Showing posts with label heritage industry. Show all posts
Showing posts with label heritage industry. Show all posts

Saturday, 25 March 2023

Lands End, Kernow’s Last Gasp

Visitors from over the border in Tiverton pose for the camera at Lands End.  Dated on the reverse - July 1st. 1960.  Probably born in the last decade of the 19th. century, they are of the generation that survived two world wars and came well experienced in the hard graft of stoicism. Defined by the formality of their dress - suits or blazers, collar and tie and well polished shoes for the men. The men could be brothers and their wives could be sisters.  The Lands End estate has always been in private hands. An attempt by the National Trust to purchase it in 1987 failed when Peter de Savary outbid the organisation.  Today’s site owner is Heritage Great Britain Plc who operate a minor empire of mid-level attractions including a petting zoo, an audio-visual experience, traditional craft studios, a shopping centre, the First and Last public house and a hotel and restaurant complex.  Plus a car park from which the coastal footpaths can be reached.  It’s easy to imagine the more environmentally sensitive development that the National Trust would have provided but it has to be conceded that it would have been every bit as commercially minded in extracting value as the present owners.

The version of Cornwall with the greatest cultural heft is the magical land of myth and legend where the landscape itself vibrates with mystical powers under the protection of St. Piran. From Jethro to Ithell Colquhoun, locals speak of the sense of relief and heightened sensory impressions when the wretched land of the lumpen Devonians is left behind as they cross the Tamar into the enchanted homeland.  My youngest son and I experienced something of this in the summer of 2002 as our train from Exeter inched its way through Saltash station at less than walking pace. A small group of wayward urchins, no more than 11 or 12 years of age, was inspired to offer a traditional Cornish welcome to its captive audience. Jumping to attention from the abandoned luggage trolleys on which they had been reclining they conjured up imaginary erections of stupendous proportions via the medium of gesture and mime which they directed at the gawping passengers.  With well rehearsed movements of the hand in which enthusiasm triumphed over subtlety they brought their imaginary organs to a towering climax as the holidaymakers were ever so slowly conveyed in silence closer to the beach and surf.  It was a rare moment when the affluent seasonal visitors came face to face with the boredom and resentment of the indigenous population.  During the journey a young female passenger had been passing to and fro through the carriage clad in a T-shirt bearing the slogan, “Stop staring at my fucking tits” suggesting that if the urchins had been bold enough to board the train they might not have wanted for like-minded company.  Not the warmest of welcomes to the sacred county of Kernow.

Every MP in Cornwall is a Conservative.  It’s worth recalling that when the Cornish complain, as they do, that they’re overlooked, ignored and left behind by Westminster.  Spokesmen for the fishing community in Newlyn can outperform their counterparts in Peterhead and Brixham when it comes to complaining.  Since their former colleagues sold off their fishing quotas to European competitors they’ve never stopped wingeing about how hard done by they are.  Cornwall is certainly a complicated county with a powerful sense of identity that can shade into exceptionalism, equal to anything found in Yorkshire.  Celtic roots are carefully cultivated by Mebyon Kernow (Cornish Nationalists and campaigners for a Cornish Parliament), Cornish bards and Cornish language revivalists.  An abundance of megaliths, menhirs, cromlechs and stone circles encourages a spiritual sense of place for some, though there would be many more standing stones if Cornish landowners had refrained from destroying them when they got in the way of the plough. While many in Cornwall find a virtuous path into the spirit world, the dark shadow of Aleister Crowley and his “Scarlet Women” still lingers over West Penwith. The landscape value is exceptionally high and includes wild and windswept coastlines, dark and sinister uplands battered by deluges, driven by deep Atlantic depressions, as well as wide and fair, expansive beaches bathed in diffused sunlight of an unusual intensity, all of which feeds the imagination of artists, writers and craft workers of whom the county has many more than its fair share.  And so it came to pass that the county has a fine collection of visual arts venues - Tate St. Ives, Barbara Hepworth’s Studio, Leach Pottery, Newlyn Gallery, Penlee House in Penzance and the Jackson Foundation Gallery in St. Just.

Visitors to the county may well encounter a Cornish Engine House on their travels and the more curious will discover that the Industrial Revolution came early to Cornwall leaving multiple abandoned relics to tell a story of pioneering mining technology that was exported around the world from Mexico to Montana and Australia to Argentina.  Cornwall’s industrial secret, the extraction of China Clay, is largely confined to a little visited area of Mid Cornwall with its own landscape of devastation and towering mountains of waste.  It’s a spectacle that’s unlikely to be encountered by chance but it has its own fascination, not least because it exists just a few miles from coastal villages celebrated for their unspoilt beauty. The prospect of profitable lithium mining has attracted some interest and tin mining may yet be revived at South Crofty.  Meanwhile Richard Branson’s venture, Spaceport Cornwall, rests in abeyance at the time of writing having goofed up its initial satellite launch - the search for viable investment goes on. The setback has been a useful corrective to the great emotional wave of over-claiming on the part of local politicians and local media whose crystal balls glowed with unlikely visions of gleaming rocketry surging into Cornish skies to conquer the solar system. The presence of the Branson name should have served as a warning.

David Cameron made a point of taking his family holidays in Cornwall and complained about the primitive mobile phone and wi-fi connectivity.  If he noticed the evidence of social deprivation he never said so.  Yet in any Cornish town that evidence is hard to miss - just check out the local Wetherspoon’s, ride a local bus or take in a car boot sale.  There’s only one major hospital in the county and it always seems to be in the news for all the wrong reasons. Second home buyers have distorted the housing market, boosting property values far out of the reach of most locals whose earnings, often from tourism and hospitality, are well below national averages.  Zero hours contracts and a dependence on seasonal casual working force many to take on two or more jobs to make ends meet, placing family life under often intolerable pressures.  By way of escape the nation’s drug dealers offer easy access to a full range of altered states in even the most remote locations.  The Cornish main line railway and a clutch of branch lines survive in a much reduced form from their heyday but most people in employment have to run a car to reach their workplace, putting further strain on depleted household budgets.  The existence of a significant colony of bungalow dwellers living out their retirement is the bedrock of the Conservative vote along with the reliably Tory agricultural community. It will be interesting to see if the Conservatives can maintain their Cornish supremacy at the next election although the most exciting outcome would be for Mebyon Kernow to break through to a seat in Westminster.




 

Monday, 17 July 2017

Once Upon a Time in Dortmund


Zeche Zollern is a carefully preserved industrial site to the north of Dortmund that has the distinction of being Europe’s only Art Nouveau/Jugendstil colliery. Stepping from the train at Dortmund-Bövinghausen, I myopically missed all the directional signage and set off in the wrong direction. My walk took me round all four sides of a large rectangle until arriving back where I started. This time the signs were unmistakeable and the rest of the journey, uneventful. Flags, bunting and banners announced my destination, which is more than I usually expect. And the sounds of fairground organs and steam engine whistles suggested an event was underway.


Inside the colliery site was a flurry of activity graced with top hats, fishnet tights, goggles, compasses and pocket watches. An ancient steam road roller and a brace of traction engines were on hand accompanied by the hiss of escaping steam. Stilt walkers and penny farthing cyclists meandered around the site. Recently returned big-game hunters, grouse-shooters and polar explorers mingled with the crowd. Dr. Marrax prepared to bamboozle his audience with a miracle cure – assisted by some mandrake root and assorted paraphernalia. Carousels were in full swing and the Flea Circus was open for business.


Steampunk is one of many minority cults that came into existence without me really noticing – to me it looks like a marriage between Gothic and High Victorian Heavy Engineering. It seems remarkably unthreatening and congenial and, to my knowledge, there are no records of Steampunk hate crimes or civil disorder. The choice of venue for a Steampunk gathering, titled “Once Upon a Time”, was perfect – no better place than a cluster of over-elaborate post-industrial relics.


Zeche Zollern was a prestige project from its inception in1898. Prominent Berlin architect, Bruno Möhring (1863-1929) was engaged and produced an opulent Jugendstil styled series of surface buildings. Most famously the Machine Hall with its stained glass entrance that originally included a Hector Guimard-style aedicule (now lost). The colliery was closed in 1966 and narrowly avoided demolition. Since then it has been extensively restored as a historic industrial relic and a site for cultural events. It was the industrial relic that attracted my interest and the Steampunk event was initially an unwanted distraction. My preference is for minimal human presence in my photographs but, bowing to the inevitable, I tried my hand at documentary photography with mixed results as seen here.









Wednesday, 28 June 2017

Ruhrgebiet in Close-up


The photos here were taken on a recent visit to the Ruhr – following the Industrial Heritage Trail. When the impact of globalisation and cheap foreign imports of coal, iron and steel products destroyed the viability of mining and heavy industry in the 1980s and 1990s, de-industrialisation rapidly took place. The local authority’s response was to preserve the most impressive industrial sites and open them to the public as educational and recreational resources. These photos come from Duisburg, Essen, Bochum and Dortmund. In close-up these structures offer compositions that in colour, surface and mass often resemble the sort of abstract formalism that can be found gracing the walls of Modernist art museums. It’s a conceit of course – the appearance of these structures was entirely dictated by their utility. The aesthetic input was zero. It is artists and photographers who have developed an aesthetic response to industrial spectacle and created the concept of the Industrial Sublime. A list of the guilty parties would be long and certainly include Charles Sheeler, Carl Grossberg, Albert Renger-Patszch and Bernd and Hilla Becher.












Monday, 25 April 2016

Behind the Curtain – Beamish


I approve of museums that take the trouble to offer public access to some of the treasures that would otherwise lie buried in their vaults. At Beamish there’s a building that holds a reserve store of accumulated items that have yet to be deployed on public display. It’s open to visitors and contains a fascinating miscellany of uncelebrated objects, for the most part arranged thematically but allowing for some strange and bizarre juxtapositions. These are the raw materials of future projects, destined for a set-dressing role but, for now at least, allowed to speak for themselves and available for singular contemplation. The totality of the Beamish experience – the colliery village, the North Country main street, and the period-costumed staff, is rather more problematic and raises all sorts of issues around conservation, authenticity and the dignity of labour. To be addressed in a future post.