Monuments to the Future

Flipped

Stonehenge, imagine being there, about 5000 years ago, when people first started building the earthwork enclosure.  If you could linger, perhaps five hundred years later, you may have witnessed the first stone circle being erected.  If you were able to revisit in another two hundred years time, you could have helped remodel the monument and created the unique arrangement of hanging stones which are celebrated to this day.

Earth Avenue

Yet, it is easy to focus on the construction, physical representations of a will to transform, and overlook the long moments of reality when monuments were actively used. Monumental statements (fetishistic moments of monumentality) sit comfortably with contemporary concerns for master plans and iconic buildings : architect-planner-deity.    Perhaps monuments such as Stonehenge, dangerously legitimise the short term political gestures (remember the difficult birth of the Millennium Dome !), grand projects of great people, and as such belittle the everyday, annual or generational uses of places we value?

Mounds

So it is with interest  I have watched over the past few years the emergence of a new complex of stones at Crawick : which if witnessed by the monument obsessed archaeologist of the future could readily, mirroring contemporary archaeo-parlance, be described as a ‘monumental landscape’ but in the absence of overt function be easily classed as a ‘ceremonial landscape’ or ‘ritual landscape’.  Yet Crawick is of its time, as post-industrial imagineering, an overt expression of regeneration, a cosmological dream beyond the short half-life of industrial decay.

Industrial Shadow

A solution to the problem of the blasted legacies of open cast coal extraction.

Terraformed

Emergent

New Mound

Imagine

So again, like Stonehenge, we are encouraged to focus on the monumentality of the project, the grand vision of the architect god.  Yet it may represent a moment in time which is worth studying, as a contemporary archaeology, as an unfolding of possible futures.  Crawick landforming (phase 1) completed 2015, how will decades and centuries of humanity respond to this new space ?

Wandering

Our opportunity is to engage in the moments between monumentality : phase 1 completed 2015 and Crawick landforming (phase 2) due to be commenced in 2215 !  What potentials lie in new birthed spaces, what opportunities to explore and express in the longer flow of time ?

So perhaps at generational monuments like Stonehenge, what sang through the ages, was the joy of the use of the space, dance and music, life and death transforming to place.

Perhaps such monumental places should be other worldly, liminal zones.  Places where we can encounter a pantheon of archetypes, explore the boundaries of humanity and through activities (perhaps challenging our definitions of art, culture and heritage) find pathways to revitalise earth from disturbed ground.

Contemplation

Sound Around

Flight

Ascent Sky Epiphany

Contact

In the line

I found my ... on Silbury Hill

Undetected

Direct

Form

Poised

Motion

Extend

Transitions

Journeys

Gift

Believe

 

Extended

Place is made, not by those who assert their will upon space,

Released

but by the people who dwell there.

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Following an encounter with another Land Formation by Charles Jencks, I learned about the plans for Crawick and visited in May 2014 when ‘land-forming’ works were underway.  A subsequent visit was undertaken in June 2014 when we were kindly allowed in the site to see the work in progress.  The next encounter with Crawick was when it was launched in June 2015.  The opening weekend was alive with the wonderful performance by Alex Rigg and Oceanallover which forms the basis of the peopled images above : and the only time when the monument made sense !

A further visit was undertaken in February 2016 with Kenny Brophy and Public Humanities students from University of Glasgow during which we had a heated debate about the cosmological frame of reference of the monument forms.  A parallel perspective on this contemporary cosmological space was produced by the Urban Prehistorian.

Collectively these visits, revealed the obvious, it is not the monument that matters or who conceived of it or who built it (sorry !), rather it is how it is used and by who and for how long – and that transcends the meaning assigned by the architect.  Thus the stage has been created and the meaning will be writ in the long term by those who perform upon it and dwell with it.

I wonder how the monument might change in use with Crawick landforming (phase 2), provisionally due to be commenced in 2215… … !

 

 

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Fire and Moon

BuildNBurn 13

Fire and Moon are a powerful combination.  There is no doubting the importance both had in the past, both moon and fire were clearly incorporated into rituals and ceremonies for thousands of years.  What may be less apparent is the power of groups of people building together, a communal effort to create not only structures but more importantly lasting memories of striking events.

BuildNBurn1A week of preparations, involved felling trees, and hand breaking trenches through bedrock to hold the timbers.

BuildNBurn 2Posts were decorated using pigments found from local sources.

BuildNBurn 4Special objects were made in preparation of the events which were to follow.

BuildNBurn 3Everything was set for the arrival of extraordinary figures.

BuildNBurn 5Preparations completed, we were ready…

BuildNBurn 6for transformations through fire…

BuildNBurn 8for remembering ancient stories of the landscape beyond…

BuildNBurn 7for remembering the people who had explored before us…

BuildNBurn 10for measuring things in a new light…

BuildNBurn 9 for transformation, to find a different beauty in wood.

BuildNBurn 11An illumination cloaked in possible pasts.

BuildNBurn 12An intensity of insight, focused at night.

BuildNBurn 14Fire beckoned darkness and called another light.

BuildNBurn 15A monument captured a lunar moment…

BuildNBurn 16 … of rhythms hunted through the ages.

BuildNBurn 17  Memories,

of figures and festivities, fire and moon blended,

blazes.

BuildNBurn 19Could never be revealed in mornings traces ?

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The BuildNBurn approach has been developed with Kenny Brophy and Corinna Goeckeritz.  For some partial insights into other BuildNBurn events, please look at:

Burning the Circle 2013

and

Burning the Circle 2014

Please contact me, if you have any ideas for other BuildNBurn events, we are happy to collaborate.

The BuildNBurn presented above was produced as part of the Joseph Anderson 150 Festival organised in collaboration by the University of Glasgow, Cardiff University, Northlight Heritage, the Yarrows Heritage Trust, Venture North and Northshore Pottery. The Joseph Anderson 150 Festival was supported with funding from the E.ON Camster Community Fund, supported by Foundation Scotland and by Eneco and Venture North. 

The BuildNBurn performance ‘Joseph Anderson Presents The Mysteries of Prehistories’ could not have happened without the support, hardwork and creative efforts of: Tom (Performance and Build); Andrew Baines (Performance); Cara Berger (Technical Advice); Nan Bethune (Storytelling); Alex Carnes (Performance and Build); James Dilley (Performance); Helen Green (Performance and Build); Steve (the sound man) Mills (Audio);  and Brianna Robertson (Song and Technical Advice).  Thanks also to Ian Giles for providing two carved oak plaques for carbonisation.  Many thanks to Islay MacLeod and Catherine MacLeod for providing copious quantities of wood and putting their faith in the BuildNBurn team.  A special thanks to Amelia Pannett who made Joseph Anderson 150 Festival happen and dealt with too many challenges during the week : but we got there in the end !