Over the last few years I have been gathering together information about my great grandfather with the help of other interested in parties in the UK and the US. It’s starting to come together into something that might make an interesting book, but I’ve got some holes in the story that still need filling.
While working on it I’ve been trying to link it into my art practice because there are many elements within the story that are useful for creating a more anchored approach. I discovered while studying that there was a desire by many viewers (who were familiar with my work, being faculty, peers etc) to know *why* I was interested in the topics I was exploring. Saying “because they interest me” didn’t appear to fulfil the need for a more solid base of understanding and legitimacy. When I brought up my family history it seemed to create an instant anchor for the viewers that allowed them to investigate the work rather than spending time trying to ascertain my motivations.
Looking at the life of my Great Grandfather George Watson MacGregor-Reid (who I will from here refer to as GWMR) I have found access points into my own practice and into my own personality. There are some interesting aspects of GWMR’s interactions with the worldly and the ‘otherworldly’ that strike a chord.
In many ways his era was the beginning of a huge upheaval in western thinking in regards to british relationships with other humans and to the natural world. There was a greater understanding of human rights and liberties, the rise of archeology and of interest in non-european cultures (although at this stage it also went hand-in-hand with cultural theft and appropriation), the ideas that workers have the right to fair working conditions and pay, the beginnings of gradual decay of the class system and the rise of the middle class, interest in health, medical science, diet, exercise as well as a revival of interest in the ‘occult’ or mystic sciences.
The artistic disciplines also saw a boom time with Art Nouveau and Symbolism seeing out the Victorian Era and the birth of Modernism heralding the new century. These people, the ones at the forefront of this change of attitude and age of exploration in Britain, were GWMR’s friends and peers.
I’ve been spending a lot of time looking at the ritual costume and magical artefacts of different cultures. I really love these images but I’m also aware that I need to be careful of cultural appropriation issues. This issues follow me around constantly as other cultures have such rich histories in these areas and I’m easily seduced by them. But they aren’t ‘mine’ and I need to take inspiration from the fact that many of these ritual practices are a universal means to interact with the otherworldly, but avoid aping them or stealing from them.
GWMR as ‘The Dastur’ – one of his many spiritual altar-egos, taking on the mantle of a Zoroastrian high priest (Stonehenge approx. 1912)
GWMR lived in a time when cultural appropriation wasn’t recognised as problematic in any sense, and this, of course, is tied in with my british ancestors only starting to recognise the humanity of other cultures. GWMR had a great passion for quashing human rights abuses wherever he saw them. He was fascinated by the Senussi Sufis in North Africa and their struggles against the French colonial expansion into their land. (He even claimed to have fought along side them, although I have yet to verify this story.) He was also a committed Tibetan Buddhist and maintained that he had lived with monks in Tibet (Another, so far, unverifiable tale) where he adopted the name ‘Ayu Subhadra’ for his spiritual writings.
Page from “The Path That Is Light” kindly copied from the library of Adam Stout
He adopted personas that fit with the ideas he wanted to convey, and wore costume that allowed him to exist and impress as these magical characters. To me this reflects the use of ritual costume to communicate with the other world and to cross thresholds or barriers.
• Ritual dress can be used to accentuate certain parts of the body, certain characteristics or traits.
• It can be used to assume the powers of another being or archetype.
• The wearer becomes a moving, breathing assemblage of symbols or visual language. The body and the wearer become the magical language.
To go with this ritual dress are the ritual objects imbued with the power to allow the practitioner communication with the other world. These objects might offer a symbolic language, they might off protection, the might hold within then the secrets to crossing the threshold. Often the objects might be incorporated into the dress; hidden in pockets or sewn into the very fabric of the costume. The objects might be carried or moved by the practitioner, placed on an altar, moved across a map or diagram.
I have a map/diagram of ideas that I created at the residency in Finland that I am revisiting. The concepts I wrote down in January closely mirror the subjects I am now working through in regards to GWMR and my large collection of found images from the last few months.