From William Morris’ Walthamstow, to John Ball’s Colchester: how placemakers are co-opting the dead

The William Morris Gallery, Walthamstow. Image: ProfDEH/Wikimedia Commons.

Heritage has long been a hot topic in the UK, expressed both in the love for old buildings and in the business of regeneration. Less attention has been given to the complicated relationship between historical figures and place, particularly how placemaking makes use of them.

This goes further than the Blue Plaque scheme; the dead both etch their ghostly presences on the character of localities, and can be self-consciously chosen to help retell a story of place.

I want to look at how the dead and place interact through the two case studies – William Morris in Walthamstow, and John Ball in Colchester. I’ll be looking at how the dead intertwined themselves with place, how history becomes contested as they are made use of by placemakers, and what works.

Ghosts of place

The psychogeographical tradition in urban life directs our attention to the relationships between person and place. Prominent individuals leave traces of their selves and their legacy on the local vernacular.

One such relationship is between William Morris (1834-96), socialist and artisan, and Walthamstow in east London.  Morris only spent about seven years of his youth in what is now the William Morris Gallery in Lloyd Park, E17; yet Walthamstow has claimed him as its own.

Both Morris's arts and crafts movement, and his socialism, are now closely aligned to the character of Walthamstow itself, an area of community-based socialism and thriving hipster artisanal businesses. Morris might even be claimed as the first hipster (minus the beard oil, of course), combining radical politics with autonomous entrepreneurialism.


Remaking place

The relationship between the dead and place becomes even more interesting when ghosts are called upon to reshape space. Campaigners in the Essex town of Colchester are currently evoking the long forgotten figure of John Ball (1338-81), radical priest and one of the leaders of the Peasant Revolt 1381, into a symbolic representation of equality and diversity.

The campaign itself began as a result of a press campaign and petition to get a "piece of bronze" representing John Ball erected in Colchester. It has evolved into an interrogation of the town's historic legacy, and its identity today as a nascent zone of feminisation, equality and diversity. It may even seek to become a Sanctuary Town.

The reframing of place in Colchester is something that resonates in its cultural and alternative arts communities. Essex. Colchester and nearby Wivenhoe have seen a sizable “punk poetry” renaissance, all John Cooper Clarke and Martin Newell. The area is also celebrating its historic rebels, with Castle Museum devoting a whole section to Boudica, who led an uprising against the Roman Empire around AD60. More recently, Gee Vaucher, a female artist in Crass, had her own Introspective in Colchester’s Firstsite Gallery.

What gets left out?

Inevitably, calling on the dead to remake place involves some falling away of historical realities. In Walthamstow, the Willam Morris Gallery, renovated in 2011-12, focuses on Morris’s status as an artisan, rather than as a socialist (though there is some representation of “soft socialism”). This mutating focus is also characteristic of a locale which could fall victim to a loss of community cohesion through gentrification. Is Morris shifting uncomfortable in his grave? Perhaps, but he might have been excited by all the craft beer.

Similarly, the figure of John Ball is imbued with very diverse aesthetic and even political values. Will he be carved out in bronze, his religious non-conformity absorbed by the very active Colchester churches? Or will he be etched into the nascent contemporary arts and politics scene of the new Colchester?

That this ground is contested is a point acknowledged by Sally Shaw, the director of Firstsite, the key partner in promoting John Ball Day on 15 July and a plethora of related arts activities in Colchester. “But that’s what makes it interesting,” she says, “and very much representative of the broader cultural struggles facing UK society today.” 

What works?

Placemakers always try and prove historical figures lived in a place, but that link can often be quite incidental – a matter of a few years in the case of both Morris and Ball.

But there is a creative relationship too. In the case of Morris and Walthamstow, there is a natural congruence between the well-processed history of Morris, his ideas and artistic practice, and how the locality has evolved.

Much less is known about John Ball, which makes sketching a pathway to the contemporary values of feminisation, equality and diversity something of a tricky issue. But Shaw suggests that "creating lines of connection between Ball and the present is an ongoing and inclusive creative process, about remaking meaning”.  In other words, the John Ball project will be a way of imaginatively rethinking place, both past and present.

“We are the dead” said McCrae, Bowie, and Orwell before them – referring to the exhaustions of the present. But the dead are also helping us think about our culture and shaping the landscapes of place. We are the dead, but they are us.

Deborah Talbot is an ethnographer and journalist writing about culture, society and all things urban.

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How can we stop city breaks killing our cities?

This couple may look happy, but they’re destroying Barcelona. Image: Getty.

Can’t wait to pack your bags and head off on holiday again? It used to be that people would look forward to a long break in summer – but now tourists have got used to regular short breaks through the year. We love to jet off to the world’s glittering cities, even if only for a day or two. The trouble is, binge travelling may be killing the places we visit.

You may even have seen some “tourists go home” graffiti on your last trip, and it’s not hard to see why. Barcelona is a good example of how a city can groan under the weight of its popularity. It now has the busiest cruise port, and the second fastest growing airport in Europe. Walking through the Barcelona streets at peak season (which now never seems to end) flings you into a relentless stream of tourists. They fill the city’s hot spots in search of “authentic” tapas and sangria, and a bit of culture under the sun. The mayor has echoed residents’ concerns over the impact of tourism; a strategic plan has been put in place.

It is true though, that cities tend to start managing the impact of tourism only when it is already too late. It creeps up on them. Unlike visitors to purpose-built beach destinations and national parks, city-break tourists use the same infrastructure as the locals: existing systems start slowly to stretch at the seams. Business travellers, stag parties and museum visitors will all use existing leisure facilities.

‘Meet the friendly locals’, they said. Image: Sterling Ely/Flickrcreative commons.

Barcelona may only be the 59th largest city in the world, but it is the 12th most popular with international visitors. Compared to London or Paris, it is small, and tourism has spiked sharply since the 1992 Olympics rather than grown steadily as in other European favourites like Rome.

Growth is relentless. The UN World Tourism Organisation (UNWTO) even speaks about tourism as a right for all citizens, and citizens are increasingly exercising that right: from 1bn international travellers today, we will grow to 1.8bn by 2030, according to UNWTO forecasts.

Faced with this gathering storm, just who is tourism supposed to benefit? Travellers, cities, residents or the tourism industry?

Market forces

Managing the impact of tourism starts by changing the way destinations market themselves: once the tourists arrive, it’s too late. Tourism authorities need to understand that they are accountable to the city, not to the tourism industry. When the city of Barcelona commissioned the University of Surrey to look into how it might best promote sustainable development, we found a series of techniques which have been incorporated, at least in part, into the city’s 2020 Tourism Strategy.

In the simplest terms, the trick is to cajole tourists into city breaks which are far less of a burden on the urban infrastructure. In other words, normalising the consumption of sustainable tourism products and services. In Copenhagen, 70 per cent of the hotels are certified as sustainable and the municipal authority demands sustainability from its suppliers.

Higher than the sun. A primal scream from the world’s cities? Image: Josep Tomàs/Flickr/creative commons.

Destinations must also be accountable for the transport impact of their visitors. The marketing department might prefer a Japanese tourist to Barcelona because on average they will spend €40 more than a French tourist – according to unpublished data from the Barcelona Tourist Board – but the carbon footprint we collectively pay for is not taken into account.

Crucially, for the kind of city breaks we might enjoy in Barcelona, most of the carbon footprint from your holiday is from your transport. Short breaks therefore pollute more per night, and so destinations ought to be fighting tooth and nail to get you to stay longer. It seems like a win for tourists too: a few extra days in the Spanish sun, a more relaxing break, and all accompanied by the warm glow of self-satisfaction and a gold star for sustainability.


Destinations can also target customers that behave the most like locals. Japanese first-time visitors to Barcelona will crowd the Sagrada Familia cathedral, while most French tourists are repeat visitors that will spread out to lesser-known parts of the city. Reducing seasonality by emphasising activities that can be done in winter or at less crowded times, and geographically spreading tourism by improving less popular areas and communicating their particular charms can also help reduce pressure on hot spots, much like Amsterdam is doing.

Turnover is vanity, and profit margins are sanity. No city should smugly crow about the sheer volume of visitors through its gates. If tourism is here to stay, then the least cities can do is to sell products that will have the greatest benefit for society. Whether it’s Barcelona, Berlin, Bologna or Bognor, there should be a focus on locally and ethically produced products and services which residents are proud to sell. Tourist boards should work with small businesses that offer creative and original things to do and places to stay, adding breadth to the city’s offering.

The ConversationWhether Barcelona will introduce these ideas will depend on the bravery of politicians and buy-in from the powerful businesses which are happily making short-term profits at the expense of residents and the planet. It is possible to do things differently, and for everyone to benefit more. It may be that the tipping point lies in the age-old mechanics of supply and demand: bear that in mind next time you’re booking a quick city break that looks like it’s only adding to the problem.

Xavier Font is professor of marketing at the University of Surrey.

This article was originally published on The Conversation. Read the original article.