The Dancing Floor Project continued…

Dancing floor 6The Dancing Floor project brought  ‘Dancing the world into being’ performances to Brechfa, as the sun set and  The Globe in Hay in Autumn 2017. Both performances were well attended by the local community.Dancing floor 2

What has struck me most about the process of the Dancing Floor project is the commitment of individuals in the local community to the rehearsal and creation process of the dance and how Lyn Webster Wilde has managed to bring so, so many people together to create a magical and very special performance.

Dancing floor 3From performers, to choreographer, to singers, to musicians, to artists (for the masks) to photographers and filmmakers. Lyn brought us altogether to create two very special evenings for performers and audience members alike. Further performance will take place in Spring 2018.

You can read further about the Dancing Floor Project on Lyn Webster Wilde’s blog.Dancing floor 5


The Dancing Floor Project

Since September 2016 I have been working with Author and Director Lyn Webster Wilde on developing a magical choreography for her Film ‘The Dancing Floor’.

On a monthly basis we have been meeting in Hay-on-Wye and inviting locals who are interested to move and take part in the project to join us in experimenting and creating movement material.

The choreography is based on a creation story from the Mabinogion and approaching the choreography I have taken much inspiration from Laban’s Movement Quality theories, Celtic symbols, Animal Study and Morris Dancing.

The participants have been introduced to 5 Rhythms as a means to warm-up, but also become aware of the different movement qualities that the various rhythms might hold. Much work has also been undertaken in introducing participants to the idea of using Complicite as a way of being in a space together and responding as a group rather than an individual.

For one rehearsal during the experimental phase we were fortunate enough to have an accordion player at hand, who accompanied the ‘Morris dance section’. This particular section although drawing on the ideas of a Morris dance, has been approached from a different angle also. Celtic symbols have been used as a starting point to create and develop the floor patterns that the six performers will use. The most complicated looking  Celtic knots were performed today for the first time, with ease and to my absolute surprise without anybody walking into anybody else when transitioning between the various points of the knots – in fact the result was stunning and will definitely find its way into the end choreography.