‽istis
reclaims problematic history, statues and memorials (weekending June 13th 2020)
‽istis ponders: not the corporeal or spiritual fate
of Edward Colston, Rhodes, Churchill, Baden-Powell et al (disintegration and
return to dust and ashes? ‘heaven’ or ‘hell’ or ‘purgatory’?)… but their
legacy, their memorialisation, their representative form be it statuesque, in
oil on canvass, in named buildings, prizes or scholarships, or through other media
(or indeed in the media!) etc.
So, what are the options for Cassidy’s
statue of Edward Colston (1636 – 1721) erected in 1895 - and similar?
‽
perhaps remaining on or restored to their plinths despite campaigns and concerns (the Bristol Colston
campaign had apparently gone on since the 1990s). Perhaps attracting protest or
damage (by chemical or paint or sledgehammer), ignored by many who just pass-by
- or invoking anger and sorrow, a sense of exclusion, keeping alive the memory
of exploitation and abuse, profiteering, enrichment v impoverishment, the
denial of rights or even common humanity… without recognition, reparation or
remedy
‽
possibly removed by protestors or the authorities (and,
in the case of Colston’s statue, maybe left submerged - drowned in a gesture of
poetic dockyard justice recalling the terrible fate of so many real people:
captured or bought, transported, sold, enslaved, who died in the process,
bodies thrown in to the sea)
‽
maybe placed
in a museum either local or specialist (Colston’s statue could remain powerfully
in its current state: damaged, holed and daubed, still wrapped in the ropes
that bound it and brought it down…) to be interpreted and contextualised
through permanent or temporary displays. But perhaps, even so, seen only by parties
of school children - more or less interested - and a relatively small number of
visitors[i],
some of whom might indeed read in detail the related material
‽
perhaps,
possibly, maybe the bronze could be melted down, the stone and marble of other
statues broken up to create new objects or works of art; redeeming and
sanctifying the very materials in the process
But, ‽istis ponders further:
what if that which we call ‘history’ perhaps tells us as much about our own
times as ‘past times’?
Both might be seen as constructs, especially
when ‘facts’ (if this is even a useful term) may be contested in any
contemporary now[ii],
never mind in relation to the ‘evidence’ of the past and, most importantly, its
ascribed meaning and interpretation.
So, ‽istis wonders whether we could build on some of the
efforts that had been made to contextualise Colston’s statue over the years - but
think big, much bigger – taking a new approach to our public memorial art, the
named buildings and roads, the people, places and events that are considered
problematic?
The ‘Public Monuments and Sculpture
Association’[iii]
has a three-word alliterative strapline (has Dominic Cummings or an evangelical
preacher passed that way?): ‘Promoting, Protecting, Preserving’… what if
‘Putting in Perspective’ or ‘Putting in Place’ were to be added? The PMSA’s National
Recording Project (database available freely via the website)[iv] sought
to remedy a situation where ‘an estimated 170,000 works or art were hidden away
or forgotten about, with many public monuments at risk’; statues - we know
where you stand!
What if, at the point where a memorial
is identified as problematic or the subject of concern or offence (perhaps due
to a reappraisal of the person or event it memorialises because of either new
evidence or a new awareness), we have an opportunity to practically and dynamically
contextualise and ‘curate’ afresh – involving communities, neighbourhoods,
schools, residents, community and interest groups including local history
societies, visitors and statutory authorities (from Parish Councils downwards
to national bodies if necessary) in that new curation[v].[vi]
Perhaps keep the statue, sculpture or
memorial in place (albeit maybe on a lower plinth!), but then why not create and curate a dynamic and changing exhibition around it; build an evolving, public, open air museum? As strength of
feeling, energy, enthusiasm, space or the limits of creativity and money allow, why not add:
·
new or
additional inscriptions
·
new or
additional interpretation boards
· new complementary or contrasting commissions – other sculptures or works of art
representing fresh perspectives (how powerful might a sculpture of the social
worker Paul Stephenson associated with the 1963 ‘Bristol Omnibus Boycott’ prove
to be alongside, larger, overshadowing that of Edward Colston?)
· place and space (physical or virtual - on a linked QR-coded
website?) for people to contribute reflections, works of art, photos, poems, recorded
music, relevant documents, essays, theses, memories, placards, symbols of
thoughts and feelings etc. etc;
· place and space for events or festivals to be held on
memorial days, reclaiming the commemoration;
· place and space for local school children to exhibit their work
associated with a revised history curriculum that just may help them to see and
understand our pasts and our present-times, our ancestors, and even our very
selves in context; warts and all.
…and then just imagine what
perspectives may be shared, what lessons could be learned - and what future
history we might make together…
PS: and meanwhile, let us also fill the public spaces we share with life-enhancing, beautiful, challenging, humorous and profound art in all its forms!
© Pistis
NB: further reflections linked to this week’s theme and past blog entries to be found on Twitter replies, retweets (which don’t necessarily indicate approval, sometimes the very opposite!) and ‘likes’: @Pistis_wonders
[i] (the International Slavery Museum is located in
the Merseyside Maritime Museum which in 2018 saw 897,415 visitors making it the
fourth most visited museum outside of London) https://independent-liverpool.co.uk/blog/2018-was-a-record-breaking-year-for-liverpools-museums/
[ii] Just
look at versions of today’s newspapers selecting and reflecting on only
yesterday’s events from different editorial/political/ideological perspectives
[v]
Yes, ‽istis recognises that there would need to be a process of curatorial ‘management’
– but with the UK’s proud history of setting up and managing committees, ‽istis
is sure that fair, transparent, collaborative, processes that optimise
accessible and equitable participation could be devised…
[vi] ‽istis
is aware of projects that have taken approaches along these lines, for example
see the immersive exhibition: ‘Humankind’ at the National Trust property Calke
Abbey, UK https://www.nationaltrust.org.uk/calke-abbey/features/humankind-at-calke-abbey;
the powerful work on the theme of ‘Exile’ at the NT’s property Kingston Lacy
recognising that ‘many National Trust places were home to, and shaped by,
people who challenged conventional ideas of gender and sexuality. In 2017, 50
years after the partial decriminalisation of homosexuality, we explored the
LGBTQ (lesbian, gay, bisexual, trans, queer) heritage of Kingston Lacy as part
of the Prejudice and Pride programme.’ https://www.nationaltrust.org.uk/kingston-lacy/features/exile;
see the website and work of the Research Centre for Museums and Galleries at
the University of Leicester https://le.ac.uk/rcmg .
