Proposal for Scottish about rejuvenation programme for Bowling Basin
I would like to propose a site-specific performance piece as part of the Bowling Basin rejuvenation programme. The performance would aim to attract the local community, passers by as well as anyone interested in the history of the harbour.
The Bowling Harbour was first opened in 1851. It was a pioneer within the UK shipbuilding industry and provided the country with a large quantity of quality ships, before and during the war. The area was also vastly known for fishing and as a luxury holiday destination. As the yard closed in the 1970’s the life surrounding It disappeared as well. The performance lets the audience to interact with the site in a new way to help them understand …show more content…
The new harbour is located along the National Cycle route 7. Providing home to a few new boats, a pick nick area and a café. If you head further North, you will end up in the remains of the old harbour where the wrecks of six ships can be found. Wooden posts divide it from the greater part of the Clyde, but it is easily accessed from the new harbour by boat. The site is important to the performance. The ruin boats make time uncertain. They at once show the audience a surviving fragment of the past but it also shows the decaying past in the present, bringing up a dystopian future where all the present as we know it will end in decay. By staging the site-specific performance in both the new and old harbour we further blur time. Continues comparison is shown between past and present which will hopefully incite change. Without the ruins the same atmosphere would not be created simply by the audio-visual material. Hearing the waves splash against the ruins or the acoustics the site produces further plays with the audience senses George Simmel states that the ruin projects all alterations of the site’s past and its destinies. Thus we see the yard’s life-span in one ruin. Foreshadowing that decay does not necessarily have to be an option of the new docks. The audience imagine a future yet to be known to them of what will happen to the …show more content…
Spectators get into small rowboats which each hold four people. Crossing the lock from the new harbour over to the old signifying a shift between times. The first station nearest to the lock is a floating film-screening tent. The films include clips from a range of genres, all connected by the theme of shipbuilding life on the Clyde. Such as Seawards the Great Ships (1961) and Floodtide (1941). The screen is positioned in a way that ships may be able to stop and see not only the screen, but also the backdrop of the Clyde and the Erskine Bridge in the distance. The aim of this is to bridge the distance, using the clips as remembrance, between the now silent Clyde and the bustling Clyde of the past. The ruin of a past industry which the Clyde represents, and the wrecks in the basin only show us fragments of their past narratives. We only know what we see from their remains. With the use of media, we complete some missing elements of the ruins pasts. The film footages themselves are in the process of ruination, as they reflect disappeared societies and the footages themselves are fading colours. The tent will also be positioned so that it may be viewed by spectators from the shore by sitting on the large steps on the
I would like to propose a site-specific performance piece as part of the Bowling Basin rejuvenation programme. The performance would aim to attract the local community, passers by as well as anyone interested in the history of the harbour.
The Bowling Harbour was first opened in 1851. It was a pioneer within the UK shipbuilding industry and provided the country with a large quantity of quality ships, before and during the war. The area was also vastly known for fishing and as a luxury holiday destination. As the yard closed in the 1970’s the life surrounding It disappeared as well. The performance lets the audience to interact with the site in a new way to help them understand …show more content…
The new harbour is located along the National Cycle route 7. Providing home to a few new boats, a pick nick area and a café. If you head further North, you will end up in the remains of the old harbour where the wrecks of six ships can be found. Wooden posts divide it from the greater part of the Clyde, but it is easily accessed from the new harbour by boat. The site is important to the performance. The ruin boats make time uncertain. They at once show the audience a surviving fragment of the past but it also shows the decaying past in the present, bringing up a dystopian future where all the present as we know it will end in decay. By staging the site-specific performance in both the new and old harbour we further blur time. Continues comparison is shown between past and present which will hopefully incite change. Without the ruins the same atmosphere would not be created simply by the audio-visual material. Hearing the waves splash against the ruins or the acoustics the site produces further plays with the audience senses George Simmel states that the ruin projects all alterations of the site’s past and its destinies. Thus we see the yard’s life-span in one ruin. Foreshadowing that decay does not necessarily have to be an option of the new docks. The audience imagine a future yet to be known to them of what will happen to the …show more content…
Spectators get into small rowboats which each hold four people. Crossing the lock from the new harbour over to the old signifying a shift between times. The first station nearest to the lock is a floating film-screening tent. The films include clips from a range of genres, all connected by the theme of shipbuilding life on the Clyde. Such as Seawards the Great Ships (1961) and Floodtide (1941). The screen is positioned in a way that ships may be able to stop and see not only the screen, but also the backdrop of the Clyde and the Erskine Bridge in the distance. The aim of this is to bridge the distance, using the clips as remembrance, between the now silent Clyde and the bustling Clyde of the past. The ruin of a past industry which the Clyde represents, and the wrecks in the basin only show us fragments of their past narratives. We only know what we see from their remains. With the use of media, we complete some missing elements of the ruins pasts. The film footages themselves are in the process of ruination, as they reflect disappeared societies and the footages themselves are fading colours. The tent will also be positioned so that it may be viewed by spectators from the shore by sitting on the large steps on the