Month: December 2022

These days, the Twelve Days of Christmas aren’t kept as carefully as they once were, however, in the Middle Ages, it was commonplace for workers to put down tools and relax and celebrate Christ’s birth with masses and revels that stretched over almost two weeks. But why was the period so long when Christ’s birth happened in one day?

– Chuck Clip, Ghosts of Traditions Past, UASL, December 2022

This is the question Chuck Clip asks of his audience as the visit his new installation Ghosts of Traditions Past, which officially opens on Sunday, December 18th, 2022. In asking it, he sets the stage for an exploration of “Christmas traditions” in both images and words which explores how Christianity essentially usurped pre-Christian festivals associated with the end-of-year – notably that of the Roman festival of Saturnalia.

This usurping of already-popular / observed festivals from pre-Christian eras was pretty much de rigueur for the early Church, both to stamp its authority on things, and to bring people into the fold, so to speak. However, With its week-long festivities, Saturnalia was an obvious target for the Holy Roman Church for “conversion” to a “Christian” celebration, and in about the 4th century AD, it settled on December 25th  as the date of Christs birth (although in reality, He had most likely been born in the spring or autumn) – the date which, under the Julian calendar used the the Romans, the winter solstice fell.

In fairness to the nascent Christian church, the Romans had themselves sequestered the period in which Saturnalia was celebrated from earlier belief systems, notably those of the Celts in Western Europe and (particularly) the British Isles, who had in turn absorbed traditional going by even further into history – of which more anon.

It is from Saturnalia (itself, as noted, “borrowing” for other pagan festivals of earlier peoples) that many of what we regard as “Christmas traditions” come: the giving of gifts (such as candles, intended to signify the growing return of the Sun after the solstice and small terracotta figurines known as signillaria); the placing of coins in food for dinner guests to find; the use of wreaths; and so on. And, of course, the celebration of a “king” (Saturnalicius princeps), which generally occurred within Roman households – albeit one far from being a redeemer born as a babe, one far more mischievous and disruptive (and so also referred to as the “lord of mis-rule”), seen as a means by which Romans could thrown off the invisible bonds of orderly society and simply revel in a (brief) period of disorder, pranks and generally having fun at the expense of others.

Within Ghosts of Traditions Past, Chuck takes his audience on a 12-chapter tour of Christmas, a walk through a snowbound landscape to view 12 individual images representative of the traditions we now associate with Christmas and their likely origins, each told through local chat as one approaches each of the images.

Starting with Saturnalia (which itself started as a single day of festivities before expanding to around 7-8 days commencing some 14 days before the end of the 29-day Julian month of December (all of which helped to formulate the notion of the “12 days of Christmas”), these chapters take us through many of the pagan rites and observances which have been either absorbed into the Christian observance of the birth of Christ either directly or through their prior acquisition by Saturnalia.

Thus, following them in what amounts to a clockwise direction from the entry point (a tunnel leading into the landscape at its 6 o’clock position), the images run in an arc from the left, each one offering the story of a given Christmas tradition – the symbolism of the Christmas wreath, the pagan meaning of holly berries, the meaning of the yule log – even the significance of mistletoe in both pagan and Roman times.

The first 10 of the pieces are located to the snowy plain, backed by ghostly trees, with the final two on the rocky slope leading up to a Christmas tree sitting within Stonehenge, where visitors can obtain a special gift for the season from Chuck. And if you think that Stonehenge is somewhat out-of-place within this Christmas setting, being today more associated with summer solstice celebrations, you’d not be entirely correct.

Recent research (2017-2021) by a consortium led by the University of Bradford and the  Ludwig Boltzmann Institute for Archaeological Prospection and Virtual Archaeology, and involving the universities of Birmingham, St Andrews, Warwick, University of Wales Trinity Saint David, has revealed that Stonehenge sits within one of the largest prehistoric sites in the UK, a ring of 10m wide, 5m deep “shafts” encircling it, the Durrington Walls and Woodhenge. Dating back over 2,500, this ring of shafts  2km across, lends considerable weight to the idea that in Neolithic times, Stonehenge was the centre of extended winter solstice celebrations.

In much the same way, I’d hazard a guess that the use of ghostly trees surrounding the installation sit as a reflection of the tree and The Green Man as a symbol of rebirth and renewal – themes also closely associated with Christ, but which hold their origins to multiple pre-Christian religions. The Green Man (is that him or the face of God looking down on the setting from above?) also sits as a reminder that, even in the midst of its attempts to stamp its authority on the “old ways”, Christianity fell subject to pagan motifs; many are the churches and cathedrals to be found with the face of the Gren Man carved over their entrances or within their halls.

In viewing Ghosts of Tradition Past, I’m reminded of an observation by W. Somerset Maugham: Tradition is a guide and not a jailer. With this exhibition, Chuck cleverly uses the strictures of Christian seasonal tradition to guide visitors to an understanding of the festivals, beliefs and symbols which are both enfolded within that tradition and yet pre-dates it.

SLurl Details

• Ghosts of Tradition Past (UASL, Karpov, rated Moderate)

December brings with it two evocative and personal exhibitions on the subjects of Christmas, the human condition and the world at large. They are presented by artists I greatly admire for their ability to give us pause for thought through their narrative whilst also offering us the opportunity to appreciate them for their pure artistic quality. Given this, and the fact that these exhibitions are being shown in the halls of the main gallery space at the Kondor Art Centre, I’ve opted to write about them in a joint article.

Within Christmas in Ukraine, Hermes Kondor once more offers a series of photo-like images generated via the Midjourney AI programme and the post-processed to provide a collection of digital prints that are rich in emotional content. The best way to describe it is through Hermes’ own words:

Christmas in Ukraine is a personal project created to pay a deep heartfelt tribute to the people of Ukraine who do not have the same right, as we do, to celebrate Christmas. 

– Hermes Kondor

Digital productions these may be, there is no denying the humanity they contain. They also stand as a reminder that, no matter what your political stripe, the use of organised military force through acts of war in suppression of others is not something to be celebrated but – in a so-called civilised age – preferably avoided. For while it may well by measured in terms of political (or religious) “success”, it is inevitably a story of human suffering.

Across the square, Scyllia Rhiadra presents God with Us: Essays on Christmas within the lower-floor setting of the 2-storey Main Gallery hall 1.

Utilising avatar-centric photographs posed and captured within Second Life, this is a richly layered collection that juxtaposes her images with quotes primarily from the Gospels concerning the birth of Christ (although some are taken more broadly from the Bible and other religious writers), to produce pieces that both reflect the Biblical presentation of Christ’s birth and offer modern commentary.

Within this structure, Scyllia also seeks to express a measure of her own attitude towards Christmas, encompassing childhood memories – presents under the tree, etc., – with her outlook on matters of faith and the Christmas message and the messages of hope, sacrifice and love it contains. These are aspects that Scyllia beautifully outlines within the artist’s notes available from the board just inside the gallery entrance. As such, and at the risk of putting words into Scyllia’s mouth, I’ll focus here on the broader message these images convey to me.

To me this broader message appears to be a commentary on the realities of the so-called “Christian spirit” as all too often espoused by the organised churches and branches of the Christian faith today and which – I would gamble – Christ himself would oppose were He here. This commentary appears throughout many of the pieces within this exhibition; perhaps most visibly The Innocents; however, I’ll focus my thinking on the neighbouring piece, No Room.

On the one hand, this is a modern-day representation of the plight faced by Joseph and his heavily pregnant wife: forced to make a long, uncomfortable trek from Nazareth to Bethlehem to fulfil political requirements, only to find themselves denied reasonable comfort and rest on their arrival. On the other, with its modern backdrop, it is a reminder that, in an age of mass human displacement, when Charity – the so-called greatest of the three Christian graces (the other being faith and hope – see 1 Corinthians 13:13) – is greatly needed the world over, it is all too often the loudest voices raised in opposition to the idea of any form of charity, large or small, being given, are those all too equally loudly raised in proclamations of their “Christian values”.

This layering of context and meaning can be found throughout God with Us: Essays on Christmas, encompassing elements such as the commercialisation of Christmas and the sheer selfishness that Christmas tends to bring out, and more. All of which marks this as an exhibition fully deserving of considered viewing.

Two superb exhibitions by two gifted artists, both Christmas in Ukraine, and God with Us: Essays on Christmas are appropriate and engaging exhibitions for the time of year, and I have no hesitation in recommending both.

SLurl Details

• Kondor Main Galley complex, Kondor Arts Centre (Waka, rated Moderate)