Aping the Beast is Serena Korda's ambitious, theatrical rendering of animal symbolism and folklore - as creation story. The central spectacle is a towering monster puppet handmade in latex, reminiscent of early B-movies such as Godzilla or The Beast from 20,000 Fathoms. 

Both acts are accompanied by Alexander Tucker and Daniel O'Sullivan's musical project Grumbling Fur, who perform an original score live on stage.  Choreography is devised by Serena Korda and Rosie Heafford, whilst the characters the ?Boggarts? will be performed by children from Colstons Primary School in Bristol.

Aping the Beast sees the portentous beast roused to its full terror in a ritual performed featuring wizened old men known as ?Boggarts? ? characters from Lancashire folklore, believed to malevolently wield destructive powers. The performance convenes the human agency of the local community to bring the inanimate creature to life, exorcising its menacing tyranny.

Jeremy Evans works in drawing, performance video and text, examining structures of understanding that we use consciously or otherwise to traffic with the world around us. Myth making is one such structure and is read in many ways including as a pre-scientific way of understanding the world, the precursor to or result of ritual, allegory and truth. Radical typology reads myth as a way of taking our structures forward through a process of re-reading, re-writing and recreating. This process allows us the space into which we can project our beliefs and understanding into a narrative format, our stories impacting with our own history. Evans will spend the time at Camden examining how myth exists in the paradoxical space of an open internet where stories are shared by the action of cutting and pasting.

The Oral Tradition is a series of short projects focusing on performed narrative. The spoken word, from mythic folklore to the call centre script, is a strong influence in the work of both Jockum Nordström and Emma Hart and this programme has been developed in response to these evolving traditions. The performances take place over four weeks, drawing on diverse source material including epic poetry, digital history and contemporary social protest.