The first Nests experience
With Nests, my collaborators Ken and Rebecca and I have been given the creative space (and funding) to develop the work in three stages. We knew that there were some aspects to the concept that needed trialling, in order to fine-tune the details of the installation experience. The three stages allow us to try our ideas and observe the children responding to the space and the instruments, enabling us to create by the third stage the richest possible experience of exploration and interaction for our chosen age group (3-5 year olds).
Stage 1 of Nests took place at the start of February, with two sessions open to the public. We spent a day bumping in the show the day before, constructing the three Nests under Ken’s instructions, setting the lights and placing the instruments in the respective eggs and nests. Each nest is made of individual leaves (crafted from the light-weight foam that is used for camping mats and yoga mats), water-cut to their specific shapes by a specialised cutter, and hand-painted by Ken. The detail is beautiful.
I’d organised the instruments into groups, matched according to pitch and tone-colour so that each of the three nests would have its own particular musical ‘flavour’. Each instrument had a large-scale egg to live in; the eggs had big zippers in them, so that the children’s first task in the installation would be to open an egg and find the instrument inside. I’d chosen instruments for their physical beauty and exotic qualities as well as for their sound. We had things like bass tone bars (a rich, deep, caramel sound), an extremely resonant, energy chime, a 2-row thumb piano, juju shakers, some strange sprung clackers that I bought when I was travelling in Vietnam a few years ago, a log drum from Africa, hewn from a length of tree trunk, and some small castanets. We also had 2 sets of wah-wah tubes.
An ongoing area of discussion in Nests (and probably in most installations) has been about how the young audience will enter the space, and the pathways they will choose as they move about the installation. We wanted it to be a magical ‘other world’ would encourage the children to explore with care and attention, so we were a little thrown when we trialled the instruments at the Creswick Playscape in December and the children began running around, boisterously bouncing from place to place, nothing really holding their attention (apart from the sand in the sandpit). Of course, the environment you create determines many things about how people will interact with the space and each other, and an outdoor space, familiar to the children as a place for energetic play, was quite different to the theatrical installation we were imagining. Nonetheless, Rebecca, a visual theatre and reverse pedagogy specialist, gave a lot of thought to the question of how the children would enter the space, and her genius solution came about through watching her son at play.
At some stage, while walking in the bush near their home, her 4-year-old picked up a bendy stick and began to carry it with him. Rebecca noticed how carrying the stick changed the way he moved about. His feet moved more slowly, and he carried his little body differently, with a kind of alertness. Building on this observation, and her boy’s obvious delight in the bendy stick, Rebecca and Ken devised light-poles for each of the children to carry when they entered the installation. The light-poles were made of thin, flexible dowel and had a small LED torch [flashlight] fixed to the end. The children could carry these in front of them or behind.
At the end of the bump-in day we had our first visitor. Rebecca and Ken’s son entered the space. Rebecca told me later that, “He walked in and then just stopped, and said, ‘Ooohhh!’. He walked around slowly, taking his time. And he only spoke in whispers.”
Later, he told Rebecca and Ken, “I really like what you guys have done with this space!” Here he is, unzipping his first egg.