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This week Alison Hadfield explains how we are using the Bridges Collection to inspire creative writing at the annual StAnza poetry festival in St Andrews.
Once again St Andrews is buzzing with the sound of poetry as Scottish and international poets, writers, performers and fans come together to celebrate poetry in all its forms. The theme for this year’s festival is ‘Another Place’, providing a fantastic opportunity for MUSA and the School of Classics to collaborate with StAnza on events inspired by our research and collections.
At the ‘Metaphors of Displacement’ colloquium on Wednesday morning, Michael Carroll, Rebecca Sweetman (School of Classics), Natasha Saunders (International Relations) and poet A.E. Stallings brought renewed attention to the ongoing refugee crisis in the Mediterranean region. The wide-ranging discussion focused on impact of metaphors used to describe displaced people and explored the impact of forced migration on individual and group identity. The speakers drew upon works of ancient and modern poets, including Aeschylus, Ovid, Giorgos Seferis, and A.E. Stallings to debate the challenges of expressing experiences of exile through the written word.
This was followed by a hands-on creative writing workshop in the afternoon, responding to archaeological material from the Bridges Collection. We were lucky to have poet, performer and writer Hannah Lavery at the helm, injecting her playful humour into the session and encouraging us to leave more conventional interpretations of the artefacts aside. Picking up on the theme of displacement, we had selected four small, portable artefacts that people might choose to take with them if forced to leave home. These were: an Iron Age aryballos or perfume bottle (about 600-500BC), a Hellenistic baby feeder (300-50BC), a prehistoric seal stone and an oil lamp probably dating from the Hellenistic period (300-50BC). Hannah liked the fact that these were clearly very personal items that could be worn or carried easily in the palm of a hand.
Baby feeder, HC1994.3(1) and Pinched oil lamp HC1994.3(2)
As there is virtually no information on the original context of the Bridges artefacts, it is of course impossible to be sure how and by whom they were used. Whilst this can be incredibly frustrating for research and teaching, there is nonetheless an element of mystery which hooks people in, and allows the imagination to roam. This was precisely Hannah’s intention. Her workshop was designed to provide ‘a slow reveal’ of the objects allowing participants to create their own meaning and stories to ‘fill the gap’ in our knowledge. To add to the suspense, the objects were concealed in individual bags and initially the group was only allowed to explore them by touch. This led to some wonderful descriptions, transforming the engraved sealstone into a ‘curled bud’ and most unexpectedly, the oil lamp into female genitalia ‘possibly for instructional use’! It made for a brilliant poem, but I doubt I will look at the lamp in quite the same way again…
Writing gets underway
Museum collections are by their nature, ‘metaphors of displacement’. They comprise objects which have been uprooted, re-purposed and re-interpreted in a world which is often very different from the one they originally inhabited. Hannah asked the group to consider how it might feel to be one of the artefacts at the point of discovery, and it was wonderful to hear the voices they were given; some were grumpy at being disturbed or confused to be ‘touched but not seen’. As always, I was amazed by the quality and diversity of the poetry written in such a short stretch of time and we hope very much that the writers will send us their finished work! At the end of the workshop Rebecca revealed the objects and explained what we actually know about them – stories that sometimes intersected with and sometimes diverged from the writers’ responses.
Lastly, we were very excited to be involved in further commissions of new poetry this year. Eight different poets responded to a selection of artefacts from the University’s ethnographic, zoological and archaeological collections and their work forms part of the digital installation running throughout the festival at the Byre theatre. The poets were: Finola Scott, Catherine Eunson, Angela Topping, Helen Nicholson, Julia Prescott, Beth McDonough, Marilyn Ricci and Hanan Issa.
Follow this link to take a look! https://thebridgescollection.wordpress.com/stanza-2019-commissions/
A half-day workshop at MUSA with JL Williams
The recent StAnza Poetry Festival in St Andrews provided a wonderful excuse to get the Bridges collection out and inspire some creative writing. We were lucky to have the opportunity to work with the poet JL Williams, who has a particular interest in the crossover between poetry and other art forms such as music, visual art, dance, opera and theatre. Her workshop at MUSA explored ‘masks of the imagination’ and included artefacts used in rituals to transport people from one world to another. Here she shares her thoughts about the day and her own poem, ‘Big Mother Silence’.
Writing is transformation. It is a way of bringing what is inside out, and of sharing the essence of what we are with others, through potentially vast tracts of time and space.
‘I’ll go slowly here: if metaphor is not idle comparison, but an exchange of energy, an event, then it unites the world by its very premise — that things connect and exchange energy.’ – Mary Ruefle
I was thrilled when Annie Rutherford, StAnza Poetry Festival’s Programme Co-ordinator, got in touch to ask if I would run a workshop at the 2018 StAnza Festival in collaboration with MUSA. The workshop would revolve around writing in response to objects in the collection. The objects would include portraits, self-portraits and a collection of masks and figurines from MUSA’s archaeology and ethnography collection, as selected by curators Alison Hadfield and Lisa Scrimgeour.
Before the workshop Alison sent me through the list of objects and links to virtual and in some cases 3D representations, and it gave me the idea that it would be interesting to share these with the participants before the workshop so they could encounter them virtually and then see how that compared to meeting them in real life.
We had a full house on the day, with many writers from different backgrounds and countries in the room. First we did some free writing and introductions to warm up and talked about the self in writing. It was fascinating to hear how the notion of the self, and what was safe or acceptable to share and reveal, varied from person to person and culture to culture. A woman from Belgium said that there it was accepted that people had many selves and that one should be honest and open about each. A Scottish man said he had been born with an original self but felt he had formed multiple selves over time to fit into different social situations, and that it would not be normal to share a multiplicity of these at once.
We discussed the spectrum of exposing the self through our writing, and how some confessional writers bore all whereas some – especially moving into realms of non-fiction and academic writing, showed very little of the self though arguably the self is always visible in some way in a text, even if through that which we do not say.
We then had a guided tour of the objects by the curators. It was remarkable to be able to see these objects up close, hear in detail about each of their histories and even be able to hold and touch them, some many thousands of years old.
I was particularly struck by a small figurine, made in Cyprus during the Archaic period (745-475 BC). A male figure in terracotta clay, whose red and black painted decoration was still visible, and even the fingerprint marks of the person who formed him. Two holes in the front of the figurine, as well as the beautiful way it fits even now into the palm of a closed hand, has led experts to surmise that it might have been a bell, and used as part of burial ritual to signal the transition from one stage of existence to another. 3D model of bell figurine
After exploring all the objects and portraits, we returned to our notepads and I asked the poets to write a poem which engaged both with their self or personal experience and with the object in some way – ideally representing some sort of transition or transformation. We had a little time at the end to share these baby poems and I was delighted by the range and depth of what was produced in such a short period of time. Some people focused on a more ekphrastic style of writing* in which they described their chosen object in close detail – revealing their self in what they noticed – and some found ways through the objects to talk about powerful moments of change in their own lives.
I wanted the entire experience of the workshop to feel like a ritual in which we opened ourselves up to the creativity of others… their objects produced across vast distances in time and space, and found within ourselves ways to communicate with this creative energy and make it come alive again in our own work. I hope the writers at the workshop, and you, might take the idea of ritual and responding to art in the world around you to heart and make your own experiments with writing between worlds.
My workshop poem inspired by Big Mother, Pat Douthwaite, 1994, Lithograph:
Big Mother Silence
lying in this silent house
your blanketed arms rise
to buffet my ringing ears with silence
the silence my empty rooms
ring with this year
and will ring with each year
the silence of this room
the silence of this open mouth
a generative quality
you impregnate this silence with
your massive embodiment
of a silent mask beneath which
I discover the productivity
a dynamic and two-fold realisation
though not a mother I am
the mother of silence
JL Williams (StAnza – MUSA – 2018)
*The term ‘ekphrastic’ is derived from the Greek word ‘ekphrasis’, meaning ‘description’. A really good explanation and example can be found here: Poetry Foundation