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Fil ippa Dobson ID Number 200677477

PhD Transfer Report

BARREN (YELD): Traces of Ain Landscape, Postcolonialism and Identity

Lead Supervisor Dr Judith A. Tucker

Second Supervisor Dr Paul Wilson

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BARREN (YELD): Traces of Ain YELD: eild; yield; yeel; yell; yule; adj. 1. Of animals barren not bearing young 2. Of birds without a mate 3. Of cows not yielding milk 4. Of things sterile, unproductive, unprofitable n. barren cow, ewe etc. Orkney From OE gelde barren Concise Scots Dictionary (2005) Preface

What I do is performance: walking, casting, printmaking and artists’ books are all

elements of my performative practice. Performance can be seen to extend the gestural

performance of the original Neolithic mark-makers into a contemporary ritual space. I

have begun to develop a conceptual model in a site-specific location ‘the Badger Stone’

on Ilkley Moor. My art objects are artefacts and sculptures as ritual objects and

reanimate and rememorize my performance/s. My practice is therefore situated

between sculpture and performance. Photography and film are methods of documenting

performance and can become art objects in their own right.

The landscape that I am responding to is a boundaried site on Ilkley Moor and the

environs of a Neolithic cup and ring marked stone the ‘Badger Stone. Cup and ring

marks are crucial to my practice. In the next two years I will research how cup and ring

marks become a signage system. A related concept is mapping which is treated in a

broad way. Another key concept is borders and boundaries. Ilkley Moor is designated a

special site of scientific interest (sssi) however the boundaries are not visible but liminal:

Natural England (2013) describes the site, part of the South Pennine Moors sssi, as the

largest area of unenclosed moorland within West Yorkshire. English Heritage (2013)

classes the Neolithic carved or marked stones on Ilkley Moor as Scheduled Monuments.

Each stone has an invisible two-metre boundary1. Therefore the Badger Stone is subject

to the Wildlife and Countryside Act 1981 Section 28 and the Ancient Monuments and

Archaeological Areas Act 1979. A map of the area is shown on the next page. It is

illegal to leave ‘litter’ or in any way deface the rock.

1 The ‘Badger Stone’ monument includes a reddish gritstone rock c.3.7m x 2.6m x 1.2m on flat land at Grainings Head. The carving is complex, consisting of a large number of cups, rings, and grooves in the cup and ring tradition. In addition there is a more angular design on the east side of the southwest face, which may be later, though still prehistoric. The commemorative seat is excluded from the scheduling, but the ground beneath is included. The grid reference by Global Positioning System is SE1107446050. The site of the monument is shown on map on page 3 of this paper. It includes a 2-metre boundary around the archaeological features, considered to be essential for the monument's support and preservation. English Heritage (2013)

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English Heritage (2013) ‘Carved Rock known as the Badger Stone’ (Image)

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Contents

Preface p.2

Map of I lkley Moor and the ‘Badger Stone’ p.3

1. Aims and Objectives of the Research p.5

2. Introduction /Background to the Research p.6

3. Literature Review p.8

3.A Postcolonial ism and Identity p.8

Mapping p.9

Unmapping – Hybridity - Time-Lag – Mimicry p.12

Deep Mapping – Essaying – Metaxy p.13

3.B Landscape and Performance p.15

Neolithic Land Art p. 15

Contemporary Land Art p.16

Walking as Polit ical Act - Flânerie p.17

4. Review of Contemporary Practice p.20

Jackson Pollock, Allan Kaprow and Joseph Beuys p.21

Richard Long p.23

Iain Biggs p.25

Nathan Coley p.28

Charles Avery p.31

5. Methodology p.35

6. My Practice p.39

Background to my practice p.39

Walking p.43

Performance pp. 45, 49

Photographs p.50

Printmaking, Artist’s Books p.52

Casting p.55

Audience p.56

Exhibition p.57

7. What Next? P.58

8. Time-Line p.59

9. Conclusion p.60

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1. Aims and Objectives of the Research

This paper addresses the three key aims of my practice-based research BARREN (YELD): Traces of Ain, which relate to geographical boundaries, the structuring

of identity and cultural resistance to issues of power and control. Within this

paper the ‘Literature Review’ tests postcolonial theory as a strategy for reading

landscape and investigating geographical boundaries. The ‘Review’ relates

postcolonial theory to feminist, phenomenological and other theories about the

structuring of identity in relation to performance and place. Finally the ‘Review’

situates postcolonialism within a politics of cultural resistance and relates

postcolonialism to feminist theories that seek to disrupt dominant discourse.

Griselda Pollock (2004) signifies the desire to erode fixed boundaries between

different locations for making and exhibiting art and postulates that art ‘after

landscape’ or ‘post landscape’ can ask questions not only of landscape,

geography, mapping, and space but can also denote indices of radical

movement. She (2004, Unpaginated) writes:

‘The powerful mythologies of the land as home, as the very structure of identities are major forces in contemporary security of individual and communities’ (Pollock, 2004, Unpaginated).

In contrast to myth which Barthes deconstructs as cultural and class derived

ideology contemporary mythology can be politically oppositional (Barthes, 1972,

p140 cited in Pateman, 1980, Appendix 4). Drawing on Pollock (2004) this

paper seeks to address the creation of modern mythologies relating to

landscape, mapping, and migration as land issues of borders and boundaries2.

2 Pollock, G (2004) ‘Art ‘after Landscape’: memory, place and identity’ http://www.leeds.ac.uk/cath/ahrc/events/2004/1105/abs/pollock.html Pollock identifies land, human agency and cultural practices as areas for advanced research identifying crucial questions about land relating to landscape, geography, mapping and space. She cites migration, belonging, displacement, encampment, enclosure and diaspora as indices of radical movement. Pollock signifies the desire to erode fixed boundaries between studio, gallery, museum, seminar room and

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Mythologies of belonging, encampment and enclosure are considered as relating

to issues of containment. My practice based research seeks to deconstruct

British borders linking Scotland to the Yorkshire Dales and beyond to Europe and

to make the boundaries between studio, gallery and the landscape more

permeable creating new unboundaried or post landscape artwork. The

structuring of a ‘polyvalent’ identity in response to mythologies of land and

home is at the heart of my research. Set against Pollock’s (2004, Unpaginated)

discussion of landscape as a cultural construction, ‘polyvalency’ is a hypothesis

developed by Iain Biggs (2012, p.16) changing ‘site’ into ‘place’ and locating a

provisional ‘at-home-ness’. His (2012, p. 19) argument is visualized in Between Carterhaugh and Tamsheil Rig: A Borderline Episode (2004) which is the subject

setting for his ‘polyvalent’ iconography. Biggs (2004) is a ‘hybrid’

theoretical/practice based model for my research.

My theoretical concerns contextualize my practice. My practice aims to develop

an experimental methodology for disrupting colonial discourse using a series of

postcolonial tactics including Homi Bhabha’s (1994) ‘hybridity, ‘time-lag’ and

‘mimicry’. Within practice-based research I am going to attempt to redefine

colonialism as a methodology employed by the heritage industry, which raises

issues of power and control. I reconfigure female flânerie as a practice based

resistance to issues pertaining to land issues and heritage control configured as

a dominant patriarchal discourse. Contextualizing the methodological key themes

female flânerie is a development of Guy Debord’s (1955, p.1) methodology of

resistance to the comparable dominant discourse of tourism. I am developing a

model of arts resistance that can be unbounded as defined by Pollock (2004)

yet remain site-specific.

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book as a methodology for thinking about the materialities of time and space, social worlds and geographies. With major global and postcolonial movements of people come changes to the sense of home, belonging and stability of communities.

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2. Introduction

The questions led to a research of the literature and formed the basis of a series

of performative practices. The ‘Literature Review’ contextualizes some of the

questions. My literature research to date has signified a change in emphasis from

a definition of postcolonialism as necessarily boundaried and territorial to a

potentially new understanding of postcolonialism as signifying a political tactic of

resistance to power and control. Reflection has constituted a shift in my

reflexive practice methodology as mimicking map-making as a ‘colonial’ tool and

subverting colonial discourse by making maps that raise questions about land

issues and tourism or ‘heritage control’. For the purposes of this paper I define

‘heritage control’ as the methods employed by the heritage industry for land

management and access to scheduled monuments. In response to my practice

based research the questions will be adjusted and developed later within this

paper.

The research began with the BARREN (Yeld): Traces of Ain questions as follows:

1. How does trauma manifest itself in the landscape – where

landscape specifically refers to the landscape of what is now Scotland and Yorkshire?

2. What is the meeting place between contemporary art practice and archaeology?

3. How is Identity navigated within closed (contained) and open spaces3?

4. What is the connection between contemporary walking practice as art and Neolithic/Bronze Age trackways?

5. How can land issues be discussed as art?

6. What are the implications for a contemporary art practice of a postcolonial reading of Neolithic Art?

3 ‘What was community before it was contained'? Ingold (2007) Lines: A brief history p2

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3. Literature Review

Within the Literature Review theory is considered thematically rather than

necessarily historically. Interconnected themes of postcolonialism and identity

and landscape and performance are examined. Where one theory draws on or

develops from another theory the time line is made clear. The interrelated

themes of performance and performativity are defined in this paper as two

separate activities. Performativity is a series of constructed acts that together

form a vocabulary of performative language (Thrift, 2008, pp. 121 -137 In:

Duncan J, Johnson, N. C, Shein, R.H, Eds, 2008). Performance might be

considered to be a singular act: a method for thinking about space through

movement in a specific time frame (Ibid: p.133). I will explore how performativity

might be constructed using postcolonial tactics as expounded principally by

Bhabha (1994). And I will consider how a performance might be situated

between archaeology and contemporary art using an embodied perspective

drawing on Tim Ingold (200, 2007), Edward Casey (1998, 2002) and Iain Biggs

(2004, 2005).

3A. Postcolonialism and Identity

Within the context of the Literature Review postcolonialism is primarily a

methodology for thinking about space and the structuring of identity in relation

to space. This section pertains to the navigation of identity within closed

(contained) and open spaces and considers how that identity might be navigated

in response to the containment or colonization of space by mapping. Mapping is

constructed as a colonial activity firstly by examining postcolonial theory as

transacted by Homi Bhabha (1994) and John McLeod (2000). The

anthropologist Tim Ingold (2000 and 2007) is introduced because he makes a

case for map-making to be both a universal activity and a local process of

‘inhabitant knowledge’ (2000, p.219). Ingold’s inhabitant or conceptual mapping

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is then compared with Edward Casey’s phenomenological mapping (1998, 2002)

Continuing with the theme of mapping I then introduce the theme of what

Bhabha terms ‘unmapping’ (1994, p. 361) which is the antithesis of mapping.

What is important to my research is that these resistant processes are

performative. His (1994, p.1) description of postcolonialism as a strategy for

cultural production is key (2000 p. 1). Other postcolonial theorists including

John McLeod (2000, pp. 6 - 10) and Edward Said (1993, p. 8) emphasise

colonialism as predicated upon the settlement of land and postcolonial theory is

only applied to ‘decolonized’4 territories. McLeod (2009, Interview with F.

Dobson) developed the argument that postcolonialism might be transacted as an

act of resistance to cultural authority.

Cultural production enables the structuring of a new unstable ‘hybridized’

identity (Bhabha, 1994, pp. 57 – 93). Bhabha’s structuring of identity is situated

between the twin polarities of colonizing and colonized (1994, p.361). Bhabha

defines his key concept of ‘hybridity’ as an in-between space as a third space,

which is the space between two polarities (1994, pp. 53-56). Postcolonialism is

contrasted with ‘deep mapping’ and ‘essaying’ as mechanisms for understanding

interstitial spaces and identity formation.

Mapping

This section pertains to how trauma might manifest itself in the landscape by a

colonial process of mapping. McLeod (2000, p. 105) referring to map-making as

‘one of the chief tools of the colonialists’ and Bhabha (1994, pp.145 - 1745)

defining map-making as a colonial activity of power and authority. One

interpretation (2004) of Bhabha’s ‘Signs taken for Wonders’ (1994, pp.145 –

174) expresses the concept or 'idea' of British imperialism as being enacted on

4 Territories are decolonized when colonized nations win the right to govern their own affairs (McLeod, 2000, p.7). 5 Chapter 6 is specifically about the impact of the English printed book as a civilising mission

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the red sections of a map6. However borders and boundaries are not physical

lines in the landscape: rather these lines are liminal even metaphysical. At the

same time these lines are powerful signifiers of land ownership.

From an anthropological perspective Tim Ingold (2007, p. 2) defines colonialism

as an imposition of one kind of line upon another whereby the paths along which

life should be lived are converted into boundaries by which it is contained. Where

Bhabha might consider map-making to be a global phenomena signifying colonial

representation as containment (1994, p.157), Ingold (2007, p. 41)

differentiates between the surface of a landscape to be travelled and as a space

to be colonized (2007, p.39) Firstly Ingold is important to my research because

he enables me to situate local map-making activities as ‘colonial’. He mentions

two kinds of map: the first kind he refers to as ‘an artefactual map’ (2000, p.

219) and which is a cartographic or ‘colonizing’ map and the second as a

‘cognitive map’ (2007, p. 88). Whilst he accepts that an artefactual map might

be helpful in unfamiliar countryside (2000, p. 219) it is the second kind that

evolves as an inhabitant’s local knowledge of place or ‘inhabitant knowledge’

(2007, pp. 84, 88). It is the second kind of mapping that is vital to my practice

based research.

If Bhabha (1994) globalizes mapping and Ingold (2000, 2007) localizes mapping

it can be argued that Edward Casey (1998, 2002) makes a case for what I shall

term ‘bodily mapping’:

‘Like flesh, landscape is the living and lived surface of a body – the earth’s body. It is also what is projected, complexly, into the two-dimensionality of maps, and taken up, multiply, into the n-dimensional worlds of works of art’ (Casey, 2002, p. 153).

6 Signs taken for wonders’ (2004) In: Stamford University Presidential Lectures ‘http://prelectur.stanford.edu/lecturers/bhabha/signs.html

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Casey expostulates a context for an embodied approach to artistic mapping

practices that re-emplaces the surfaces of land within a landscape relief map. He

makes a case for landscape mapping that shares with landscape painting the

bringing forth of unseen depth, intensity and profundity. Casey marshals

Aristotle to support his views that map-making is to do with movement and

movement of the human body is the key to situating the human body in a

specific place (1998, pp.12-13). Casey’s hypothesis is that place making is a

form of dwelling and dwelling is a form of embodiment in relation to place (Ibid).

Specifically excluding time from his thesis Casey (1998, pp.13, 228) sees all

movement as a change of state and he sees this change of state as a form of

creation as a cosmogenesis. He is conjuring a special stillness that culminates in

an ultimate stability in a transcendental realm (Ibid: p. 228). Ingold (2011, p.11)

references Heidegger that the boundaries of dwelling are the limits of disclosure:

‘A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing… Accordingly, spaces receive their being from locations and not from "space’’ (Heidegger,

1971)

For Casey cosmogenesis7 is a phenomenological mapping of place onto and into

the body as a form of creation (Casey, 2002, p. xiii). For Ingold and Casey place

making correlated with map-making draws from Heidegger’s (1971) concept of

dwelling as a permeable membrane between body and space and space and the

body. Rebecca Solnit (2006, p. 29) constructs creation as performance art,

which is also a way of knowing the world through the body and the body through

the world. She is possibly signifying movement as a development of Casey

(1998, pp. 228, 274) as the key to situating the body in place. However Solnit 7 Cosmogenesis is interchangeable with cosmogony and relates to the theories regarding the origins of the universe http://oxforddictionaries.com/. Casey (1998, pp. 28, 33) develops his own theory based on a philosophical evolution of cosmogenesis from the Greeks including Aristotle. It might be argued that he situates cosmogenesis within the realm of creation myth.

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is introducing a temporal element that Casey specifically excludes. She is

considering performance as representational mapping, however unlike

representational art an act of performance is by definition ephemeral.

Neither Ingold’s conceptual mapping as inhabitant knowledge nor Edward Casey’s

phenomenological mapping nor Solnit’s performance mapping is constructed

specifically as a methodology of resistance. In the next section I look at Bhabha

(1994) again because he constructs a dialogue about a methodology of

resistance he calls ‘unmapping’.

Unmapping

This section considers the navigation of identity as a contested but resistant

framework in relation to a dominant discourse. Bhabha calls this framework an

embodied strategy of ‘unmapping’ that opens up spaces of mystery and

otherness (1994, p. 361). An interstitial cultural identity is articulated in this

new space a ‘third space’ of representation where we ‘may emerge as the others

of ourselves’ ‘telling us who belongs and who we are’ (1994, pp. 19, 313, xv).

The ‘other’, variously threat, responsibility, alter ego, and enigma to and of the

self, hitherto silent and effaced has made claims to speak, indeed to speak back,

disrupting the realm of politics in radical ways: thus women, minorities,

outsiders, subalterns, now claim to speak as others. Epistemologically and

politically, Bhabha (1994, pp. 96 – 97) constructs the other as an object of

desire and derision an articulation of difference contained within a fantasy of

origin and identity. Bhabha’s stereotype, racial rather than sexual, is an arrested

fetishistic mode of representation (Ibid, p.109). Otherness is complicated and

Bhabha primarily excludes the treatment of women as others writing that

questions of race and cultural difference overlay issues of sexuality and gender8

(Bhabha, 1994, p. 251). Bhabha unstitches identity as self and other when he

constructs a new hybrid identity where colonial power is hybridized with the 8 Trinh T. Mihn-Ha (1989, p. 6) talks about three conflicting identities: writer of colour, woman writer or woman of colour. She writes that one identity must supercede the other (racial and sexual) and that to belong requires a fracturing of the self.

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colonized (1994, p. 95). Bhabha defines this between place as a site of

transition where ‘newness enters the world’ as an empowering condition of

hybridity (Bhabha, 1994, p. 324). This is not a new horizon nor a leaving behind

of the past but a liminal place for ‘crossing over’ literally, metaphorically and

crucially for my research figuratively requiring what McLeod describes as a ‘new

art of the present’ (McLeod 2000, p. 217). Making art as a temporal

intervention might signify a kind of performativity: in effect Bhabha writes

cultural difference rather than writing about cultural difference.

It might be argued that for Bhabha writing is a form of mimicry: by adopting a

theoretical writing practice Bhabha is questioning the authority of a mode of

colonial discourse. The menace of mimicry is its double vision, which in

disclosing the ambivalence of colonial discourse also disrupts its authority (1994

p126). Mimicry is the same but not quite (1994, pp.122, 131). Related to

mimicry and derived from Lacan (1954-5, pp. 284-5) Bhabha defines time-lag as

a temporal break in representation whereby revisions of history allow an

imaginative identification with the other and a rediscovery of truth which lies in

the order of symbols (1994, pp. 274-5). In a sense Bhabha is rewriting history

as a performance and identification with the other. In contrast to stand-alone

research or research led pedagogy it might be argued that Bhabha (1994)

exemplifies a practice based or practice led9 research project. Bhabha’s book The Location of Culture is a performance outcome and articulates a vocabulary of

performativity in relation to colonial discourse language.

Deep Mapping and Essaying

This section considers the performative practice of ‘essaying’ as another

strategy for navigating identity and considers the related formulation of

‘metaxy’ as a potential meeting place for art and archaeology. Biggs (2010, 9 Drawing on the ‘Centre for Practice led Research in the Arts’, (2013) University of Leeds, Linda Candy (2006) and the Practice Research Unit (2013) Kingston University, for practice-based research, different artists use a variety of objects and performance methods, and report research in diverse ways, which in turn raise questions regarding the research process, its collaborative dimensions, as well as the sharing of research findings.

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‘Deep Mapping as an ‘Essaying’ of Place’, Unpaginated) view of deep mapping as

‘essaying’ is derived from Edward S. Casey’s distinction between position and

place, where Casey claims that:

‘If a position is a fixed posit of an established culture, a place, despite its frequently settled appearance is an essay in experimental living within a changing culture’ (Casey, 1993, p. 31).

Biggs (2010, Unpaginated) sees the process of deep mapping as a multi-

media essaying rather than necessarily as a textbook form like Bhabha (1994).

Biggs defines essaying as an uncertainly located qualitative act. Like Bhabha’s

writing essaying is a performative act, unlike Bhabha, Biggs (2010, Unpaginated)

is not rewriting history. Biggs (2010, Unpaginated) understands Casey’s sense of

‘place’ as an essay in experimental living or in this context writing/making from

a space-between. Understood in this way, writing or essaying ‘place’ challenges

and changes us. Biggs (2011, ‘The Spaces of “Deep Mapping”: a partial account’

p. 2) considers deep mapping to engage with the region and the local aiming to

engage with, narrate and evoke ‘place’ in temporal depth by bringing together a

multiplicity of voices, information, impressions and perspectives as a basis for a

new connectivity.

Deep Mapping correlates contemporary art practice and archaeology as a site-

based performance practice known as ‘theatre/archaeology’ (Biggs, 2011, p.

7). Pearson develops performances that work horizontally across the terrain and

simultaneously vertically through time (Mike Pearson, 2006, p. 3 Cited by Biggs,

2011, p. 7). Pearson and Shanks (2001, p. 131) describe this deep mapping

mixture of science and narration as a ‘blurred genre’ or ‘metaxy’. Biggs (2011, p.

8) describes metaxy as another between place this time between imagining and

image making. Dierdre Heddon (2007, p. 88) the negotiation between authoring

and authority applies to place as much as to self. She considers the authority

that accrues to the self (and some selves more than others) is powerful (Ibid).

She (2007, p. 89) argues that autobiography allows performers such as Pearson

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or Biggs to map or spatialize their lives whilst at one and the same time

autobiography as mapping can simultaneously render place.

3.B Landscape and Performance

This section addresses Landscape Art as a performative practice beginning with

Neolithic land art and then considering contemporary land art as political act.

Land art as a form of pilgrimage is considered in Section 4.

Neolithic Land Art

This section begins to respond to the implications for a contemporary art

practice of a postcolonial reading of the Neolithic Land Art. A consideration of

Neolithic Land Art contextualizes Contemporary Land Art as a ritualized practice

providing a meeting place between contemporary art practice and archaeology.

Ilkley Moor and its Neolithic cup and ring marked rocks is the site I have chosen

for my practice-based research. It is the site for my ritual performances.

British rock art occurs between West Yorkshire and the Caledonian Canal in

Scotland10. It is thought to have begun outside the UK altogether, possibly in the

Western Mediterranean11. There are c. 720 cup and ring marked rocks on Ilkley

Moor. The Badger Stone sits on top of the Ilkley Moor escarpment alongside a

modern and co-contemporaneous prehistoric migration12 route (Boughey and

Vickerman, 2003, p. xiv). Ancient grain traders met here from prehistoric

times13. Boughey and Vickerman stress the importance of sight lines between

the stones and suggest the stones had some kind of purpose as way markers or 10 ‘The Prehistoric Rock Art of England – Archaeology Data’ p. 5 Service’‘http://archaeologydataservice.ac.uk/catalogue/adsdata/arch-836-1/dissemination/pdf/ERA_Brochure.pdf. 11 Boughey (2003) and email 28/03/11 12 See Also Vyner, B ‘The Neolithic, Bronze Age and the Iron Age in West Yorkshire’ Research Agenda West Yorkshire Archaeological Advisory service p. 6 http://www.archaeology.wyjs.org.uk/documents/archaeology/Revised-SW-Later-Prehistoric_Neo-BA-IA.pdf 13 The title “badger” dates back to at least medieval times when, as the Yorkshire historian Arthur Raistrick (1962) explained, the word represented ‘a corn dealer, corn miller or miller’s man’. It is likely that this traditional title goes much further back, probably into prehistory, as grain was one of the earliest forms of trade.

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boundary stones (Ibid: p. 193). In addition to territory marking the stones may

have functioned as a map14. English Heritage and Historic Scotland support the

view that the marks were religious symbols and may have functioned as

cosmogenic maps15,16. Cup and ring marks are also found on portable stones

incorporated into burial mounds17. The marked stones are also co-located with

burial sites and cairns, and rudimentary ‘homes’ or ‘enclosures’ correlating

homes with houses for the dead. The sight lines between the boundary markers

may configure liminal lines or metaphysical lines as formulate by Tim Ingold’s

ghost lines (2007, pp47-49)18. Walking between the stones then becomes a

ritual following ghost lines configuring ritualized or ‘conceptual’ mazes and

labyrinths allowing ritual walkers to become wayfarers in a land of the dead (Gell,

1998, pp. 83-90) (Ingold: Ibid).

Contemporary Land Art

For the purposes of this Paper Contemporary Land Art is considered as two

interrelated strands: political and pilgrimage. It will be argued that walking can

represent a contemporaneous ritualistic practice. Ritual is here reconfigured as

performance and walking performance can be combined to create a

contemporary vocabulary of performativity based in ritual practice. Whilst pre-

historic ritual was probably what Casey (2002) describes as cosmogenic,

contemporary ritual might signify something of Biggs (2008 Unpaginated)

14 Correspondence with archaeologists Keith Boughey, Gavin Edwards Bradford MDC and Clive Warsop University of Edinburgh 2011 - 2012 15 Historic Scotland suggests the following functions, meeting place markers, sites marking good pastures or watering holes, territory markers, symbolic maps and sites for religious ceremonies, markers indicating the site of an important event – perhaps a death or a hunt scene, and evidence of a written language http://www.historicscotland.gov.uk/investigatingachnabreck.pdf. 16 http://www.eng-h.gov.uk/mpp/mcd/sub/cup3.htm 17 http://webcache.googleusercontent.com/search?q=cache:6gIBFh03H7YJ:list.english-heritage.org.uk/resultsingle_print.aspx%3Fuid%3D1011294%26showMap%3D1%26showText%3D1+English+Heritage+cup+and+ring+marked+rocks+as+sacred+or+religious+symbols&cd=1&hl=en&ct=clnk&gl=uk&client=safari 18 Referencing James Gibson (1979 pp. 34-35) Ingold writes of the ecology of perception and ‘the ghost of a line’ (2007 pp. 48-9). Ghostly lines might link constellations and might appear on maps and charts but have no physical counterpart in the world.

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‘secular polytheism19’ related to Griselda Pollock’s (2004, Unpaginated)

mythologies of land and home. Contemporary mythology can be oppositional in

the sense categorized by Barthes (1972, p. 140) and signified by walking as a

political act.

Walking as Political Act

This section discusses how land issues can be discussed as art. From the

ramblers on Kinder Scout in 1932 to more recent events walking the land can be

a political event. Since the initial PhD Proposal the initial body of research has

explored the issue of a gendered resistance to heritage control. This has

developed as a formulation of female flânerie transposed from urban writing to

wilderness walking and performance art.#It will be argued that whilst roaming the

hills is not city 'street’ walking documenting a woman artist's experience of wild

places does raise questions about gendered inequalities.

Walking can be constructed as masculine freedom from Baudelaire's (1821-61)

flâneur in the 19th Century to Benjamin’s Passagenwerk or The Arcades Projects in the 20th. Benjamin’s Passagenwerk The Arcades Projects (1927-1940,

Unfinished) recourse to a graphic organizational structure– one, furthermore,

that would never be seen by a reader contextualizes my symbolic notation in

my screenprints and artist’s books. Whilst the Academy of the Arts, Berlin,

‘Benjamin Archive’ has expressed little hope of deciphering the precise

intentions of this private notation system the introduction of referential

instability represents the emergence of an aesthetic in notational form. The

(2008 - 2009) Notation: Calculation and Form in the Arts exhibition is

dedicated to the multifaceted spectrum of artistic process existing between

concept and work includes Benjamin’s notes for The Arcades Projects.

Godsthaven (2005, ‘Preface’, p. 1) identifies the unfinished and fragmented 19 Biggs describes the role of art in society as secular polytheism that is polytheism in a psychological sense rather than (necessarily) theological. He indicates that different arts have different roles and those different roles and approaches can function within the same art. Theses differences inform and function within different societies and sections of societies (Biggs, 2008, unpaginated)

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Passagenwerk as an ‘archaeological’ investigation of 19th Century Parisian male

flânerie. Therefore Benjamin’s (1927 – 1940) ‘sign system’ positions a visual

reality through the connection between scientific, or ‘quasi archaeological’,

calculation and artistic form as ‘book marks’ and ‘catalogue cards’.

Benjamin, W. (Undated) ‘Notes on Baudelaire for the Arcades Project’ Walter Benjamin Archive, Berlin, Academy of the Arts (2008 -9) Notation: Calculation and Form in the Arts (Book mark and four ‘catalogue cards’) (Image)

Solnit considers his language so singular ‘that his whole life could be diagrammed

as a map or ‘labyrinth’ that mimics a city by titling passages as contemporary

city sights and signs (Solnit, 2001, pp. 197, 420). Elizabeth Wilson configures

Benjamin’s exploration of urban life as sexual life generated by capitalist

relations. The city is a labyrinth, and the flâneur an embodiment of it. The

labyrinth has a specific sexual meaning male impotence. It is, suggests Benjamin,

‘the home of the hesitant’. (Benjamin, 1997, ‘Introduction’ p.10, Cited in:

Wilson, 1992, Unpaginated). Benjamin is important because of what is not in the

Passagenwerk: women as ‘badauds’, ‘voyeurs’, ‘life artists’ and ‘flâneuses’.

Godtsenhoven contests Pollock (1988, p. 71) and Wolff (1989, p. 45) view that

a female flâneuse is denied existence by social and political divisions. She

evidences Pollock:

‘there is no female equivalent of the quintessential masculine figure, the flâneur: there is not and could not be a female flâneuse’ Pollock (1988, p. 71)

19

Griselda Pollock (1988) argues that the position of a flâneuse is impossible

because of the inaccessibility of certain city spaces and because they are

denied the possibility of ‘the look’: a gender and class specific gaze. Across a

spatially constructed map of a gendered city she deconstructs a new division

between the bourgeois lady and the proletarian prostitute arguing that the

spaces of femininity are not only limited in relation to modernity but ‘are

defined by a different positioning of ‘the look’ (Pollock, 1988, p. 64). She

argues that modernity is still with us. The postmodern world is still a place of

strangers and spectacle and increasingly contested spaces for women.

Godtsenhoven agues that Pollock’s flâneur is the quintessential white middle

class observer restricted by gender, race and class. Godtsenhoven (2005, p. 8)

argues that flânerie, or the motive of aimlessly walking the city, has become a

widespread literary device in contemporary female writing20. Solnit might

describe herself as a flâneuse but doesn’t: she (2001, p. 200) writes that

feminist scholars have debated whether there could be female flâneurs but

asserts that the flâneur is only ever a male literary fantasy. She considers that

no literary detective has found and named an individual who qualifies or was

known as a ‘flâneur’. Solnit (2006, pp. 232 - 246) does treat of women

walking in relation to the sexualization of women walking making women’s

sexuality a public rather than a private matter in response to legal and social

constraints (Ibid: p. 235). She posits that many women are so successfully

socialized that the desire to walk alone has been extinguished ‘in them – but

not in me’ (Ibid: p.241). Solnit walks alone but she does not consider herself a

flâneuse, nor does she position her writing as female flânerie. Nowhere can I

find an exposition of female flânerie transposed to wild spaces as art. Based

upon this critical position female flânerie thus constructed can be a resistant

20 Godtsenhoven (2005 p9-10) asserts that the difference between flâneurs and badauds is the distance they maintain between themselves and the spectacle of the city). It can be argued that there is no distance between myself and the land I traverse; the one is contained by the other and vice versa.

20

tool to dominant masculine discourse for the purposes of my research

predicated upon the language of archaeology and heritage industry21.

4. Review of Contemporary Practice

This section is organized in a historical order beginning with a brief discursive

examination of Jackson Pollock, Allan Kaprow and Joseph Beuys because they

situate the practice of performance as a new artistic medium (in the 1950s -

1960s). Solnit identifies a temporal element in art as in walking. Then I discuss

Richard Long whose walking practice began in the 1970s in Britain. I then use

three other British artists who together expand a performative practice and

who explore similar territory in the borderland between England and Scotland,

the Highlands of Scotland and the Island of Mull. It will be argued that these

territories are similar to the territory I respond to on Ilkley Moor. The moorland

that we see today devoid of people is the result of land management and

depopulation. Uplands and moorlands first conquered for sheep, deer parks and

hunting lodges22 are reconfigured as present-day leisure park and heritage

industry and resonate with the voices of ‘lost’ peoples cleared from the land. Iain Biggs describes his polytheistic universe of differing voices and different

registers signifying the forgotten indigenous Northern Britons in the

‘Unearthing other voices: A polytheist approach to landscape’ In: Surface; Land Water and the Visual Arts Symposium (2005, p. 14). In a postcolonial sense he

might be configuring ‘others’ as indigenous. His exposition is very much related

to songs that remember absence in the context of animist values. Nathan Coley

and Charles Avery also treat of absence but their visualization of indigenous

Scots brings to light something of the effects of the colonizing process

21 For example Luce Irigaray (1990 pp 22 -30) treats of the differences between ‘Women’s Discourse and Men’s Discourse as a product of language and society and society and language asking ‘how could discourse not be sexed?’ She (pp. 25, 28) transacts a cultural reality that is always already linked to the individual and collective history of the masculine subject. Thus it might be argued that archaeology and heritage discourse within a masculine discourse tradition. 22 The Yorkshire ‘highlands’ were depopulated from medieval times for sheep. Richard Muir The Yorkshire Countryside: A Landscape History Edinburgh, Keele University Press (1997 pp 164-5) refers to the ‘Tudor Clearances’ citing Wharram Percy in North Yorkshire as an example. The eviction of villagers across England was so great that the stability of the kingdom was put at risk. Landowners expected to profit from running sheep across their estates.

21

whereby the people colonized for sheep and cleared from the land become

colonizers in turn. This section develops these themes and begins a more

detailed exposition of how trauma might manifest itself in the landscape23. In

England the trauma of land enclosure and land ‘clearance’ of people for sheep

operated for several hundred years until the 18th/19th centuries when Scotland

was colonized for sheep24. People cleared from the land often became part of

the British Empire project in the colonies of the Americas and Australia: the

colonized become the colonizing25. All three artists transact the hybridizing of a

contested identity.

Pollock, Kaprow and Beuys

Solnit (2006, p. 268) references Jackson Pollock as the godfather of the

diaristic gesture whereby the gesture becomes the subject of his aesthetic

object and his painting is secondary. His gestural paintings known colloquially as

his ‘drip paintings’ were formulated and constructed in the 1950s. Solnit

rekindles Kaprow’s analysis of Pollock as ‘actively involved with ritual, magic and life’ (Ibid). She views Kaprow’s (1960s) performance art as reanimating the

relationship between ideas, acts and the material ‘from which the mind

assembles a representation of what it is like out there in a representation of an

interior world’ (Solnit, 2007, p.283). Kaprow himself differentiates between

different forms of performance art as ‘Happenings’:

24 Simon Fairlie describes the appropriation of common pastures as privatization by wealthy landowners who converted arable land over to sheep as the ‘first onslaught’ in a process of ‘enclosure’ that lasted from the 13th to the 17th century. Land enclosure in England for sheep diminished when James I and VI became King of both Scotland and England in 1603 and virtually ceased with the Union of 1707 (a treaty between English and Scottish landowning classes) when Fairlie writes that between 1750 and 1850 Scotland was colonized for sheep. English enclosure meanwhile continued apace not for sheep but for ‘improvement’ that was designed to force people from the land and into the new industrial factories as ‘wage labourers’ Fairlie, F A Short History of Enclosure in Britain’ The LAND: An Occasional magazine about land rights Issue 7 Summer 2009 republished as http://www.thelandmagazine.org.uk/articles/short-history-enclosure-britain 25 Devine (2003) asserts the phenomenal figure of 80 million Scots involved directly in the production of the British Empire from the end of the 17th Century to the end of the First World War ‘Diaspora and Empire’ Scotland’s Empire 1600 -1815

22

‘There are the sophisticated, witty works put on by the theater people; the very sparsely abstract, almost Zen-like rituals given by another group (mostly writers and musicians); and those in which I am most involved, crude, lyrical, and very spontaneous’ (1993, p. 28)

It is the latter two types of performance that I am most interested in and I relate

the second ‘Zen-like ritual’ to my performances on the moor, which like Beuys

below seeks to create ‘transcendental space’ as contemporary art. Unlike

Kaprow or Beuys I am transacting what has been configured historically and

archaeologically as ritual space.

Since the early 60s Joseph Beuys staged ‘actions’ as ritualistic performances

meant like Kaprow’s happenings to produce a unity of art and life. In 'I Like

America and America Likes Me' (1974) he made two piles of the 'Wall Street

Journal’ that would be duly torn or urinated on by a coyote – his statement on

contemporary America. Beuys regarded newspapers as a reservoir of information

as a ‘battery of ideas’. Beuys made additions to newspaper using ‘Braunkreuz’

paint, a material often used and invented by Beuys as a mixture of ordinary

household paint with the blood of a hare: ‘Braunkreuz’ translates as ‘brown

cross’. Emily Rekow (Undated, Unpaginated) suggests that Beuys did not

consider his paint to be a colour. Rather it became a material for ‘sculptural

expression’. It became a metaphor for the earth as protective medium and the

substance evokes ‘rust’, dried blood’ and even ‘excrement’. The brown symbolic

‘cross’ seen in many of his drawings at the centre of the piece ‘Untitled’ the

‘Tate Modern’. Rekow (Ibid) writes that his painting is loaded with references to

Christianity and Nazism: Beuys regarded ‘Braunkreuz’ as ‘shamanistic’ and as an

‘insulator’ of ‘spiritual forms’. Beuys himself describes his action as a

phenomenological and his cultural production of information ordering as

‘cosmogenesis’:

23

‘When I speak I need my own body, the physical flesh – it is a kind of clay to inform into – and I need my lungs, I need my tools here, existing in my anatomy … the second part of the problem the language… is a more important sculpture even than the end of the process existing in tools or in paintings, or in drawings, or in carvings. This transcendent character of information, in an invisible world, gives us at the same time the proof… That we are biological beings, material beings, but first spiritual beings not existing on this planet – that we are only partly existing on this planet – and being involved in wood, in felt, in fat, in iron, in rubber (Beuys, 1980, in Energy Plan for the Western man - Joseph Beuys in America, compiled by Carin Kuoni, Four Walls Eight Windows, New York, 1993, p. 74)

In his interview Kate Horsefield (1980) referenced above Beuys sets out his plan for creating transcendental space and creates a bodily sense of mapping that resonates with Casey (2002).

Joseph Beuys ‘Untitled’ (1963-4) London, The Tate Modern (Image)

Richard Long (Walking as Pilgrimage)

Solnit (2006 p268) writes that the temporal element makes writing and walking

resemble each other in ways that art and walking did not until the 1960s. She

accentuates the specific religious or ‘polytheist’ connection with walking citing

Richard Long’s outside walking activities the ordeal quality of a pilgrimage

(Evans, (Ed.) 2012, p.16). Solnit (2006, pp. 270 – 271) references Richard

24

Long that walking is always primary to the work however his work comprises two

approaches: walking whereby his lines made by walking are to the land as a pen

is to a map, and his sculptures which rearrange rocks and sticks in the landscape

and within the gallery. She writes that one early sculpture (1970) approaches ‘A

Line the Length of a Straight Walk from the Bottom to the Top of Silbury Hill’

unites this walking and sculptural by recreating the length of the walk as a spiral

on the Hayward Gallery (1991) floor. Whilst Silbury Hill has an unknown religious

significance she relates walking inside and promenading in a gallery to ‘The

Stations of the Cross’ (2012, p.16).

‘A Line the Length of a Straight Walk from the Bottom to the Top of Silbury Hill’

(1970) The Hayward Gallery, (1991) (Image)

Ingold also references Long (2007, fig2.2 and p. 44) whose ‘Line Made by

Walking’ (1967) signified the movement of the artist by a trail of bent grasses.

Solnit reads this gestural activity as a culturally specific activity in the English

Landscape tradition (2006 p272). However Long is problematic for when he

transplants his (1967) activities to the Himalayas. Solnit (2012) appears to

censure Long writing that tradition becomes charged with colonialism and high-

25

handed tourism (Solnit cited in: Evans (Ed.) 2012 p. 17). She raises important

questions about site- specific activity and location. Is the same activity

necessarily ‘colonial’ when it is transplanted to a different country? Could it not

be that Long himself is raising questions about colonial activity whether at home

or abroad? I would argue that his gestural mark making is culturally specific and

mimics colonial activity whether ‘at home’ or ‘abroad’. His mark making visualizes

the ‘enactment’ of colonialism and his methodology might be construed as

resistant mark making. Long’s activity could thereby be situated ‘oppositional’

and possibly ‘postcolonial’ as Bhabha might situate his writing activity which I

would argue mimics the dominant discourse of academic writing as a colonial

activity in order to raise questions about cultural colonialism and cultural

difference.

Iain Biggs

Ian Biggs’ artist’s book (2004) Between Carterhaugh and Tamshiel Rig: A borderline episode is primarily a narrative construction and visualization of his

new ‘polyvalent’ identity embedded in a polytheist reading of a contemporary

and historical landscape (2005, ‘Unearthing other voices’ p. 25). He transacts a

literal but also literary borderline country between England and Scotland. His

artist book is the result of a project that began by exploring a space between

two spaces: one physical site and one potent magical place associated with

‘Celtic’ folklore. Biggs maps and remaps the particular space between

Carterhaugh and Tamshiel Rig. Carterhaugh is ‘imaginal’ and is the location of the

Border ballad ‘Tam Lin’ printed in full between the editor’s (Biggs) Preface and

(‘A’s Prelude) can only be entered at a certain time of year or in a certain state of mind (my italics) (2004, p. 17)26.

26 The book is dedicated to Sandy Denny 1947-1978 and Jerry Garcia 1942-1995 (Fairport Convention and The Grateful Dead both sang versions of the archaic poem/ballad ‘Tam Lin.’ Readers are referred to ‘A’s Discography p164 for a full listing of music referred to in the text and other notable versions of the song. As with his artwork the reader gets a partial experience from the book. She must trace the originals and listen to the music for a fully immersive and sensory experience.

26

Providing a visual analysis of one image within his artist’s book ‘Sowdun:

Debatable Lands’ (2004, p. 31 – untitled in the book) the animal and human

images are easier to ‘read’ whether contemporary or prehistoric. ‘Southdean

Law’ with its fortifications and traces of enclosures might be more obscure

unless the ‘reader’ is familiar with archaeological graphology and archaeological

‘language’. None of the images is a certainty. The text signifies a hidden past,

for example ‘law’ is an old English word for hill, burial mound or hillfort27. This

print containing the first appearance of the ‘falling man’ motif signifies an

apparently broken body in the manner of medieval ‘Mappae Mundi’ but also the

falling figures from the World Trade Towers. The motif possibly evinces some

kind of personal disaster 28(Ibid: p.22). The falling figure falls into the middle

aged man. The underexposed image of a young woman might possibly be the

artist’s or the narrator A’s daughter. The enigmatic drawing of the carved stone

with two ‘eyes’ or two ‘breasts’ may also signify her. The crossing lines below

the spiral may be ‘shoulders’ or a ‘waistline’. The juxtaposition of the two motifs

may reference fertility and ancient rites. There is a visible referential link with the

prehistoric marked stones on Ilkley Moor; both may also signify fertility ritual. It

can be argued that he is creating a ‘hybrid’ visual language between archaeology

and contemporary image making. Ambiguity is fundamental to his practice led

research. Interestingly, Biggs does not write about his studio work at all.

27 http://genealogy.about.com/library/surnames/l/bl_name-LAW.htm and http://www.collinsdictionary.com/dictionary/english/law http://canmore.rcahms.gov.uk/en/site/56826/details/southdean+law/ 28 http://www.dailymail.co.uk/news/article-2035720/9-11-jumpers-America-wants-forget-victims-fell-Twin-Towers.html http://www.bl.uk/onlinegallery/onlineex/mapsviews/mapmundi/

27

Biggs (2004, p.31) ‘Sowdun: Debatable Lands’ (Image) Rather he allows his work to speak for itself. Biggs summons classical voices in

support of his chosen modus operandi. He deliberately chooses to reference

Apollo and Dionysius in his academic paper “Unearthing other voices’ (2005)

where he might be said to navigate between an ‘Apollonian’ landscape discourse

favoured by academics and a ‘Dionysian’ one: freer, more fluid, playful

mischievous and artistic. He quotes Casey (2002) about the inextricable

interplay between Apollo and Dionysius as between self-revealing surface and

self-concealing depth (Casey, 2002, pp. 269–270 cited by Biggs, 2005, p. 14).

He distinguishes between the Apollonian Royal College of Art ‘normalization’ of

practice-based research and what he may be concerned with in a mythological

world 29(2005, pp.14-15). Like Bhabha (1994) or Long (1970) Biggs may wish

to direct a resistant challenge to a monotheistic culture that he finds himself in

and the monoculture of the mainstream academic art establishment.

29 ‘Unearthing other voices: A polytheist approach to landscape’ Surface, Land Water and the Visual Arts Symposium (2005 p14)

28

Biggs (2004) aim for practice led research and artist book Between Carterhaugh & Tamshiel Rig: a borderline episode is as much about what he terms expressing

invisible guests as contemporary space making. Biggs is attuned to the

possibilities of hearing voices as an ethnocentric cultural historical process for

dealing with ‘loss’ or the experience of being lost (2005, ‘Unearthing other

voices’ p.12). Biggs advocates the analysand and the artist re-experience pain to

re-experience genuine loss advocating ‘losing the path’ as a methodology for

entering fantasy or liminal space (2004, p. 32). Entering liminal space signifies

the possibility of metamorphosis and metamorphosis is ‘the pulse in the body of

art’ (Warner, 2002, p. 2 In: Biggs, 2004, p. 32). The liminal space between the

factual and the fictive can only be entered into at the point where the ancient

poetic narrative is interwoven with the bodily, lived experience of Biggs or his

parallel creation and narrator 'A'. Tam Sheil (sic. Tamshiel) is real but in Biggs

mind survives ‘only as a trace’ of an ancient dwelling and field system (2004, p.

17). These two places, the real and the imaginal, are central to the grasping of a

new hybridized 'identity' of a male narrator just 'in the point of decaying' (Ibid).

Nathan Coley and Charles Avery

Coley (2009) Beloved and Avery (2008) The Islanders: An Introduction both

signify postcolonial ‘time-lag’ traversing borders across nation states and time

zones. Both interrogate the unstable hybrid boundary between the processes of

colonizing and being colonized.

Nathan Coley ‘Beloved’ 2009 Dean Gallery, The Enlightenments ‘Homecoming Scots’ Exhibition The visual artwork ‘Beloved’ (2009) comprises seven white and green painted

pillars with spaces in between. The trunks signify 19th Century Weymss estate

cottages and shooting lodge. Williams argues that the trunks are signifiers for

the moment when the Highlands were first conquered for leisure (2009,

29

‘Highland Remix’ In: The Enlightenments exhibition catalogue p. 9). The trunks

are turned upside down and one trunk spells BELOVED in dots made visible

through a series of meticulously drilled dots. Placing the textual reference at

child’s height may signify a darker reading with a discernible subtext of colonial

violence where émigré Scots became enthusiastic builders of empire linked to

Toni Morrison’s book Beloved (1987).

Before investigating the deeper structures of the text, it is important to

deconstruct the traces of colonialism signified by the pillars alone. There is

another history inherent within the visual artwork BELOVED (2009). The pillars

themselves embody a postcolonial dialogue about faith and empire and identity.

The pillar motif appeared in an earlier incarnation as Fear of Death (For Bertrand Russell) (2009) in the Mythologies (2009)30. The texts are from Bertrand

Russell’s (1927) lecture31. ‘Coley, like Russell, is an atheist (Email, 7th January

2010) and is also critiquing Christianity. Bhabha (1994) considers Christianity

and missionary activity to be major imperialist exports during the expansion of

the British Empire.

Whilst accepting that Coley is navigating the territory of death and after-death

with Beloved (2009), the question should be asked ‘whose death’? Williams

(2009), and the artist’s gallery, Doggerfisher, (Email, 7th January 2009) ascribe

the seven pillars to Scottish funerary monuments. The artist declined to

comment (Email, 7th January 2010). The pillars might articulate Barthes’

(1972, p.122) symbolic memorial advertising death. Could BELOVED (2009)

signify the people who disappeared from Scotland during ‘The Clearances’

described by John Prebble (1963, pp.60 -61) the violent expulsion of people in

the 18th and 19th centuries as the “Highland Clearances’32? That the Lowlands

30 The Mythologies (2009) installation comprised three pillars rather than seven with similarly wrapped around texts, which spell ‘Fear of Death’, ‘Fear of Defeat’ and ‘Fear of the Mysterious’. 31 Why I’m not a Christian’. Mythologies (2009) (exhibition catalogue), www.classicreader.com (07/11/09) (full text). 32 Described by Prebble (1963) The Highland Clearances London, Secker and Warburg and updated by Devine (1999) The Scottish Nation 1700 – 2000 London, Penguin Books.

30

were cleared as well is an argument taken up by Thomas Devine writing that

two thirds of emigrants came from the Lowlands (1999, Part Two, Chapter 7).

The civilizing mission of English Imperialism was certainly transacted upon

Scotland during the Clearances. Can English Imperialism be operating

metaphorically within BELOVED (2009)? On one level the artwork operates as a

memorial for the colonized Scots. On another level the artist is bringing to light

émigré Scots some of whom having been forcibly removed became Devine’s

(1999, p.290) foot soldiers for the British Empire (including the Americas).

Morrison cited by Bhabha (‘Unspeakable things unspoken’ 1989, pp. 11-12 In:

1994, p.284) references ‘voids’ and ‘absences’ created by the living and the

dead highlighting certain absences that are so stressed they arrest us with

their intentionality and purpose. However the void that is presencing in

Beloved (2009) is profoundly ambiguous. Bhabha (1994, p. 8) writes that

Toni Morrison’s Beloved (1987) ‘revives the past of slavery and its murderous

rituals of possession and self-possession’. It can be argued that there are also

murderous rituals of possession and self-possession33 rememorized in Nathan

Coley’s Beloved (2009). Bhabha (1994, p. 284) states that narrative is a

memorial for the excluded, excised and evicted and that the novel Beloved

(1987) is a reconstruction, or ‘rememorization’ of African slavery in the

Americas. The artist is reminding the viewer of the indigenous story like Biggs

(2004) but Coley is making visible a link between the indigenous ‘other’ and

black American slaves. However, by populating his installation with

‘Homecoming Scots’ he is raising questions about émigrés and homecomers,

Americans and Scots and colonizers and the colonized. Coley (2009) is

reminding us and updating the concept of a Scottish ‘duality’34. Coley’s

construction of identity does not define hybridity as a binary equation.

33 Self-possession is a kind of psychological or ‘psycho-geographical territory’ www.land2.uwe.ac.uk/ (04/02/10). 34 It can be argued that Patrick Crotty ‘The Caledonian Antisyzygy’ as an enduring principle and paradox of the Scottish Literary psyche treats a Scottish duality or ‘Caledonian antisyzygy’. Antisyzygy can be configured as the duality that exists in R.L.S Stevenson, Jekyll and Hyde between good and evil or in philosophical terms between self’ and ‘other’ (The Poetry Ireland

31

Coley (2009) ‘Beloved’ Dean Gallery Edinburgh Photograph F. Dobson

Weymss Estate Cottages, Kircaldy, Fife (2009) Photograph F. Dobson

Charles Avery (Nomadism)

The voices of the colonized become more closely identified with the colonizers

Review No. 63, Winter, pp 89 – 93). Antisyzygy. Noun the joining together of opposites http://www.collinsdictionary.com/dictionary/english/antisyzygy

32

within Avery’s The Islanders: An Introduction. Avery (2008) is relevant to my

practice in media and form as museological art installation and artist book. His

practice evidences colonial mimicry as conceptual mapping. His drawing

‘Untitled (World)’ (2009) is comparable with a map of Mull and might signify

his childhood ‘world’. However the artist is also a colonizer of the mind and

describes his metaphorical processes: ‘There is only one world, in my mind, and

it is the real one. I am creating a fiction, which is part of this world. Pedantic

but an important distinction’. (Email 10/01/09). Bourriaud (2008, p. 151)

explains this reality is ‘born of abstract truth’ which can be represented like the

material world. It can be argued that his cultural production of map-making

resembles and mimics the routes and rituals of empire (McLeod, 2000, p.105)

35. However Avery is signifying empire via the stereotypical image of ‘the world’

in order to contest it. Bourriaud (2011, p. 11) relates Avery’s archipelago to

multiculturalism and ‘nomadism’ in space and time. Nomadism might be more

subtle and subliminal than Bourriaud allows. Avery describes:

‘Children were born on the Island, had their own children there, and died without ever knowing the old country. They did not think of themselves as islanders because they had no experience of any other place’. Avery (2008, p. 23)

The ‘old country’ can be mainland Scotland (or Britain). The artist is signifying

the experience of diaspora and settlement, the experience of ‘living in one

country but looking across time and space to another’ McLeod (2000, pp.

206-7). Avery (2008, p. 47) writes that before the ‘Human settlers’ arrived

on the Island, there were other ‘Beings’, which evolved into the ‘If’en race’,

which had a ‘caste system’36. The artist (Email 10th January 2010) explicates

the If’en as ‘the indigenous’ population and a ‘Creole race’. Avery understands

the displacement and mixing of cultures that arises from the production of

35 Empire is here the cultural production of the British Empire whose cultural authority is transacted as a discourse (Bhabha 1994 pp150-151).

36 An Indian form of class based discrimination www.hrw.org/ (03/01/10)

33

empire. The civilization, which has preceded the ‘incomers or colonizers’ The Islanders: An introduction (2008, pp. 152, 161) is a hybrid, collectivized

space mixing India with Scotland.

Charles Avery ‘Untitled (World)’ (2009) Image courtesy of Doggerfisher 2009

Whereas Coley (2009) emphasizes forced emigration, Avery negotiates the

very different territories of Scottish landownership and opportunistic empire

building. McLeod (2000, p. 243) discounts the Irish and Scots (as postcolonial)

because ‘in other parts of the Empire (such as India…) they functioned as

agents of colonization and prospered under colonial rule’. However it can be

argued that Avery understands very well the paradox of Scots as colonized and

colonizers (my italics) It can be argued that ‘the two dilettantes’ and character

of the ‘hunter’ are agents of colonization. They arrive on the Island armed with

guns, surely a trope of colonialism. The hunter may also be a referent to the

34

artist’s family history. Avery’s grandfather St John Avery ‘was in the (British)

army and served in Calcutta’ (Email 10th January 2010). Charles Avery’s father

was born in India Artist’s Talk (1st October 2009) and the artist uses a family

photograph album ‘circa 1920-30’ as inspiration. The artist is dispassionate in

his treatment of fictional island caricatures and stereotypes. He is poking fun at

the colonizers and himself. Following in the footsteps of George Cruikshank

(1792 – 1878) who prefigured the Scottish stereotype with his depiction of

George IV as ‘Bonnie Willie’. He is holding up to ridicule the oppressors whilst at

the same time understanding the oppression.

Charles Avery (2008) ‘two dilettantes’ The Islanders: An Introduction

35

In a sense the Islanders are all seekers after (abstract) truth, or knowledge. It

can be argued that the artist is transacting with mythological or psychological

or psychoanalytical truth. Bourriaud (2008) describes the artist’s visual art as

psychological forms. Barthes (1972, Mythologies p.131) characterizes

mythmaking as a transformation of ‘meaning into form’. In Altermodern (3

February – 26 April 2009, .p50) Avery says that he has ‘the irresistible hunch

that art is related to language.’ In effect, with his installations (sculpture and

drawing) and his artist book he is effecting transformational change using the

media of the visual and the written art forms. However, there is no literal

transfiguration, the artist’s human settlers are not Scots, the If’en Indians.

Avery is able to blur the boundaries between different races, cultures, peoples

and classes because he is populating an imaginary realm.

Cruikshank (1822) Bonnie Willie In: Morrison, J. Painting the Nation (Image)

5. Methodology

I am adopting postcolonialism as a methodology for making artwork. My

methodology involves extrapolating key issues and concerns from postcolonial

36

theory.

When colonialism is defined as a methodology of ‘mapping’, ‘unmapping’ can be

constructed as a series of tactics including mimicry, time-lag and hybridity. I am

not writing cultural difference. Where Homi Bhabha (1994, pp. 21, 180) writes cultural difference my programme of practice-based activities performs cultural

production. And for Bhabha cultural production is at its most productive when it

is ambivalent and transgressive (1994, p.1). He argues that cultural production

is a form of political agency and that a politics of performativity is required to

interject and disrupt a dominant discourse of power and authority, which he

configures as colonialism (Ibid, pp. 277-8). He advocates postcolonial subversive

tactics to counter the subjection enacted on colonized people (p.160). It is the

subversiveness that I extrapolate primarily from postcolonialism, a visual performative subversiveness married with ‘theatre/archaeology’.

My objective aim for my practice is to develop Debord’s (1955, p. 1)

methodology of resistance to a comparable dominant discourse of tourism as

resistance to heritage control. His psychogeographical theory clarifies:

‘certain wanderings that express not subordination to randomness but complete insubordination to habitual influences (influences generally categorized as tourism that popular drug as repugnant as sports or buying on credit’ (1957, p.1).

His wanderings are expressed as a psychogeographical map ‘Discours Sur Les

Passions De L’Amour’ (1955):

37

Debord (1955) ‘Discours Sur les Passions De L’Amour’ (1955) (Image)

Whilst not directly using Debord as a model there is a connection between what

he terms ‘psychogeographical maps’ and what I term ‘performance maps’ which

correlates with Ingold’s ‘conceptual maps’ and Biggs (2004) model for a

‘multivalent’ performative practice. Debord, Biggs and myself use conventional

geographical graphical notation and Biggs and myself use archaeological

diagrams. Biggs’ (2004) artist book is documentary evidence of his

performative practice: his book is a ‘hybrid’ theory/practice outcome.

However we diverge from this point as my later printwork itself becomes part of

a performance and I take my printwork back into the landscape from whence it

sprung. As a result of my practice-based research my practice aim changed from

making my print works documentary repositories for my performances on the

Moor to making my prints performative as well by becoming part of a political

agency that might operate in a ‘hybrid’ space ‘between the rules of engagement’

(Bhabha, 1994, p.163).

38

Bhabha develops this in between space theme postcolonially as the action of

living on borderlines (1994, p. 326). When I am on the Moor I am raising

questions about borderlines paradigmatically. I am not saying that my activities

are literally or territorially postcolonial rather I am ‘acting’ postcolonially by

crossing the borders and boundaries established by what I term the ‘heritage

industry’. Bhabha refers to border life as Walter Benjamin’s after-life of

translation and Salman Rushdie’s migrant’s dream of survival37 (1994, Ibid). What

I am trying to work out is a methodology that doesn’t fix the cup and ring

marked rocks in time but allows an evolution and a new translation of what those

marks might mean in a contemporary ritual setting. McLeod (2000, pp. 216-7)

interprets the after-life or dream to mean that borders are thresholds full of

contradiction and ambivalence. This is not a new horizon nor a leaving behind of

the past but a liminal place for ‘crossing over’ literally, metaphorically and

crucially for my research figuratively requiring what McLeod describes as a ‘new

art of the present’ (McLeod, 2000, p. 217). Making art can be a temporal

intervention signifying postcolonial ‘time-lag’ and ‘theatre/archaeology’ and

revivifies the ‘possible’ what I shall term original intention of Neolithic mark-

makers that the stones represent a ‘crossing point’ between the land of the

living’ and ‘the land of the dead’.

I am developing a model of arts resistance that can be unbounded as defined by

Pollock (2004) yet remain site-specific. Future work will test a model that

incorporates Bourriaud concept of nomadism with a new concept of inter-locality

that pays attention to global issues of colonialism and land control whilst

37 In Walter Benjamin’s essay (1923) ‘The task of the Translator: An Introduction to the translation of Baudelaire’s ‘Tableaux Parisiens’’ he argues that the ‘afterlife’ is not what happens after death but what allows a work or event or idea to go on living and to evolve over time and place and iteration. In: Venuti, L. The Translation Studies Reader (2nd Ed.) London, Routledge (2004, pp. 75 – 83) The Satanic Verses (1998, New Ed.) is constructed around dream sequences and there are many examples of ‘migrant’s dreams’. One such is ‘Everyone, black brown white had started to believe that the dream-figure as real, as a being who had crossed the frontier, evading the normal controls and was now roaming loose about the city. Illegal migrant, outlaw king, foul criminal or race hero Saladin Chamcha was getting to be true’ (p. 288).

39

remaining specific to a local region. 38

Heddon (2007, p. 90) distinguishes ‘autotopography’ as a form of

autobiographical mapping different from western dominant forms of mapping

(from Greek: topos for place and graphein to scratch, draw, write). She

considers topography to be a strategy that allows an artist to face both ways:

towards a territory we can see and touch and inwardly towards the mind that

allows us to respond to that territory. Unlike any other author discussed so far

Heddon locates an embodied subject as racial, gendered and sexual (Ibid, p.

214).

6. My Practice In this section I consider what my practice was before I started my practice-

based research at the University of Leeds and how my practice has changed as a

consequence of that research. I then look at how my practice has been

formulated in relation to my research questions and how my practice has

visualized those questions as art forms.

Background Prior to Beginning my Practice-Based PhD

I have a very particular and familial relation to the issues explored within this

Paper. Autobiography intersects with a broader treatment of borders, boundaries

and issues of containment in relation to the construction of identity. One of my

earliest memories is of being inside a chambered cairn with my mother at

Kilmartin39 aged 4. I have searched for cup and ring marks with her on Ilkley Moor

in the 1970s40. My mother’s family (the Vehro’s) might be considered to have

lived outside borders and did not recognize ‘land ownership’. My mother was

from a Traveller Family and always, all of the time, felt lost and wanted to 'go

38 http://www.collinsdictionary.com/dictionary/english/interlocal 39 There are more than 800 ancient monuments within a six mile radius of the village of Kilmartin, Argyll, many of them are prehistoric cup and ring marked rocks www.kilmartin.org 40 She was a keen amateur archaeologist and sometime member of local archaeological societies in Scotland and Yorkshire. She succumbed to Alzheimer's disease in 1998.

40

home' where 'home' did not exist. Neolithic Nomads transacted the boundary

between nomadic and settled existence41. The Neolithic period was the historical

cusp before ‘community was contained’ in settlements and enclosures (Ingold,

2007, p. 2). Sasha Roseneil (2000, pp.8, 279) considers all knowledge to be

socially constructed. She writes that the identity of the researcher matters is

unavoidably present in the research process and that the research work is

shaped by social location and personal experiences. Where the structuring of

identity is a key concern within the practice based research that personal

identity is key.

I began walking regularly on Ilkley Moor in 2011 as a way to cope with the illness

and subsequent death of my father. I was instinctively drawn to the Badger

Stone and began to draw on the rock with ash. As a result of my practice-based

research to date I now understand that I was recreating the designs on the

Badger Stone as a way of memorializing my father. I now recognise that this was

what I shall term my first ‘performance map’. However my maps were met with

controversy and misunderstanding and convocated a rash of adverse publicity42. I

desisted and stopped drawing on rocks. I understand as a consequence of my

research I consider that I was submitting to what I term ‘heritage control’. My

submission can be understood in terms of postcolonialism. It is illegal to draw on

the marked rocks and a subliminal boundary of two metres ‘protects’ the rock,

which in turn is protected by a larger boundary line that contains all the carved

rocks on the Moor. As a colonial exercise of mapping boundaries the Heritage

41 The fact that the practice of carving rocks flourished for such a lengthy period suggests the symbols had enduring significance; their power and meaning undoubtedly evolved for the people who lived amongst them, and who developed from a nomadic community to the sedentary, segmented and hierarchical society who eventually lost the need to use them England’s Rock Art ERA ‘The Prehistoric Rock Art of England’ (Undated) http://archaeologydataserice.ac.uk/era accessed 18/09/13 42 E.g. ‘Phantom Painter Strikes again’ CSI Rombald’s Moor Carved Stone Investigation http://csirm.wordpress.com/2011/04/07/phantom-painter-strikes-again/ ‘Painting of cup and ring stones’ Friends of Ilkley Moor http://www.ilkleymoor.org/painting-of-cup-ring-stones/ Accessed 19/09/13 I actually used charcoal and ash collected from another Heritage site Thornborough Henge. I was going to wash the stone in another ritual. However at some point the Heritage Keepers power washed the stone and I was unable to complete my task.

41

Gate Keepers primarily ‘Heritage England’ were partially successful and I consider

myself for the purposes of this ‘Paper’ and within this discussion of my

‘Methodology’ to have been partially colonized and ‘subjected’43.

The West Yorkshire Archaeology Society, Curated Art Walk 2011, Edward Vickerman is 3rd from the left. Photograph F. Dobson Stone, water and ash ‘performance map’ F. Dobson 2011 (Image)

I am extrapolating key issues and concerns from the ‘Literature Review’ and the

‘Review of Contemporary Practice’ developing a methodology that weaves

together elements of ‘deep mapping and ‘metaxy’ with postcolonial theory

creating a new hybrid methodology that draws from both. I am developing a

theatre/archaeology axis as expounded by Iain Biggs (2011, p. 7) and

configured by Mike Pearson (Pearson and Shanks, 2001, p. 131) as ‘metaxy’ -

referred to above. And by referencing Biggs (2004) Between Carterhaugh and Tamshiel Rig: a borderline episode as a model for my performative practice I am

developing my own ‘deep mapping’ practice. Prior to beginning the practice-

43 English Heritage adopts National Mapping Programme standards within their own Archaeology Commissions Programme as part of an ongoing project mapping archaeological monuments and monument sites. The ‘Lower Wharfedale National Mapping Programme Project’, which includes aerial and geographical maps of all the boundaried monuments of Ilkley Moor, was completed in 2004.

42

based research I was making screenprints e.g. ‘Powerbook’ (2011) that I now

understand as the beginning of a deep mapping practice as I was combining

archaeological language including archaeological directional signs and lettering

depicting the ‘faces’ of the rock with Neolithic cup and ring marks. Working from

scale drawings and archaeological diagrams (Boughey, K.J.S. & Vickerman, E.A.,

2003, pp.122 – 123) made contemporary with the addition of computer

symbolism (the ‘power’ symbol and the ‘Powerbook’ title44).

Dobson, F. ‘Powerbook’ 2011 screenprint (Image)

My Practice

44 The power symbol impressed bottom RHS of the picture. I took the title from my old Apple Mac. G4 and from Jeanette Winterson’s book of the same title. ‘The meaning behind ‘on’ and ‘off’ (The power symbol) http://design.org/blog/meaning-and-design-behind-and Accessed 19th September 2013 ‘The Powerbook G4’ (Before 1997 the Apple Macintosh G4 first laptop computer s called ‘Powerbook’ http://www(I .apple.com/support/powerbook/ Accessed 19th Sept. 2013 Jeanette Winterson (2000) The PowerBook Vintage International

43

My practice resides within the working processes of performance, installation and

practice-led research outcomes when they are articulated to an audience.

What I do is performance. What I make is maps. My performance and my map-

making is beginning to coalesce and demonstrates a visual vocabulary or visual

language that I shall term ‘performance mapping’. The concept of mapping is

important to my practise based research because the processes of mapping can

be construed as a physical enactment of settlement. Printmaking though central

is primarily a means to an end an important question being how to make print

performative. My approach uses my own body to make physical lines and

conceptual maps within a landscape setting. Based on Casey’s analysis of maps

as how the earth appears to the gaze and touch it will be argued that my map

making practice extends a prehistoric tradition of gestural image making (2002,

p. 153). If the ‘Literature Review’ revealed that map making is one of the chief

tools of the colonialists (McLeod, 2000, p.105) Bhabha reveals the menace of

mimicry as symbolic transmission disclosing the ambivalence of colonial power

and questioning colonial authority (1994, pp. 123,126). It will be argued that

my mark making mimics the colonial tool and thereby subverts it. I work in series

emphasising the time lag and repetition Bhabha advocates for representative

agency (1994, pp.274-5). Agency (or performance) defies mere ‘representation’

because it is not just about symbolism, but also about finding contemporary

presence within a lived past (Casey, 2002 p.76). My multifaceted practice

transacts a personal response to the landscape and to the research questions in

a pursuit of knowledge via ‘polyvalent styles’ and voices.

Walking

This section begins a dialogue about a contemporary walking practice as art and

the connection between a contemporary art practice as a method of ‘pilgrimage

walking’ correlated with arguably Neolithic/Bronze Age trackways. Land issues as

art is then discussed as a new construction of female flânerie transposed from

urban city walking and contemporary urban writing to the ‘heritage landscape’

setting of Ilkley Moor.

44

My ritual walking practice begins to discuss the connection between

contemporary walking practice as art and Neolithic trackways. I walk between

three marked stones on Ilkley Moor: the ‘Badger Stone’ as the apex of my

triangular walk, the ‘Barmishaw Stone’ and ‘Will Hall’s Wood’ stone.

Birth, sex and death are correlated within this ritualistic landscape where marked

rocks coexist with rudimentary homes as enclosures and burial sites and cairns.

My walking practice remakes Neolithic pathways as a Neolithic route map

through time that others can follow (Ingold, 2007. pp. 73 – 75). By reanimating

the conceptual sight lines between the stones I am conjuring and reconjuring a

metaphysical world between the living and the dead (Biggs, 2011, p. 2) (Ingold

2007, pp. 47,56). Walking between the three marked stones represents a

contemporaneous ritualistic practice described by Ingold and Vergunst (Eds)

(2008) Ways of Walking (Ibid, p. 87) as ‘beating the bounds’. That sightlines

were important to the Neolithic hunter/gatherers who first traversed this

landscape was discussed above.

‘Footprints’ January 22nd 2013 Photograph F. Dobson (Image)

45

I walk alone as pilgrims do following in the footsteps of Rebecca Solnit (2001 pp.

70 – 71) and Richard Long emphasizing the spiritual/emotional dimension to my

walking by choosing to walk near sacred sites and ancient Neolithic ritual or

pilgrimage routes accompanied by mythic and memorialized others (the original

mark-makers and my family). Unlike Solnit or Long I consider that I am imprinting

myself directly upon the flesh-like surface of the earth mapping my body onto

my place as a form of map-making. I am aiming to blur the difference between

map-making and the world making a visible homage to Casey (1998, pp. 13,

153).

Female flânerie is the method I employ to discuss land issues as art. Solnit

(2001, p.100) describes Elizabeth Bennett's solitary walks as taking the heroine

out of the social sphere of the house into a larger, lonelier world where she is

free to think. However talking about streetwalkers and prostitutes Solnit writes

that the same refrains occur from ways of occupying the streets ‘freedom,

democracy, danger’ (2001, p.182). Transposing streetwalking to Ilkley Moor

female flânerie is a way of signifying the danger and the freedom implied by a

woman occupying land in the name of feminine and feminist freedom and

democracy (2001, p.182) And resistance is the secret of joy (Ibid: p. 230).

Transacting a singular revolt against the tyranny of privatized or rather

‘heritage-ized’ space is my way of reclaiming ritual public space as art. Leaving

almost nothing but a trace my footprints make mine a secret activity and a

silent weapon. It is no less a form of subtle resistance to the prevailing

technologies and the scientific commandeering of a sacred site than Solnit’s

political protests and mass demonstrations in Nevada p7.

Performance ‘the lying stanes’ 26th January 2013 Performance is the primary method whereby I insert my body into the landscape

and art forms mediated by my body become ‘artefacts’ or ‘relics’ within the

46

‘heritage landscape’. The performance work I make becomes a meeting place

between contemporary art practice and archaeology. Bhabha describes cultural

production is at its most productive when it is ambivalent and transgressive

(1994 p.1). He argues that cultural production is a form of political agency and

that a politics of performativity is required to interject and disrupt a dominant

discourse of power and authority, which he configures as colonialism (pp. 277-

8). He advocates postcolonial subversive tactics to counter the subjection

enacted on colonized people (p.160). For Bhabha (1994, p. 160) agency is only

possible with subjection. In other words there has to be subjection first before it

can be countered. Mimicry for Bhabha becomes both a strategy for colonial

subjection and also the subject setting for its subversion. Remembering that I

had felt subjected by the adverse effects of ‘heritage control’ I made artwork

that I could post like a letter of ‘complaint’ and decided to post my letter on the

Moor itself. Walking for both Solnit and myself is ‘an investigation, a ritual (and)

a meditation’ (2001, p. 3). She indicates that this kind of walking is

physiologically alike but philosophically unlike the way the mail carrier carries the

mail. However carrying mail, as a ‘ritual object’ is a theatrical production of mail

carrying intended to signify something inherent within ancient communications

technology (as cup and ring marks) and modern (the postal and

telecommunications networks).

47

‘the lying stanes’ 26th January 2013 Photograph F. Dobson

Signifying both contemporary and ancient communication systems I am enacting

a dialogue between my postal tube as ritual object and the stone representing a

sacred site. Dialogue would be impossible without ‘time-lag’ operating vertically

through time and providing a meeting place between my artwork and the

archaeology. Solnit references Pollock as the godfather of the ‘diaristic gesture’

whereby the gesture becomes the subject of his ‘aesthetic object’ and his

painting is secondary (2001, p. 268). Making involves touch and ‘posting’

objects on Ilkley Moor extends the gestural performance into the landscape. My

linear printworks mapped my walk as a labyrinth between three particular marked

stones ‘the lying stanes’. The prints were performed in situ and became

repositories for the memory of that performance. The postal tube and one map I

left blowing about for the children to find.

48

‘the lying stanes’ ‘performance map’ 26th January 2013 Photograph F. Dobson

The performance of ‘the lying stanes’ was in the nature of an experiment

whereby performance as a process turns fragile paper into rocks. When Pearson

writes that the lifeworld of the insiders of the performance is a history written on

and inside the body: the pain, the trauma and the scarring the marks I made on

the fragile paper add another layer onto the body of the work and by analogy

onto the body of the rock (2006, pp. 216, 220). He writes that performance is

the working landscape of the performer and successful exposition requires

successful endeavour in special environmental conditions (Ibid). Working in snow

became my white canvas and working landscape.

Acting is marked in its Lacanian sense by a form of repetition that can be a sign

of the invisibility of the subject (1977, pp. 206-7). Bhabha writes about the

eyes of the migrant woman remaining to watch and haunt the social and political

invisibility of the woman in a secret art of revenge (1994, p. 65, 80). On many

levels hiding myself, ‘hiding’ my family photographs and having no audience

could be configured as revenge (Ibid, pp.121 – 131). Perhaps my performance

49

can be considered as acting the part of the migrant woman in opposition to the

postcolonial itinerary as silencing that prevented my drawing on the rocks as

established by Gayatri Chakravorty Spivak, (1988, p.103). When identity is

hidden or concealed for whatever reason mimicry can reveal ‘an itself from

behind’ (Lacan, 1977, p .99 Cited in Bhabha, 1994, p. 121). Not harmonizing

with the background is using a technique of camouflage. Hiding myself, as a

feminist strategy requires further exploration, which might be predicated upon

Irigaray’s ‘function’ of mimicry (Irigaray, 1985, p.284).

‘corset’ Vantage:rez Performance 27th June 2013

This performance addresses land issues as art and brings the ‘outside’ spaces of

Ilkley Moor ‘inside’ a gallery setting. For the purposes of this paper I will analyze

the performance in primarily ‘Kristevan’ terms but also situating the ‘piece’ as

following the tradition of a Kaprow ‘happening’. Transposing my performance

from Ilkley Moor into a gallery setting exposes myself as protagonist. Having an

active and participating audience creates a new ritual and a new ritual response.

Like a Kaprow Happening (1993, pp.15-27) ‘corset’ invited the audience to cast

‘proper manners’ (what constitutes proper behaviour in a gallery setting) and

partake in a something ‘rough and sudden and often ‘dirty’. Wet with etching ink

that I surprised the audience with when I tore scrolls of printed artwork apart like

bandages. Bringing ‘dirt’ into a pristine ‘white space’ can signify the

reappropriation of nature bringing the outside inside and may reference the

female or maternal body in contradiction of Butler (1989, p. 106). Casting

myself as Kristeva’s ‘abject’ maternal body may becomes another means of

disrupting phallocentric discourse and countering women’s exclusion from

(patriarchal) discourse’ (of heritage control) (Betterton, 1996, p. 17). More

practice research is needed into women’s bodies as visual representation of the

‘abject’.

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‘corset’ ‘Vantage:rez’ shortlisted performance 27th June 2013. Photograph F. Dobson

Photographs

Photographs are primarily documentary ‘evidence’ but may almost become art

works in their own when they meet the criteria of what Ansel referencing

Stieglitz refers to as ‘equivalency’ (Barrett, 2000, p. 66) whereby the

photograph might be regarded as resonating with the artist’s charged emotion

and operating like a mnemonic standing in for a bodily experience of place but

not substituting for it (Casey, 2002, p. 76). This portrait view concentrates the

gaze of the spectator onto the central ground. The top of the object is to the

right of an imaginary central line: the tiny figure is off to the left. A leading line

extends the gaze of the viewer from the object in the foreground to the figure in

the background and from the primary subject to the secondary. Taking the

figure as the top point of a triangle extends the line from the object and creates

a triangulation in the middle of the representative landscape space. A triangle is

a recognisable compositional device. The view is upwards and out of the pictorial

space and the image is sharp and in focus.

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The white of the snow and the white of the object relate the form of the image

to the form of a white canvas or white paper and link the photograph to painting

and other art traditions. Areas of light and dark appear within the image itself as

marks and shadows and ‘in’ the landscape as trees, the figure and the ‘distant’

wooded areas and field and wall systems. The photograph primarily ‘black and

white’ is actually a colour photograph demonstrated by the yellowing grasses

penetrating the snow.

The art object itself is an enigmatic apparition that could be folded paper with

what appears to be black marks: some linear, some like ‘dots.’ The word ‘stones’

or rather ‘stanes’ can be picked out beneath a fold of paper top right. The art

object is something ‘unknown’ and could equally have been ‘photoshop/ed’ or

otherwise superimposed or collaged onto the image. The form of the art object

appears to be solid but also appears to be semi transparent.

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‘the lying stanes’ ‘performance map’, 26th January 2013, photograph F. Dobson

Printmaking, Artist’s Books My artist’s books express issues about ‘containment’ as expressing ideas about

Iain Biggs (2005) notions of a ‘polyvalent’ identity. I configure ‘containment’ in

relation to a navigation of ‘closed’ or rather ‘enclosed’ spaces in contrast to the

‘open’ spaces on the Moor. I started thinking about ‘enclosure’ in connection to

the Neolithic marks on rocks in the ‘heritage landscape’ and the correlation of

the marks to burial cairns and rudimentary homes and settlements referred to as

‘enclosures’ by the ‘heritage industry’ namely ‘English Heritage and as part of

the archaeological record and aerial maps of Ilkley Moor.

53

English Heritage (2004) Bennet, P. (2009) ‘Lower Wharfedale National Mapping The Northern Antiquarian ‘cup marked Programme Project: Summary Report’ rock’ on Ilkley Moor (Images)

I understand my ‘stacked objects’ and my ‘photo-etchings’ as recalling elements

of ‘enclosure’ in an ancient archaeological sense, as a historical legislative sense

as ‘enclosure’ relating to the containment of land and in a more modern

contemporary way as ‘objects placed envelopes’45.

Envelopes as ‘enclosures’ and ‘stacked object’ F. Dobson (2013) Photograph

45 Enclosure as a letter or object placed in an envelope http://oxforddictionaries.com/definition/english/enclosure

54

As Iain Biggs (2004) might transact this multi-layering within textual and visual

references as ‘polyvalency’ I shall describe the resulting configurations as

‘polyvalent’ artist’s book. Unlike Biggs (2004) Between Carterhaugh and Tamshiel Rig my artist’s books in no way resemble a ‘traditional’ bound book

(though binding in a sense of ‘animistic’ ritual described by Alfred Gell (1998, p.

111) is a possible future direction for my artist’s book practice to take). My

artist’s books are another composition of what I term ‘performance maps’ and

integrate elements of formal mapping suggested by DeBord (Debord, 1955, p. 1

and Debord, 1957) and transfigured by Benjamin (1927 – 1940) as a private

and symbolic graphical notation system. Unlike Benjamin or Debord my photo-

etchings are constructed as ‘bodily mappings’ and deliberately reference body

‘parts’ and bodily conditions such as ‘HIV’, which can simultaneously be ‘read’ as

archaeological numerical information and diagram.

‘Enclosed’ object photo-etching of archaeological ‘enclosure’ or ‘souterrain’ F. Dobson (2013) Photograph

55

Casting My casting is also a performative activity and my ‘casts’ are ‘documents’ of that

process and are constituted as ‘artist’s books’ and ‘performance maps’. My casts

reference the ‘trauma’ exacted on the landscape in Northern Britain by the

processes of ‘enclosure’ that persisted from the medieval times to the 18th and

19th Centuries in Yorkshire and Scotland. Specifically relating to the largely 18th

and 19th century ‘enclosure acts’ and subsequent ‘colonization’ of the land for

sheep, my ‘performance maps’ might be construed as resistant map making. My

casts like my photo-etching also seek to express ideas about ‘containment’ but

here the activity of ‘containment’ as ‘enclosure’ cleared many communities and

many people from land that had once been held ‘in common’ as ‘common land’.

My ‘printed’ sheep ‘skulls’ are also vessels or ‘containers’ and seek to address

issues of identity in relation to a boundaried landscape as ‘containment’. I tore

up screen-prints from two series of prints that ‘mapped’ the ‘Badger Stone’ in a

performance as an ‘act’ of ‘vandalism’. Like my photo-etching above my casts

made from torn up prints evoke a mapping ‘language’ of black lines and text

upon a 3D surface reminiscent of the hills and hollows within the ‘heritage

landscape’ itself. Drawing from Casey (2002, p. 197 Fig 10.2 and p. 202) for

whom the three dimensional Han dynasty ‘incense burners’ and ‘funerary urns’

represent ‘sacred space’ my three dimensional maps are intended to be ‘read’ as

ritual objects. In a ‘Beuysian’ (1980) sense my objects are ethical and ecological

‘conserving’ my pre-existing prints as both ‘found object’ and ‘reliquary’. My

casts might be funerary objects and are reminders of the fluctuation of identity

in relation to ‘self’. My ‘self’ as ‘cast’ object is a locus for all sorts of thoughts,

feelings, sensations and memories of ‘others’:

‘I AM NOT A CONTAINER… Identity is collaboration. The self is a multiple’

Susan Hiller (1975, p.180 and cited by Iain Biggs (2005 – 7, Unpaginated)

The self as constituted by Biggs (Ibid) is not an impermeable, corporeal

56

boundary. Tim Ingold references Andy Goldsworthy that the art of making ‘is an

opening into the processes of life within and around (Friedman and Goldsworthy,

1990, p. 60, and cited by Ingold, 2011, p. 20). Ingold (Ibid) suggests that touch

has a role in place making but he is more concerned with material objects than

‘animistic’ presencing. Ingold commends Nash for treating wood as a life giving

material rather than as dead matter (Ibid). David Nash keeps his mind on the

process and lets the piece take care of itself (Warner, 1996, p. 15). Ingold

(2011 p.28) does not think that made objects can ‘act back’. However Peter

Pels (1998, pp. 94-5) believes art objects can be ‘fetishist’ and Christopher

Tilley addresses the social life of stones in relation to the social lives of persons

(Tilley, 2007, p.17). I disagree with Ingold when he asserts that things are in life

rather than that there is life in things (2007, pp. 28, 31).

‘Cast’ sheep skull as artist’s book and ‘performance map’. Image showing the ‘inside’ as a ‘container’ F. Dobson 2013 Audience For the purposes of this paper (and my exhibition in the ‘Corridor Gallery’. the

audience is the two examiners Dr Catherine Stones and Professor David Hill (in

the School of Fine Art, History of Art and Cultural Studies) for my transfer viva

57

and my supervisor and co-supervisor Dr’s Judith Tucker and Paul Wilson (in the

School of Design). However the question of audience is a complex one. In

relation to my practice-based research the academic research audience is key.

Iain Biggs (2004) might navigate between the ‘Appolonian’ academic and playful

‘Dionysian’ audience (‘Unearthing other voices’ 2005). I am not sure that I want

my practice to be oppositional to academe. I do want my practice to be

oppositional to the ‘heritage industry’ whereby not having an audience is crucial

to some aspects of my performance/s. The audience on the Moor is often the

‘stones’, the ‘sky’, ‘sheep’ and ‘curlews’ and the odd ‘passerby’. In terms of my

‘resistant’ activities I have never been ‘seen’ except from ‘afar’. Kaprow (1993,

pp. 15-27) discusses abolishing the audience altogether however this might be

deemed impractical in relation to academe but is still an important concept to

consider. Within a ‘gallery setting’ Kaprow’s plan for increasing the responsibility

of the observer has been explored as a venue to encourage audience

participation which is another signification of ‘ritual’ activity in a new

configuration of the place of the gallery as a ‘ritual space’ (Ibid) The PhD will go

on to explore other performance models such as Augusto Boal’s (1996, p. 283),

which speak of abolishing the distinction between actor and spectator making

organization a community function and a collaborative action against oppression.

I am not sure which direction I might transact audience as I am reluctant to

transact my performances as ‘communal’ protests in a manner like Solnit

(2001).

Exhibition YELD ‘The Corridor Gallery’, University of Leeds October 2013 The viewer’s body traverses the exhibition as a linear walk beginning with a map

of Ilkley Moor and demarcations of my walks and performance and ending with a

video of performance. In between the viewer encounters photographs of my solo

walks conducted between October 2012 and September 2013. These

photographs contextualize my performance (the time period of my research

based practice ice to date). Larger photographs document one specific

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performance ‘the lying stanes’ on Ilkley Moor on 26th January 2013. Cupboards

contain examples of ‘ritual objects’ and ‘performance maps’ as artist’s books and

‘found objects’ gathered on the Moor.

Central to the exhibition is my live performance ‘YELD’ positioning my

performance inside the ‘Corridor Gallery’ space with my earlier performances

outside on Ilkley Moor. Embodying lines I made by walking references Richard

Long ‘Line Made by Walking’ (1967) as the pioneer of landscape walking as art

and by situating my ‘line’ within a gallery space references his later work and

(1970) ‘A Line the Length of a Straight Walk from the Bottom to the Top of

Silbury Hill as a remnant or ‘relic’ of my ‘pilgrimage’ walks. My performance piece

documents my walks and responds to the linear space of the Gallery. The printed

scroll embodies the Neolithic cup and ring marked stones using a geographical

and archaeological notation system drawing from Walter Benjamin ‘Passagenwerk

(The Arcades Project)’ (1927 - 1940) and Iain Biggs (2004) Between Carterhaugh and Tamshiel Rig: a borderline episode. Central to the performance

is the conceptual ‘idea’ of ‘colonial mapping’ transacted by the ‘heritage

industry’ on the Moor. Making a gendered response to the borders and

boundaries emplaced by the ‘heritage keepers’ I am enacting an arts resistance I

term ‘female flânerie’ to subliminal forces of ‘heritage control’. Unlike any of the

artists referred to in this section I am making my printwork part of my

performance, the remnants of which become another ‘ritual object’ and

‘performance map’.

7. What Next As the emphasis of my research-based practice has changed from a primarily

print based practice to one of performance the next two years will be an

opportunity to consolidate my new performative practice. As a result of that

change my methodology will alter. I will concentrate on walking and my walking

performances. I will consider carefully how to document my performances and

whether and how to incorporate photography and video. I will think about

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whether or not to have someone else photograph and video my performances

and whether that someone else need be ‘professional’. As regards my ritual

objects I am moving from a seemingly arbitrary collection of objects from the

moor to a more considered and possibly quasi – scientific or archaeological study

of the terrain. With my artist’s books I will develop my practice of making books

as sculptural or ‘ritual objects’ and will continue to explore working in series and

‘stackable series’. In my own practice I will continue to develop my methodology

derived from postcolonialism and deep mapping principles and will continue to

investigate feminist interventions as bodily insertions into the landscape of Ilkley

Moor. I want to investigate bodily openings, closures enclosures and disclosures

as a response to the archaeology of ‘containment’ beginning with an examination

of Irigaray (pp. 243, 285) I am interested in women artist’s who reference the

body and embodiment in their practice and will begin by analysing the

performance work of Oreet Ashery (2009), Rebecca Horn (2004) Body Landscapes and Roni Horn (2009) specifically for her drawings on maps. In a new

direction I will extend my research to cover performance theory and Live Art

beginning with Peggy Phelan (1993) and Philip Auslander (1999).

8. Timescale

Time-Line Prior to Year 1 Field trips to Ilkley Moor and Research

2011-2012 Join/attend symposia Land 2 creative practice-led network

Field trips to other archaeological Neolithic/Bronze Age sites in Yorkshire:

Druid’s Cave, Brimham and Thornborough Henge. And Stone Henge)

Begin Mapping Literature

Begin making artwork

Made PhD Application to Leeds University

Year 1 Literature Review

2012-2013 Research into archaeological record Ilkley Moor

Research into postcolonialism theory

Explore postcolonialism as a methodology for

making artwork

Performances Ilkley Moor

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Record performance/s with digital media

Practice Research Printmaking

‘Demonstrator’ Print Workshop

‘Pages’: Leeds International Contemporary Book Fair 8-9/03

‘Vantage:rez’ ‘corset’ Shortlisted Performance 27/06

‘Corridor Gallery Booked from 30/10 – 11/11)

‘Sheffield International Artist book fair’ 05/10 – 30/11

Year 2 Continue field research into archaeological record

2013 – 2014 Continue exploration of postcolonialism as a methodology for making

artwork

Curated art walks and performances

Negotiate with official 'keepers' of the heritage (?)

One (at least) residency/exhibition

Record performance/s with digital media

Continue research into postcolonialism theory

Continue Practice Research Printmaking

Continue ‘Demonstrator’ Post Print Workshop

Make vessels/containers using appropriate materials and methods

(Possibly using skull moulds)

Consider implications of Ceramic for Practice e.g. ’paper clay’

Site impermanent vessels within the landscape

Consider e.g. East Street Arts for ceramic practice

Blog and website (to include public dimension co-curating)

Year 3 Plan and mount exhibitions

2014-2015 Continue residency programme

F/T Deliver final exhibition/installation

9. Conclusion

My conclusion from my practice-based research questions to date draws from

the ‘Literature Review’ the ‘Review of Contemporary Practice’ and “Methodology’

and ‘My Practice’ above. Therefore I may be criticized for repeating themes

however it is important to summarize my findings from my literature research

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and from my fieldwork. Specific references are not given again and can be found

in the body of the text.

A genuine change has come through my reading and my practice. I started my

research-based practice as a printmaker but the status of my prints has

transformed from ‘art object’ to ‘element of performance’. By taking my

monoprints onto the Moor my prints have become performative and left in situ

(or not). As ‘ritual object’ they become an embodiment of that performance

and what I term ‘performance maps’. My ‘performance maps’ left in situ might be

deemed part of a heritage landscape, but read as politically resistant mark

making. Schofield (2006, pp. 5-6) associates contemporary Land Art with

archaeological sites and monuments. He describes the art process as resistant to

gentrification and globalization. Lash (2002, p. vii,) condemns a global

information order where there is no transcendental space anymore. Contesting

Lash I hope to situate my art processes as a subtle challenge to the

commandeering of ritual space by the ‘heritage industry’ creating new places for

contemplation. He traduces a world where there is no outside space for critical

reflection. My aims have changed my walking habits in response to the Neolithic

landscape (and the death of my father) from an arbitrary walking to a more

considered meditative practice that might be a method of pilgrimage walking

that I recognize in Richard Long’s early work (1970).

My conclusions in response to my research questions are as follows:

Postcolonialism in relation to a reading of Neolithic Art is less important to me

now than it was at the beginning of my practice-based research. However

postcolonialism in relation to a reading of Neolithic Art that is contrapuntal to

contemporary art practice is beginning to unfold as a development of a Neolithic

mapping system that might signify a universal signage system that can be

positioned within a technical tradition most recently traduced as the

globalization of the ‘computing industry’. Perhaps the interrogation by a

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contemporary art practice of a Neolithic art that spans a period from 5000 to

700 BC can provide a counter argument to Lash (2002)? If the postmodern

world is recognized by economies of signs (Roseneil, 2000, paragraph 2.3)

quoting Lash (1993) what might the future implications be for a contemporary

art practice of a reflexive signage system that responds to a potentially pan

Neolithic European signage system?

From my reading of the literature I have developed an understanding of

‘postcolonialism’ in terms of what Bhabha (1994) describes as ‘cultural

production’ and a writing’ style that like Biggs combines theory with practice. His

practice can be considered to be a performance of cultural difference and as

such his book The Location of Culture (1994) is constructed as a resistance to

‘colonialism’ whether that ‘colonialism’ is constructed territorially or as an

academic tradition and academic discourse. Bhabha (1994) and McLeod (2000)

help me to construct a dialogue about ‘mapping’ as a ‘colonial’ practice and

resistant tactics to ‘colonialism’ as ‘postcolonialism’. I adopt the terms because

the postcolonial ‘term’ and ‘tactic’ of ‘mimicry’ enables me to situate my

resistant mapping practice as paradigmatically ‘postcolonial’ and thereby

‘oppositional’. Mine is a ‘conceptual’ mapping practice as determined by Ingold

(2000, p. 219) as ‘inhabitant knowledge’ which contributes to a sense of

‘hybridity’ described by Bhabha (1994, pp. 53 – 56) that allows for a

‘metamorphic’ and ‘transformational’ change within a construction of identity

that is ‘hybridized’ and made visible by Biggs (2004, p.17). Drawing from Nathan

Coley (2009) and Charles Avery (2008) a construction of a ‘hybridized’ identity

can ‘contain’ both the ‘voices’ of the ‘colonizers’ as well as the ‘colonized. Whilst

‘duality’ is nothing new in relation to a narrative Scots identity, Coley (2009)

and Avery (2008) transact as new territory of visual ‘hybridity’ configuring a

Scots identity as both ‘colonized’ and ‘colonizing’. In the terms of this paper and

within the ‘territory’ of Ilkley Moor I consider that my art practice changed as a

result of my ‘subjection’ to ‘heritage control’ and ‘heritage law’. It is in these

specific circumstances that I can argue that what I was experiencing relates to

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the processes of ‘colonization’. My response was to go back to the site of my

‘ash map’ and respond to the ‘tyranny’ in another way by arguably ‘littering’ the

landscape46. I am not necessarily emplacing myself as Spivak’s (1998) ‘subaltern’

or in other senses essentially ‘outside the mainstream’. My interest in

interrogating boundaries between self and the landscape is a very much a

‘performance’ in other words an ‘imaginal’ identity. I am beginning to determine

what might signify a gendered ‘hybrid’ identity. More research is needed to

determine what this gendered identity construction might be.

How trauma manifests itself in the landscape is less significant to my practice

now than when I started my research-based practice. For the purposes of this

paper I now understand trauma in relationship to the landscape in a very specific

way as an ‘enactment’ of what I term ‘colonialism’ by means of borders and

boundaries imposed in a heritage landscape setting on Ilkley Moor by the

‘heritage keepers’ – those people employed by the ‘heritage industry’ to restrict

access to the ‘heritage monuments’ themselves, to their immediate environs and

more generally land management of the upland area. ‘Heritage Keeper’s’ in this

sense are primarily Heritage England who is responsible for mapping the land and

Bradford MDC who employ archaeologists and wardens to manage the land ‘on

the ground’.

The meeting place between art and archaeology is mainly a research-based

practice that I now understand to be a practice of ‘theatre/archaeology’ as

defined by Iain Biggs (2005). Adopting his methodology for combining a

historical archaeology with contemporary art begins to develop my own ‘deep

mapping’ of the archaeological site I am responding to. His ‘polyvalent’ art

practice has been fundamental to my understanding of ‘deep mapping’ principles

and locating ancient indigenous voices with my own. His practice might be

deemed to be a practice that is resistant to the mores of the academic 46 Richard Leonard (2013) of the professional printer ‘Multimount’ asked my if my photographs of my ‘performance maps’ on Ilkley Moor were ‘plastic bags’ which resonates with my ‘littering theme’ http://www.multimount.com/contact-us.php

64

establishment whereas mine is an attempt to resist the homogenization and

stasis of an archaeological landscape as defined by the ‘heritage industry’

(English Heritage and the other vested interests including Bradford MDC and

“Friend of Ilkley Moor’ would like to see the heritage landscape frozen in time).

However our practices diverge. My printmaking has changed from being artwork

that might be considered to record and document my activities on the Moor to

being an active ‘animistic’ element in a mode of address that takes from Joseph

Beuys something of the symbolic and something ritualistic.

I now understand more fully how identity might be navigated within closed

(contained) and open spaces. Identity is configured in relation to ideas about

community (Ingold, 2007, p.2) and home (Pollock, 2004, Unpaginated). Walking

on the Moor and responding to the spaces contained by ‘liminal’ borderlines and

boundaries relates very much to the autobiographical practice described by

Dierdre Heddon (2007) because she situates Pearson’s (2006) autobiographical

performance as ‘topographical’ and therefore as a mapping practice. She also

raise the question about gender in relation to place something that Bhabha,

Biggs and Pearson do not address sufficiently to inform my practice. Gender

issues are considered in relation to land issues below but are important in

respect of ‘containment’ too. Gender specific ‘containment’ and resistant

responses is something that I very much want to address in the next two years.

Specifically female ‘spaces of containment’ is something Butler (2006), Irigaray

(1993) and Kristeva (1982) address and more research is needed to consider

how to reflect on some of the issues as an embodiment of place. My practice to

date has concentrated on a miniaturization of bodily and archaeological

‘enclosures’ as ‘containments’ within artist’s books.

The connection between a contemporary walking practice as art and

Neolithic/Bronze Age trackways is a conundrum. Like the transaction of

‘colonialism’ my walking practice can be ‘read’ as a visual ‘enactment’ of such

trackways and possibly ‘re-enactments’ of the pathways navigated by the

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Neolithic nomads. However like the ‘sightlines’ described by Boughey and

Vickerman between the cup and ring marked rocks I am for the most part ‘re-

enacting’ ‘liminal’ or ‘imaginary lines’ (2003). There is some physical

archaeological evidence that the nomads walked here – flints, arrowheads and

other archaeological ‘finds’ are to be seen in the Manor House Museum, Ilkley47.

As a consequence of my practice-based research to date I am reconfiguring my

questions about land issues and postcolonialism as follows:

What are the implications for a contemporary art practice of a reading of postcolonialism as a strategy of political resistance to land issues of power and control?

Land issues are primarily discussed as a construction of female flânerie

transposed from 19th Century urban city walking described by Benjamin and

contemporary urban city writing described by Godtsenhoven (2005). Whilst

Pollock (1988) Wilson (1992) and even Solnit (2001) do not and cannot

envisage a female flâneur or rather flâneuse, Godtsenhoven does treat of a

female flâneuse. As a flâneuse I am free to inhabit and embody the

autobiographical element of my performative practice described by Heddon

definitively locating an embodied subject as racial, gendered and sexual (2007,

p. 214). However it is Solnit (2001) who situates my practice as a ‘landscape’

practice. I draw on Solnit’s (2001) solitary walking practice combines with her

rendition of walking as a political act. However I do not undertake resistance as a

communal activity nor as part of a ‘mass protest’ (2001, p.7). Solnit first

orientated me to the idea of walking as a performative practice and it can be

argued that her book Wanderlust (2001) is a document recording her own 47 Although there can be no physical evidence in the landscape of Neolithic or Bronze Age track ways the Rock Art and other archaeological marks they left do suggest or signify migration routes and track ways to certain archaeologists and other theorists including Bradley (1977, p. 166) and Brown & Brown (2008) whose book signifies a possible route way from the Dales to Cumbria. For examples of maps of possible migration routes and track ways see Brown (2008, p.166). Neolithic ‘finds’ are exhibited in the Manor House Museum, Ilkley. ‘Finds’ are mostly correlated with generally accepted ‘migration routes’ Keith Boughey, personal email 28th March 2011.

66

performative practice. I draw on Debord (1955, 1957) whose ‘‘Discours Sur Les

Passions De L’Amour’ first alerted me to a visualization of a performative

mapping practice and this mapping practice was updated and remodelled

following my reading of Biggs (2004) ‘Between Carterhaugh and Tamshiel Rig’ as

a modern ‘deep mapping’ practice and my current model for a ‘hybrid’ research-

based practice. I take from Debord (1957) the concept of a visual mapping that

is resistant to ‘tourism’ control however for my purposes on Ilkley Moor I replace

an urban configuration of tourism with what I term ‘heritage control’ transacted

upon a defined and boundaried site on lkley Moor. My mapping practice develops

from Biggs (2004) however my practice might be said to diverge as I configure

my performances on the Moor as what I call ‘performance maps’. My

‘performance maps’ created as printworks in the studio are taken to outside

‘landscape’ and inside ‘gallery’ spaces and left in situ. At one and the same time

they refer to my walks on the Moor but become records of subsequent

performances by being ‘performed’ as ‘elements’ of a performative practice and

being transformed in the process into ‘stones’, and ‘cairns’.

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