Fledglings
Puppetry is, however, not limited to making the birds; we must learn to operate them as well. The puppets are mounted on a pair of bamboo poles—one attached to the body of the bird the other to the wires connected to the wings. Making the wings flap is, therefore, just a matter of moving one pole up and down while the other is held still. Puppeteers are divided into three groups who will move at different speeds. The Walkers (later renamed Warriors, possibly to avoid confusion with The Walking Dead) move with a purpose and, holding the bamboo poles aloft, look like protesters, the Runners seem to be trying to prevent an invisible plate on the edge of the pole from falling off, while the Gliders look like they are auditioning for the Ministry of Silly Walks. Realising it is not possible to retain a dignified stance while operating the puppets, I opt for the Gliders—walking knees slightly bent and torso steady will at least exercise leg muscles and help posture.
We manoeuvre around each other, poles aloft and birds flapping wings, at different speeds. There is only one collision—with a hand sanitising station. Direction is given on how best to aim the birds to seem to be moving in unison or gliding. It feels like chaos, but director Sarah Wright seems delighted and, most importantly, is consistently cheerful and motivating.
On our second day, the rain lets up long enough for us to walk the route of the scheduled procession through the city centre. To make sure we are not self-conscious during the event and to highlight any potential obstacles, we take the bamboo poles (without birds) as well. Surprisingly, a couple of dozen people waving poles around prompts little comment from blasé passers-by. The experiment gives director Wright the chance to point out landmarks that will be used during the event. A wall at Manchester Central will conceal the puppeteers and so make the flock of birds the only thing visible to an audience, and the route features railway arches from which the birds can dramatically emerge and a bare wall upon which their shadows can be cast.
Little Amal’s progress through the city centre is treated more as a walk by an individual child on a journey of discovery than a triumphant parade. The journey is to be filmed and transmitted to the audience at Castlefield Bowl via a gigantic screen. There is a sense of well-meaning adults choosing places Little Amal will visit to develop her social awareness. One wonders if the average nine-year-old will have been exposed to quite so many grown-up issues, such as gender equality / diversity, as Little Amal.