I'll be the first to admit, this one has been a long one in the making. I think I sat down to write this short article around the time of the actual internment of Richard III. Then, there was the small matter of getting married, moving house, setting up a yurt and all those sorts of things. So this went from edit to edit, draft to draft, usually with about a month between - bear all that in mind. This is not quite as contemporary as it might have been, and it might be lacking a touch of the usual standards of fluidity, but I hope it makes for a provoking read nonetheless.
The events surrounding Richard III were staggering, in my eyes a crass exercise in marketing that benefited only those in a position to financially profit. As a heritage case study, it was fascinating, and will no doubt serve as a debating point for students of heritage, and those of the ethics on treatment of human remains, for a long time to come. The article can be found on the NOMOS website HERE, while the opening paragraph can be found below. British people do indulgence exceptionally well. Memories might still linger of the Queen’s Diamond Jubilee celebrations in 2012, where thousands of people lined the bank of the River Thames to watch £12m being spent on boats floating, and experienced true excitement when a barge rotated on the spot. Such reactions are intertwined with a celebrity-driven culture, which obsesses over the life and activities of British royals. In June, newspapers covered their front pages with pictures of the new royal baby, the latest idol to be the focus of national attention. Such indulgence is not, however, reserved for living British monarchs. We in the United Kingdom have now demonstrated an impressive capacity for mass expenditure and pageantry for long dead monarchs as well, even ones who have been, for years, denounced in popular culture. Take, for instance, the recent “reburial” of Richard III in Leicester Cathedral...
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So the Chartist Commission has reported in, and there is already a lot of buzz and excitement floating around the initial proposals. Well, there’s buzz and excitement if coverage in the South Wales Argus is anything to go by. Seemingly top of the Chartist Commission’s wish list, is what has been described as a “spectacular light and sound show”, a projection of images and sounds onto prominent buildings in the city centre. Now, the idea of projecting images is far from innovative, and light projections connected to historic buildings are common place around the world. Nevertheless, I don’t doubt the idea has some merit, and would certainly attract an audience for the one or two nights when it might be displayed, but that, it would appear, would be the extent of the display. Initial costs cited in the media put the display at a whopping £30,000, for a single (presumably) night time showing, and no more. Again, costs are costs, and are to be expected. However, I can’t help feel that the lack of permanence would be a real problem with this concept. Without wanting to get too distracted by revisiting the long since demolished Chartist mural, it is important to consider why this was important in the community. The Chartist mural was not an outstanding piece of artwork. Complex, technically impressive yes, but not something that the National Museum would lament having lost. Yet, artistic brilliance was not the point. The point of the importance of the Chartist mural was that is was part of the day to day life of hundreds, probably thousands of Newportonians. If you lived, worked in or traveled through Newport, for a generation you could not avoid a daily reminder of the Chartist story, why the rising took place, and the sacrifices made. That this part of daily life in Newport was lost was, I would argue, far more important than the content or style of the mural itself. A light show projection, while perhaps memorable for those who witness it, will be inherently limited to the day of the projection. This will have no impact on the passing footfall traffic passing through Newport on a day to day basis. To lose this, or fail to successfully replace this, would be a great shame. What public artwork that remains in Newport City centre, related to the Chartist movement, is far too abstract to fulfill the role, and have little impact on people’s understanding or awareness of the rising and its context. The general consensus seems to be that replicating the Chartist mural, as a concept, is dead in the water. Maybe so, but to replace the mural with a one off show, which by its very nature will be exclusive of many potential viewers, would be a poor substitute for the daily reminder which the mural provided. So, by all means, run with the sound and light show if needs be, it certainly has potential, but please can we collectively reject any notion that this would be a satisfactory long terms alternative to the Chartist mural – a one off budget breaking light show will simply fail to have the level of impact exerted by the mural. This long term impact on the community must be a priority. The perhaps less exciting, but the more permanent establishment of artwork along the length of Stow Hill, could be far more effective in the long term. Let’s hope that the impressive amount of money put aside for this important project, does not all vanish once the light show is switched off. After months of inactivity, I thought perhaps it worth a quick little update here. Life has been, well, exciting, busy, manic, at times overwhelming - all good things, but all happening at once, and so many things requiring attention all at the same time, meant that the Welshman Travels, well, he wasn't doing much in the way of traveling! So, a quick summary, and I suppose the biggy was getting married a little over a month ago, over the first weekend in June. It was an amazing occasion, and I am truly blessed to be sharing my life with such a kindred spirit. Our day was shared with some of the most wonderfully caring and generous people in the world, and I think we will always be able to reflect on how lucky we both were, to be able to enjoy our day with family, pets, loved ones, friends, and all in remarkably well timed sunshine (it had been raining heavily on the morning of the wedding, but it cleared up in the nick of time)! Having gotten married, we have rapidly moved out of Caerleon. Our home of five years is now due to be rented out, and we have relocated to our new, work in progress small holding, out in Monmouthshire... ...yes, that would be the other biggy, we are setting up a small holding. It's been slowish progress so far, but we are perhaps less than a month away from having our poultry set up, and maybe a month more before our first pigs move in, but it is all moving forwards, one way or another. While setting up our small holding, we have responded to the fact that livestock will need monitoring and moving in the future, so this little guy has become part of the picture as well... Throw into the mix as well, a brief whirlwind period lecturing with Cardiff University. As you know, I always need an outlet to talk about heritage, and following the demise of my role at the University of South Wales, Cardiff University were very good to me, providing a wonderful few months of teaching, where I could spout at length about heritage and all its merits and vices. I might not be teaching with them again for several months, but from what I have experienced so far, Cardiff Uni is a wonderful place to work, and, (if the Uni is listening and feeling generous) I'd love to do a little more there!
So - that, I suppose, is a summary of the big things to have happened of late. There has been plenty going on on the heritage front as well, with some really exciting projects in the making, but more on that in the weeks to come. For now, it's good to be back blogging, and to whoever keeps reading this (the analytics tell me there are a lot of you) thank you for you're patience - I hope to give you something different and new to read from now on! I'm pleased to say that my article for the Journal of Graphic Novels is now available online. This is my work exploring the role of museums in graphic novels, and one I had a tremendous time preparing. I've got several free copies available for distribution if anyone fancies a gander, so please do get in touch.
The abstract is included below, while the article is available at this link: Museums have long served as a source of inspiration for horror and fiction writers. The cultural institutions maintain an aura of mystery, making them the ideal setting for stories of the macabre. Graphic novel authors have also made liberal use of these buildings as setting, and make frequent use of museum employees as key figures in narrative development. What though, is the role of the museum as depicted in graphic novels? What function do they play, and how are museum employees represented? Does the graphic novel offer a way in which museums can reach out to and develop new audiences, or will the medium serve only to confuse and mislead potential visitors about the reality of museums? A free day school is coming up on the 18th of April, as part of the Merthyr Tydfil Heritage Forum series of events. Well worth a look if you are in the area on the day.
My latest column piece on NOMOS journal is up and available. I wanted to explore the idea of 'terror heritage', questioning the way in which value becomes attributed to heritage sites and museum collections. Is a sense of value born from an intrinsic quality held by each site and artefact, or is value created by circumstance, the threat of destruction perhaps? I've included the opening paragraph below, with the rest of the article following at this link. Heritage is always being created. While forms of heritage, such as castles and cathedrals, must first be built, it is later generations who decide that these structures are of value – who decide to preserve, conserve, and present buildings, and in doing so, turn the historic into their heritage. Within the terminology of heritage, there is vast variety, but it is always people who decide what will become heritage. There are, however, forms of heritage that are defined by circumstance, great disasters, or catastrophes. These events might be natural, such as earthquakes or tsunamis, that mark landscape and society alike, but then there are more direct human actions. Last month, videos circulated of a shocking attack on the Mosul Museum in Iraq, where ancient antiquities were deliberately destroyed. Yet, in those acts of mindless aggression, was the status of the collections and sites being elevated? Was there a form of “terror heritage” being created, where very acts of destruction made the global community more aware of, and more enthusiastic about, ensuring the long-term survival of those cultural artifacts? Newport is a city that is not shy of bad press. While there are all sorts of exciting developments, it's still hard to escape the scenes of empty shops and boarded windows, pubs falling to derelict ruins, and a culture scene being squeezed out of existence. While I don't want to be overly downbeat, it is hard reflecting on what Newport had once been, and failing to sigh a little. You see, I'm preparing for a walking tour of Commercial Street and its surrounds, in the heart of the city of Newport. This is one of those strips that is somewhat notorious for all of the empty shops. Yet, a little rummaging online will reveal a Newport that was industrious, expansionist and, most significantly, wealthy. The money that was poured into the architecture of Newport during the late 19th and early 20th centuries, was staggering, and created a bustling town with a skyline to rival any of the great towns and cities across the island. Today, the vast majority of what made Newport distinctive is gone, demolished to make way for the instantly forgettable architecture of the 1950s and '60s.
We all want Newport to grow once more, to be reborn as a city in which pride can be found. Who knows, the shopping centre development might go some way to doing that. But when thinking about what Newport could be, take a moment to reflect on what Newport once was. Looking at images like the one below from 1921, reveal a settlement which was on the up, and marked by quite beautiful buildings. We should never be hostages to our past, but sometimes, it helps to look back, while looking forward. A few weeks ago I had the distinct pleasure of filming with The Wales Report, BBC Wales' leading political television programme. It was a great opportunity to express some concerns regarding the forthcoming Heritage Bill for Wales, not that there are huge number of things to be overly concerned about. The Heritage Bill for Wales is actually a very positive development, both for the heritage sector in Wales, and for the development of political initiatives within the Welsh political community. There was a similar bill proposed for the UK by the Government in Westminster several years ago, but it fell by the wayside in the run up to a General Election. So Wales is really in a position to lead on heritage legislation and put in some very positive measures for the protection of the built heritage of the country. However, one of the points I raised in the programme was that the proposed legislation makes no reference at all to the important intangible cultural heritage of Wales. Intangible heritage is notoriously difficult to legislate for, especially given its inevitably impermanent nature, but it's certainly not impossible to put safeguards and structures in place. To not even acknowledge the value and importance of intangible heritage in the language of the Bill seems at the very least an oversight. However, in the broadcast, the current Heritage Minister for Wales, Ken Skates, did make some positive references regarding the importance of intangible cultural heritage. Most significantly, Skates cited that he had been writing to his counterparts across the United Kingdom, regarding the possibility of pursuing ratification of the UNESCO convention on intangible cultural heritage. It's striking whenever a Minister connected to the culture sector talks positively of a UNESCO convention, especially when the intangible heritage convention is one that has courted such derision from many individuals connected to Westminster. At the moment, it's just talk, just Ministers shooting the breeze. However, we can be optimistic, now that Ken Skates has opened the door for communication on this subject, that there may be hope for some real dialogue regarding the possibility of ratification for the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. I'll be writing to the Minister in the coming days, to keep discussions on this subject alive and ongoing. Intangible heritage is an essential part of the Welsh cultural landscape, and many of its most striking examples are in an increasingly precarious position. Wales needs ratification of this convention, and would benefit tremendously for it, so let's see if we can make this happen. I'll always have distinct memories of the very first Llanfihangel Tor y Mynydd Mari Lwyd, rattling around the village in 1999, with the Mari being driven into a ditch and left flailing for help - it was a great night. Since then, the Llanfihangel Mari has seen its ups and downs, but it continues to thrive and inspire. The Chepstow Mari Lwyd event, inspired by the one held in Llanfihangel, has become a behemoth of folk indulgence, attracting Mari Lwyd variants from all over the island. Now inspiration continues to spread, and for the first time in generations, a Mari Lwyd will now be seen in Caerleon. It is very much the Mari Lwyd season. So, if you are an enthusiast for the Mari Lwyd, border morris dancing and general alcohol consumption, there are no shortage of opportunities to engage. First up, on old Christmas Day (the 6th of January), is the Llanfihangel Mari. Hosted by The Star Inn, in (depending on who you ask) Llansoy or Llanfihangel Tor y Mynydd. The 'oldest' of the three events, this one is focused on the pub, and will commence somewhere around 7pm. The smallest of the three covered in this post, the Llanfihangel Mari is a great introduction to the folk tradition, and requires minimal walking - which will no doubt be welcome to some. Following hot on the heels of Llanfihangel, comes the Caerleon Mari. Ably supported by the team responsible for the Chepstow Mari Lwyd, Caerleon is the youngest of the bunch. Appearing on the 10th of January, the Caerleon Mari will be taking in two pubs, the Bell and the Hanbury, commencing at the first pub on at around 6:30pm. Members of the local Young Archaeologists Club will also be participating, bringing out the Calennig tradition. Walking between the pubs brings a touch of the travelling associated with the event back into the mix, and we are hoping that this new tradition will be the start of a significant folk revival in Caerleon. Finally, a week later, on the 17th, comes the Chepstow Mari, an event which has really become the dominant folk event to feature the Mari Lwyd. I'll probably pen more on this as the event comes closer in the calendar, but do include it in the diary, because this has grown into something very special indeed, and is well worth a look if you have not attended so far. To summarise: Llanfihangel Tor y Mynydd Mari Lwyd: 6th of January Caerleon Mari Lwyd: 10th of January Chepstow Mari Lwyd: 17th of January. Do please get in touch if you have any questions or queries about any of these. Save Newport Museum and Art Gallery Here we are again. A flurry of proposed council cuts, and the culture sector finds itself on the chopping block. Not for the first time, a museum is the subject of rumours regarding its long term viability, with ‘closure’ a word being bandied around. This time, it’s a museum close to my heart, as Newport Museum and Art Gallery is being considered by the city council for, what might diplomatically be described as, a ‘reduction’. ‘Reductions’ of cultural institutions can, of course, present themselves in a variety of ways. A cut back in staffing provision is often the easiest and quickest route toward budget realignments. Newport Museum, however, has played that card more than once already in recent years, and functions with the absolute bear minimum when it comes to curatorial and education based employees. The next step, once you’ve got rid of your staff, is to start eyeing up a reduction of the collections, and then the museum building itself. On the table at the moment, are proposals to shut down the main museum site, and relocate the entire collection into some manner of warehouse, where objects would be distributed, on occasion, to select venues. This, of course, is not a museum. The loss of a permanent site is the death sentence for a museum, and does little good for the collections as well. Conservation standards only suffer with a non-permanent location, as environmental conditions become unpredictable, and the lack of regular expert inspections on the collection mean decay and deterioration is either not spotted early enough, or the deterioration cannot be countered for the lack of full time conservation staff to attend to the problem. Put simply, the loss of a permanent home for Newport Museum and its holdings, would place the entire collection in a seriously precarious position. This all being said, it cannot be denied that the current Newport Museum and Art Gallery building is no longer fit for purpose. Having worked in the building for several years, I can comfortably attest to the unstable nature of the structure. It has had its day, and its day was probably a couple of decades ago. In many respects I am in full support of the closure of Newport Museum and Art Gallery, so long as it is replaced with a new institution as soon as possible. Looking across the landscape of Newport city centre, there is at least one very obvious location in which the museum could be relocated to. The old Marks and Spencer building, in the heart of the city, is a huge building specifically designed for the display of objects. It currently sits redundant. The scale of this building is such that were the money to be found, it would not be inconceivable to display the Newport medieval ship, in addition to the core collections currently on display in the existing museum. Imagine that possibility of having a major international archaeological attraction on display in the very heart of the city. Linking the train station, Newport market, and moving through to the new shopping centre development, a museum located in the M&S building would be the perfect connection, allowing Commercial Road to be an active part of the new Newport landscape. There can be no doubt that the high street in Newport has been completely overlooked in the city council’s grand plan. Relocation for the museum, allowing for display of the ship, would be the ideal addition to stimulate footfall into what currently looks like a shopping wasteland, a situation which will only be worsened when the new shopping developments are officially opened. Time is almost up on Newport Museum and Art Gallery as we know it, and it would be counterproductive to argue otherwise. The council wants rid of a dilapidated building overlooking its brand new multi-million pound investment, and it seems only a matter of time until they get their way. But this should not be the end of the Newport Museum story. Relocation has happened before in the life of Newport Museum, and it can, and should, happen again. The campaign now should focus on the next stage of the museum’s life. That stage however, must not be mothballing into a warehouse with the occasional display of artefacts. What Newport must retain, if it takes its city status seriously, is a fresh commitment to the museum programme in the city, with a new building in which the collections can call home. Anything less would and should paint the city council as what they claim not to be, philistines of the very worst order. After their callous behaviour in relation to the Chartist mural, this same council cannot be allowed to close the museum, directly or by stealth – make no mistake about it, efforts to close the central library would be a death sentence on the museum as well. Only a new commitment to a new museum in the city centre should satisfy. Newport Museum and Art Gallery is almost at an end. We must now ensure that Newport Museum and Art Gallery is born anew, and continues to act as the cultural custodians for Newport and the surrounds, as it has done for the past 126 years. If Newport Museum and Art Gallery does not exist in some form, come the year 2140, we will have collectively failed, and future generations will have been seriously let down. Don’t let it happen, save Newport Museum and Art Gallery. |
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