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Foot of the Mound at the junction with Princes Street.
PROCESSIONS, a mass artwork celebrating 100 years of women voting, in Belfast, Cardiff, Edinburgh and London. 10th June 2018.
100 banners and 100 artists full list: www.processions.co.uk/partners-2/
Mass and procession around the City of Laoag for Nuestro Padre Jesus Nazareno de Quiapo. March 27, 2015 / Laoag City, Ilocos Norte. www.facebook.com/ImeeMarcos / www.flickr.com/photos/ilocosnorte / media[at]ilocosnorte[dot]gov[dot]ph (PGIN CMO Photo/ Alaric A. Yanos)
Part of our visit to Ubud was a stop at the market (which quite frankly was a real let down, as it consisted purely of tourist shops, and nothing particularly local about it), but what we did come across were two separate funeral/cremation processions starting. One organised by one of the wealthiest families on the island and one from a more 'average' income level family, and despite the intense heat and the crowds, this was a fascinating glimpse into local life.
After the procession, Yudi, Isabel and I played ´beauty salon´ Yudi´s house. This is my getting ready to chop off Yudi´s hair...
english : This was not a funeral procession, but a procession to celebrate Jesus Christ on a beautiful sunday, somewhere in italy. Peoples was walking and praying and singing.
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Français : Ca n'était pas une procession funéraire mais pour célébrer Jesus Christ un beau dimanche, quelque-part en italie. Les gens marchaient, priaient et chantaient.
On our second day at the castle, a procession of the Madonna started in the village below and ended at the chapel of the castle. We were allowed to stand by and watch and take photos. I have never seen anything like it before. I felt like a voyeur. But I couldn't stop myself from taking photos.
La Vara viene portata dai tiratori, fedeli alla Madonna e alla tradizione, che con la forza delle braccia e della fede trascinano la macchina pesantissima lungo la strada bagnata.
Le soste sono emozionanti e cariche di intensità. L’ammirazione della gente per i tiratori della Vara è totale; la devozione per la Madonna si percepisce in tutta la sua forza nel commosso grido “Viva Maria!” che segna la ripresa del cammino verso il Duomo.
The influence of both Indian and Indo-Caribbean culture can be seen in The Procession, as in much of Locke’s work to date. It is unclear whether the procession participants are wearing masks or if these are their true faces. Several figures and costumes within The Procession reference specific Caribbean Carnival characters from across the region. These include Mother Sally in her voluminous dress, Midnight Robber, wearing a huge, brimmed hat, Pitchy Patchy, dressed in a suit made of tattered, colourful pieces of cloth, and Sailor Mas, inspired by British, French and American naval staff. Each has its histories, and its portrayal differs across the Caribbean.
[Tate Britain]
Taken in the 2022 Tate Britain Commission:
Hew Locke: The Procession
(March 2022 – January 2023)
A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of Hew Locke’s ambitious new project, The Procession.
The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.’ Tate Britain’s founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,’ also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.
Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana.
The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future.
What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time.
Hew Locke
[Tate Britain]