a work which is clear in intention so that it becomes the audiences own experience.. We wish to allow the audience to be immersived with the work but not feel forced to experience the same as anyone else or see the piece from our view. I do not want the audience to feel uncomfortable or intimated.’
Gemma Caine, Artistic Director, Liminal Dance
Funding support from Creative Scotland, Professional Development Fund , 2014.
Liminal develop work to benefit people in the community. We are interested in working with professionals and non professionals. The benefits of working or playing in a group are well-known. This is important to us: to involve people and immerse them in an experience where they can have fun, express themselves creatively within a fluid structure; and enjoy being entertained in an unusual way. For us, personal experience is key: we want create work which is positive and moving and enables people to be involved; we envisage creating work which would be inclusive of all and have a sense of ownership of the community by using a community cast. We developed these ideas further through developing Lycanthropy through involving younger people within the performance.