Have you ever wondered what it would be like to have a statue made of you? Unfortunately most people will never know, either because they are not considered worthy of a statue, or because they’re the kind of thing that tends to happen after you die. Well, if you are ever in Dumfries in southern Scotland, you can experience it for yourself with the DIY statue!
Having a great time striking a statuesque pose (Source: Graeme Awcock).
Situated near the Devorgilla Bridge over the River Nith, the DIY statue looks at first glance like a large, empty plinth. Look a little closer however, and there is a pair of shoe prints embedded in the top in front of the words ‘DIY STATUE’ and ‘DUMFRIES LOCAL HERO’ carved near the top. I was in Dumfries this summer with my parents, and when we found the DIY Statue I just had to give it a try. A man who was walking past as I did this gave me a cheer and a round of applause, which was a moment that was simultaneously lovely and highly embarrassing. The whole thing got me thinking about the nature of statues in public space, why we put them up, and how we interact with them.
The DIY statue without yours truly (Source: Hannah Awcock).DUMFRIES LOCAL HERO is carved into the back of the plinth (Source: Hannah Awcock).
Most statues are ignored by most people most of the time. If we pass a statue frequently it tends to fade into the background, and we stop noticing it, if we ever did in the first place. There are occasions where statues become the centre of attention, however. For example, statues have played an important role in the UK’s recent ‘culture wars’, with debates raging about what do about statues of people whose legacies we are no longer proud of (rightly, I think!). Perhaps the most well-known example of this in Edinburgh is the statue of Henry Dundas on a 45m tall plinth in St Andrew Square. As Home Secretary, Dundas argued against the abolition of the slave trade. Statues like the DIY statue encourage people to interact them without commemorating highly problematic people.
Statues are a reflection of who society deems are important. As such, they also reflect society’s prejudices. One of my favourite facts about Edinburgh (not because I like it, but because it’s outrageous) is there are more statues of named animals in the city than there are of women. Recent research by Art UK has shown that just 2% of named statues in the UK represent people of colour. The DIY statue can be representative of all the people of Dumfries in a way that most conventional statues are not.
Another interesting question that the DIY statue raises is what kinds of acts make a person worthy of a statue. Most named statues are of people who did remarkable things in the fields of business, politics, sport, or culture. For example there is a large statue of Robert Burns, the famous Scottish poet who lived in the town for a while, at the top of Dumfries High Street. Decisions about who ‘deserves’ a statue are not simple, uncontested things. As controversies surrounding some statues such as the Dundas memorial in Edinburgh demonstrate, these decisions can be argued against and even reversed. The DIY statue encourages us to think about the standards we use to define a ‘local hero’. Should it only be people who are rich and famous? Why can’t we recognise people who ‘just’ contribute to the local community? After everything that’s happened the last few years, I think we all deserve to be celebrated a little bit just for existing. Thanks to the DIY statue anyone who can climb onto the plinth (it isn’t particularly accessible) can be commemorated, even temporarily.
The statue of poet Robert Burns in Dumfries town centre (Source: Hannah Awcock).
Even though they spend a lot of time being ignored by passersby and pooped on by birds, statues matter. The DIY statue may be just a fun piece of public art that encourages people to interact with public space, but I think it raises important questions about who we choose to commemorate and why. I haven’t been able to find out any information about the DIY statue, so if anyone knows when it was installed or whose idea it was, I would love to know!
The small village of Tolpuddle in Dorset would be just like every other picturesque rural village in Britain if it wasn’t for a clandestine meeting of six men under a sycamore tree more than 150 years ago. George Loveless, James Loveless, James Standfield, Thomas Standfield, James Brine, and James Hammett would become known as the Tolpuddle Martyrs, and their story is seen by many as the defining moment in the development of British trade unions. Tolpuddle receives thousands of visitors each year, particularly during the annual Tolpuddle Festival every summer. There are several memorials in the village, including a museum, a statue, one of the martyr’s gravestones, and a plaque, many of which date back to the centenary of the martyrs’ conviction. The Tolpuddle App (which you can download onto your phone or tablet) guides visitors through the points of interest in the village and includes videos that explain the martyrs’ story. In May, I dragged my family to visit the museum and explore the village using the app.
The map and interface of the Tolpuddle App, which visitors can use for a self-guided tour of the village. Each stop has a series of videos associated with it about the story of the martyrs and what life was like for agricultural labourers in the early 1800s (Source: Tolpuddle App).
The six men were agricultural labourers, and they met under a sycamore tree in the village to discuss their poor working conditions, low wages, and how to prevent things getting worse. They decided to form a Friendly Society, hoping that working together would give them more bargaining strength. The local authorities found out about the new trade union, and with support from central government, decided to put a stop to it. Trade unions weren’t illegal, but the political and social elites were afraid of the impact they could have, so an obscure law against taking secret oaths was used to charge the six men. The men were found guilty and sentenced to seven years transportation. The severity of the sentence caused a public outcry and the martyrs were eventually pardoned, but not before they had spent several years in Australia. They returned home as heroes. The authorities had hoped that the men’s treatment would scare people and stop them joining trade unions, but the martyrs’ story had the opposite effect. Many argue that it kick started the fledgling trade union movement in Britain, which is why Tolpuddle is so important to modern-day trade unions.
The sycamore tree that the martyrs met under is still going strong in the centre of the village. In 2002 it was declared one of 50 Great British Trees by the Tree Council to celebrate the Queen’s Golden Jubilee. The museum shop sells seedlings from the tree in you want to grow your own piece of trade union history (Photo: Hannah Awcock).
In 1934, the National Trust built this shelter next to the sycamore tree in the village. The text on the back says “In memory of the Dorset labourers who made a courageous stand for liberty in 1934” (Photo: Hannah Awcock).
The centenary of the Tolpuddle Martyr’s conviction was marked with huge celebrations in the village. A series of events were organised, and commemorative souvenirs were produced to mark the occasion. A number of physical memorials were also built in Tolpuddle. The most substantial is the Tolpuddle Martyr’s Memorial Cottages, a row of 6 cottages that were built by the Trades Union Congress (TUC) to house retired agricultural trade unionists. The cottages included a library, which grew over time to become the Tolpuddle Martyr’s Museum. The museum is small, but it tells the Martyr’s story well, and contains several interesting items, including a tile from the local church that James Hammett scratched his name into, and commemorative items from various anniversaries.
The Tolpuddle Martyr’s Museum is located in six cottages that were built by the Trades Union Congress in 1934 for retired agricultural trade unionists (Photo: Hannah Awcock).
The headstone of James Hammett, the only martyr who stayed in Tolpuddle until his death. He is buried in the graveyard of St. John’s Church in the village. The stone was installed as part of the centenary celebrations in 1934 (Photo: Hannah Awcock).
Outside the museum is a statue by artist Thomson Dagnall. It was installed in 2002, with funding from the Public and Commercial Services Union (PCS). It depicts George Loveless, who is considered the leader of the martyrs. Visitors are invited to sit beside George on the bench and contemplate what it must have been like for the martyrs to be separated from their families and transported around the world to a life in forced labour.
This sculpture by Thomson Dagnall (2002) sits outside the Tolpuddle Martyr’s Memorial Cottages (Photo: Hannah Awcock).
As you walk through the village, past St. Johns churchyard where James Hammett is buried and the sycamore tree, you will come to the cottage where James Standfield lived. It was here that the men held their union meetings, with up to 40 men crammed into an upstairs room. The cottage is marked with a plaque, installed by the TUC.
James Standfield’s cottage where the agricultural union met and (inset) the text of the plaque installed on the cottage by the TUC (Photos: Hannah Awcock).
Most of the martyrs were Methodists, and quite heavily involved in the Methodist community in the village; George Loveless was a lay preacher. There are two buildings in Tolpuddle that have been used as Methodist Chapels. The first was built in 1818, but fell into disuse sometime after 1843. Since then it has been used for agriculture and storage, but in 2015 the Tolpuddle Old Chapel Trust was set up to purchase the building and renovate it. The Trust are raising funds to open the building up for “activities, exhibitions and community use”, so all being well there may soon be another memorial in the village to the Tolpuddle Martyrs.
The Old Chapel building in Topuddle, where at least 4 of the 6 martyrs worshiped. Fundraising is currently underway to reopen the building (Photo: Hannah Awcock).
If you continue walking along the main road through the village, you will eventually come to the current Methodist Chapel, which was built in 1862-3. Outside is an arch dedicated to the martyrs, built in 1912. On one side is engraved the following text: “Erected in honour of the faithful and brave men of this village who in 1834 so nobly suffered transportation in the cause of liberty, justice, and righteousness, and as a stimulus to our own and future generations” followed by the names of the 6 men. On the other side is engraved a quote from a speech George Loveless made during the martyrs’ trial: “We have injured no man’s reputation, character, person or property, we were uniting together to preserve ourselves, our wives and our children from utter degradation and starvation.”
Tolpuddle’s current Methodist Church and the memorial arch outside. Visitors are welcome to look around inside when the church is open (Photo: Hannah Awcock).
There are numerous memorials in Tolpuddle that commemorate the martyrs and their story. They represent a wide variety of different types of memorial, ranging from the more traditional (plaques, a museum, and a sculpture) to the less conventional (cottages, a tree, and a gravestone). The also range in age: the sycamore tree is hundreds of years old, the memorials constructed during the centenary celebrations are 85 years old, and the sculpture is less than 20 years old. If the Old Chapel is successfully renovated, then that age range will be stretched even further. Looked at together, the memorials represent a fascinating landscape of commemoration that has been added to by successive generations. The story of the Tolpuddle Martyrs has remained important to several generations of activists and trade unionists, and the plans for the Old Chapel and the annual Tolpuddle festival demonstrate that that significance has not diminished. I hope that the story will be remembered and celebrated for many more generations to come.
The German Resistance Memorial Centre (Photo: Hannah Awcock).
Most cities have moments in their history that remind us of the extent of humanity’s capacity for cruelty. Arguably, Berlin has witnessed more of it’s fair share of these moments. They are events that it would be easier and more comfortable to forget, but that is exactly why we must remember them. Memorials serve as physical reminders of our past, commemorating people and events that are triumphant and inspiring as well as dark and shameful. There are numerous memorials in Berlin that mark events that should never be allowed to be repeated. On a recent visit to the city, I visited many of these memorials, including the Memorial to the Murdered Jews of Europe, the Memorial to Homosexuals Persecuted Under the National Socialist Regime, the Memorial to the Sinti and Roma Victims of National Socialism, the Topography of Terror, and the Berlin Wall Memorial. The memorial that most resonated with my research interests, however, is the German Resistance Memorial Centre, which commemorates all those who stood up to the Nazi regime in various ways. It is housed in the Bendler Block, which was used by the military during the Nazi regime and was the centre of an attempted military coup on 20th July 1944.
Like other large memorials in Berlin, there are two key elements to the German Resistance Memorial Centre. The commemorative courtyard is the site where several of the officers involved in the failed uprising were executed on 20th July 1944. There is a statue and two plaques. The second element is a memorial and education centre, on the first and second floors of the building. It is designed to inform people about the motives, aims, and forms of resistance against the Nazi state. The Bendler Block also houses the Silent Heroes Memorial Centre, which commemorates people who helped Jewish people facing persecution during Nazi rule.
The commemorative courtyard in the Bendler Block. This statue, unveiled in 1953, was designed by Professor Richard Scheibe. The text was written by Professor Edwin Redslop, and translates as: “You did not bear the shame. You fought back. You gave the great, Forever tireless Sign of change, Sacrificing your glowing life For freedom, Justice, and honor.” (Photo: Hannah Awcock).
The commemorative courtyard is a fairly typical memorial space, calm and reflective, with a sculptor inspired by what happened there. The memorial and education centre feels more like a museum, although it displays very few objects. Instead, it uses text, images, and copies of documents to tell the stories of hundreds of individuals who used a whole range of tactics to resist Nazi rule. The Nazi state used a thorough process of dehumanisation to rationalise and justify their systematic persecution and murder of minority groups. Berlin’s memorials are highly effective at ‘re-humanising’ what happened, highlighting the stories of individuals, and putting faces to tragedies which are often difficult to comprehend because of their sheer scale.
One of the displays in the German Resistance Memorial Centre (Photo: Hannah Awcock).
In Britain, if we hear anything at all about German people living under the National Socialist regime, its that they quietly accepted the cruelty and violence. They were all too scared to speak up, or were perhaps willing to accept the excesses of the Nazi government as long as the economy continued to prosper. The German Resistance Memorial Centre completely turns that narrative on its head. It tells the story of hundreds of people who resisted the Nazi regime for religious, political, or moral reasons, or even just because they wanted to listen to genres of music that the Nazis frowned upon (Swing Kids, for example, liked to listen to jazz music, which the Nazis classified as “cultural degeneracy”). Resistance ranged from listening to foreign radio stations and printing and distributing anti-Nazi leaflets to attempts to assassinate Hitler and overthrow the entire government. The Silent Heroes Memorial Centre tells the stories of Germans who hid Jews from Nazi soldiers, classified their Jewish employees as essential workers to prevent their deportation, and forged passports to enable Jewish people to escape Nazi-controlled territory. When even the most basic act of resistance carried the potential for severe punishment, or even death, I am amazed at how many people were willing to take action. I left the exhibition with more faith in the bravery and integrity of humanity than I had when I arrived, which is always a nice feeling.
The Silent Heroes Memorial Centre (Photo: Hannah Awcock).
The German Resistance Memorial Centre is not one of the best-known tourist attractions in Berlin. It is even not one of the city’s best known memorials. However, a visit there is not only educational and moving, but also unexpectedly uplifting. I highly recommend checking it out if you ever visit Berlin.
Warsaw’s Palace of Culture and Industry was a gift from the USSR to Poland. Built in 1955, it is one of the city’s stand-out landmarks (Photo: Hannah Awcock).
A few months ago, I visited Warsaw for the International Conference of Historical Geographers. Whenever I visit a new place I try to find out as much as I can about its history of radicalism and dissent, and there’s no doubt that Warsaw has plenty of that. In Part 1 of this post, I wrote about the Warsaw Ghetto Uprising in April and May 1943, and the ways that it is remembered in Warsaw’s streets and museums. Part 2 is about the Warsaw Uprising, which lasted for 63 days in 1944. The Uprising has an entire museum dedicated to it, as well as an impressive monument.
Warsaw Uprising
During the summer of 1944, the German Army was retreating across Poland, pursued by the Soviet Army. The Polish Home Army undertook uprisings in several cities in order to help the Soviet Army, and to assert Polish sovereignty–there were fears that the German occupying force would just be replaced with a Russian one. As the Soviet Army advanced towards the Vistula river, the Home Army in Warsaw decided to begin their own uprising on 1st August. It became the largest military effort of any resistance movement during the Second World War.
The uprising was only ever supposed to last a few days, until the Soviet Army reached Warsaw. However, the Soviets halted their advance on the eastern bank of the Vistula, and the resistance forces ended up fighting, almost entirely unsupported, for 63 days. The Home Army, aided by other groups including the National Armed Forces and the communist People’s Army, quickly took control of large sections of Warsaw. These areas were separated from each other however, and communication was difficult. The resistance fighters had received training in guerrilla warfare, but they were inexperienced at prolonged fighting in daylight and severely under equipped.
On the 4th of August, the Germans started to receive reinforcements, and began to counterattack. The following day, they began a systematic massacre of civilians in order to crush the resistance’s resolve. The strategy backfired however, only making the people of Warsaw more determined. Resistance fighters captured the ruins of the Warsaw ghetto (see Part 1), and liberated the Gesiowka concentration camp. At the end of August, the resistance decided to abandon the Old Town; the area was evacuated through the city’s sewers, which also served as a major means of communication for the resistance. The resistance eventually surrendered to the Germans on 2nd October; the expected help from the Soviets never came. The city wasn’t captured until 17th January 1945, giving the Germans plenty of time to systematically destroy the city and transport many of its residents to work and concentration camps.
Life in Warsaw was very hard during the uprising, for civilians as well as resistance fighters. There were severe shortages of food; people largely survived on ‘spit soup,’ made from barley captured from the Haberbusch i Schiele brewery. The media flourished in the city however, multiple newspapers were published frequently, and 30,000 metres of film documenting the uprising was produced.
Warsaw Rising Museum
The Warsaw Rising Museum in Wola district of Warsaw (Photo: Hannah Awcock).
The Warsaw Rising Museum was opened in 2004, to mark the 60th anniversary of the uprising. The Museum contains more than 800 items and 1500 photographs and videos spread over 3000 square metres. It covers all aspects of the uprising, and provides visitors with a huge amount of information. It is arranged chronologically, and I would recommend following the order of the galleries carefully (you go from the ground floor to the top, then work your way back down, which could be more clearly sign posted). I think you need at least 3 hours to see everything, and I would recommend stopping halfway through for a drink and a slice of cake in the cafe, otherwise you will get too tired to take it all in properly. A highlight for me was the Kino Palladium, a small cinema that shows footage of the uprising that was used to make newsreels. I was also particularly moved by the collection of armbands. Soldiers in the uprising didn’t have uniforms, so used red and white armbands to identify themselves. Some people personalised theirs, and it really brought the human element of the uprising home to me.
Resistance fighters wore armbands instead of uniforms to identify themselves. Some of them have been given to the museum (Photo: Hannah Awcock).
Monuments and Memorials
This wall in Freedom Park documents the names of more than 10,000 resistance fighters who died during the uprising (Photo: Hannah Awcock).
The Uprising Museum is located in Freedom Park, where you can also find several memorials connected to the uprising. The memorial wall documents the name of more than 10,000 resistance fighters who died during the fighting. Set within the wall is a bell dedicated to General Antoni Chrusciel, one of the uprising’s leaders. There is also a memorial to the estimated 150,000 civilians who lost their lives during the uprising, as well as the 550,000 who were deported from the city after the uprising failed.
The memorial in Freedom Park to civilians killed and displaced during and after the uprising (Photo: Hannah Awcock).
The Little Insurgent monument is located in Podwale Street on the outskirts of the Old Town (Photo: Hannah Awcock).
Set into the city walls surrounding Old Town is the Little Insurgent, a memorial to the children and young people who served as orderlies and runners during the uprising. The statue is based on a small plaster statuette created after the war by sculptor Jerzy Jarnuszjiewicz. It was paid for by former scouts, and unveiled in 1983 by Jerzy Swiderski, a cardiologist who had served as a scout during the uprising. It is a moving reminder of how the uprising consumed every aspect of Warsaw; even children could not escape the brutality.
The Warsaw Uprising Monument in Krasinki Square (Photo: Hannah Awcock).
The best-known memorial to the uprising, the Warsaw Uprising Monument, is on a much grander scale. Located on the southern side of Krasinki Square, the momument was unveiled in 1989, and is up to 10 metres tall. The monument has two sections: the larger represents a group of insurgents in combat, running from a collapsing building; the smaller section, in the foreground of the above photo, shows fighters and civilian woman climbing into a manhole. This is an acknowledgment of the significance of the city’s sewer system to the uprising. The monument is impressive, and you’d be hard pushed to walk past without stopping for a closer look. Monuments and statues can often blend into the street around them, which I think defeats one of the key objectives of memorials; drawing attention to the event, person or people it is meant to commemorate. There is no danger of the Warsaw Uprising Monument failing to attract attention.
The larger section of the Warsaw Uprising Monument, depicting resistance fighters in combat (Photo: Hannah Awcock).
Like all cities, Warsaw’s past is inscribed into its streets, buildings and public spaces. Warsaw’s history is more violent than many cities–it has faced more than it’s share of death, destruction, and upheaval, and not just during the Second World War. There a number of different approaches to dealing with such a traumatic history in Warsaw: the city’s museums use different balances of objects and multimedia; and the monuments work on different scales, from the small and personal to the grand and official. Which approaches work best probably depends on personal taste, but the fact that so much effort and thought has gone into all of these commemorative practices demonstrates an admirable relationship with the past.
Warsaw’s Old Town was almost entirely destroyed during the Second World War, and was rebuilt in the 1950s. The mermaid is the city’s symbol (Photo: Hannah Awcock).
In July, I visited Warsaw for the International Conference of Historical Geographers. The Polish capital is a vibrant city with a fascinating, if traumatic, history. As ever, I paid particular attention to the history of protest and dissent in the city, and Warsaw has plenty of that. Whilst under German occupation during the Second World War, the city experienced two significant uprisings. The first took place in the Jewish ghetto in April and May 1943, and is known as the Warsaw ghetto uprising. The second is known simply as the Warsaw Uprising, and engulfed the whole city between August and October 1944. In retaliation for these two events, the Nazis destroyed more than 85% of the city. The total death toll from both events is around a quarter of a million people, both combatants and civilians. It is hard to forget such awful events, but they are still actively commemorated in Warsaw, both in the city’s museums, and on the streets through memorials. This post will focus on the Warsaw Ghetto Uprising, whilst Part 2 will look at the Warsaw Uprising.
Warsaw Ghetto Uprising
Jews captured by German soldiers during the Warsaw Ghetto Uprising in April-May 1943. This picture was used during the Nuremberg Trials, and became very well known (Source: National Archives and Records Administration).
Germany invaded Poland in 1939, and the Jewish ghetto in Warsaw was established not long after. More than 400,000 people were crammed into an area of little more than one square mile, and many died from disease and starvation. In 1942, the Germans began deporting people from the ghetto to concentration camps (mainly Treblinka) and forced-labour camps. Around 300,000 people were deported or murdered, leaving 55-60,000 fearing they would suffer the same fate. They began to develop resistance organisations; the Jewish Combat Organisation (ZOB) and the Jewish Military Union (ZZW) decided to work together to oppose any further deportations. On 18 January 1943, the fighters manage to disrupt a deportation, and drive the Germans out of the ghetto.
Buoyed by this success, the ghetto population began to build underground bunkers in case the Germans tried any more deportations. Unfortunately, the reprieve was only temporary, and German soldiers re-entered the ghetto on 19 April. Most of the ghetto’s residents were hiding in the bunkers or elsewhere. The Germans put down the uprising by destroying the ghetto building by building, forcing people out of hiding. Resistance continued for almost a month, but on 16 May the Great Synagogue on Tlomacki Street was destroyed to symbolise the German victory. Almost all of the remaining Jews were deported.
German soldiers systematically burnt the buildings in the Warsaw ghettos to drive out the people hiding within (Source: National Archives and Records Administration).
The Warsaw Ghetto Uprising was the largest Jewish uprising, and the first urban uprising, in German-occupied Europe. It inspired uprisings in other ghettos and concentration camps. Although the ghetto was destroyed during the uprising, its memory is inscribed in the urban fabric of Warsaw through various memorials. It is also commemorated in the city’s museums.
Polin: Museum of the History of Polish Jews
The Museum of the History of Polish Jews was purpose-built. It is a striking building, and everything about its design is symbolic (Photo: Hannah Awcock).
Opened in 2013, Polin: Museum of the History of Polish Jews won European Museum of the Year in 2016, and it’s clear why. It uses the latest technology to explore 1000 years of Jewish history in Poland, and it is absolutely overflowing with information. The building was constructed in the former ghetto, in front of the Monument to the Ghetto Heroes (more on this later). Personally, it was a little lacking in actual objects for my taste, but it’s still a wonderful museum. One of my favourite things about it is that it whilst it does cover the holocaust, it doesn’t dwell on it. Jewish history in Poland is so much more than World War Two, and Polin reflects that. It does, however, cover the Warsaw Ghetto Uprising, and it does it well.
Memorials
The Monument to the Ghetto Heroes stands opposite the Polin museum, but it has been there for a lot longer, since 1948 (Photo: Hannah Awcock).
There are many memorials in the area of Warsaw that used to be the Jewish ghetto, but there are two that relate directly to the Warsaw Ghetto Uprising. The first, as I mentioned above, is the Monument to the Ghetto Heroes, next to Polin. Designed by Natan Rappaport and Leon Marek Suzin, the monument was built in 1948, near to the location of the first skirmish between the Jewish resistance fighters and German soldiers. It is an imposing structure, built from stone that was originally bought to Warsaw by the Nazis; it was intended to be used for monuments to Hitler’s victory. There is a bronze sculpture on the western side of the monument, depicting both resistance fighters and civilians. It represents the resistance’s struggle, and the suffering that civilians experienced. On the eastern side is a relief of women, children and the elderly being led by German soldiers.
During a state visit to Warsaw in 1970, Willy Brandt, the Chancellor of West Germany, fell to his knees in front of the Monument in a solemn gesture of apology and regret. It was a fitting location for such a significant political act; the Monument has a very grand, official feel. The second monument to the Warsaw Ghetto Uprising that I visited feels much more personal.
The remains of the bunker at 18 Mila Street, destroyed during the Warsaw Ghetto Uprising with more than 100 people inside (Photo: Hannah Awcock).
A few hundred metres from the Monument to the Ghetto Heroes, on the corner on Mila and Dubois streets, is a large mound of earth surrounded by trees. It is all that remains on the bunker at 18 Mila Street, one of the largest bunkers built during the Ghetto Uprising. It it thought that more than 100 people died within the bunker, both resistance fighters and civilians. Many of their names are not known, but it is thought that Mordechaj Anielewicz, one of the leaders of the resistance, was killed there. Their bodies remain there, in the words of the monument, “to remind us that the whole earth is their grave.” I personally found this memorial much more moving than the Monument to the Ghetto Heroes; it feels more connected to the extent of the human tragedy experienced by Jewish people during the German occupation of Poland.
Warsaw is a city that is thriving in almost every way, but you don’t have to look far to find signs of its traumatic history. Varsovians don’t try to ignore that history or sweep it under the carpet, but neither do they dwell on it. I think it is a city that has struck a good balance between learning from the past and looking to the future.
Don’t forget to check out Part 2 of this post, about the Warsaw Uprising, here.
The Times Are A Changin’ Symposium was held at the University of Westminster on the 2nd and 3rd of June 2016 (Photo: Hannah Awcock).
I spent Thursday and Friday of last week at Times Are A Changing: Temporality, Memory and Social Movements in the Digital Age, a two-day symposium at the University of Westminster organised by Dr. Samuel Merrill and Dr. Anastasia Kavada. I really enjoyed the chance to meet new people, listen to some fantastic presentations and engage with some new concepts. Most of the other attendees were from Memory Studies or Media Studies, so there were a lot of new ideas for me to think about, particularly around the key themes of the symposium, temporality and memory.
As a Geographer, I am aware of just how significant time is (although space will always be my favourite!) However, the ways that different temporalities can impact, and be used by, activists and social movements is not something I had considered before. In her paper, Dr. Veronica Barassi argued that temporalities are constructed through practice, which means that activists can resist or reproduce hegemonic temporalities through their actions. Dr. Kavada’s presentation about the recent Nuit Debout protests in France provided a good example of this. The activists varied the speed at which they posted on social media depending on when they wanted attention; they would increase the intensity of posts before a important protest or meeting, for example. Dr. Kavada called this ‘temporal agency’; activists can gain power by negotiating with, or interfering in, temporal rhythms. It could be interesting to think through these ideas in the context of my PhD as the activists involved in my case studies had very different media technologies available to them, which all involved different temporalities.
The other key theme of the symposium was memory. For some activists and social movements, the memory of past events, people, and movements can be an important source of inspiration, morale, and identity. There were several papers relating to the various ways in which activists carry out ‘memory-work,’ such as Lorenzo Zamponi’s paper on #ioricordo, a hashtag created to memorialise the 2001 Genoa G8 protests. Archives have a significant role to play in the preservation of memory. Foteini Aravani, the Digital Curator at the Museum of London, gave a fascinating presentation about the museum’s experiences collecting items and digital media relating to recent protests, such as Occupy London. You do not have to be a museum to create an archive, however, and some movements choose to keep their own records. Dr. Anne Kaun’s paper, entitled “Archiving Protest: Changing Temporal Regimes of the Archive,” discussed how modern social movement groups create their own digital archives. Occupy Wall Street had an archiving working group in order to capture representations of the movement from their own perspective. For my case study on the Battle of Cable Street, I am focusing on the various ways in which the Battle has been remembered, and how these memories are constructed and used, so this element of the symposium was also very helpful for me.
I have only mentioned a few of the great papers and speakers from Times Are A Changin’, there was so much interesting research presented that I can’t discuss it all. Suffice it to say that the symposium gave me a lot to think about, and I am confident that my own research will be better because I went. With that in mind, I would like to thank Sam Merrill and Anastasia Kavada for organising the symposium, and particularly Sam Merrill for inviting me. I look forward to seeing what comes next.
Turbulent Isles 