'Anyone But England‘, Glasgow 2014 and the Independence Referendum: Exploring the Role of Narratives in the Sociological Study of Scottish Sport.

Drawing upon the findings of my MSc dissertation and the proposed methodology for my current PhD thesis, this paper will critically reflect upon the potential uses of narrative analysis within the sociological study of sport. The majority of this paper will consider the expression of anti-English sentiment by Scots in relation to both sporting and wider social contexts. Drawing upon the conceptual framework of ‘narrative identity’ proposed by Somers (1994), data was generated through semi-structured interviews focusing upon the ‘ontological’ and ‘public’ narratives of Scottish identity as expressed by Scots living in England. The relationship between Scotland and England is argued to be heavily influenced by the existence of an ‘underdog mentality’ grand ‘public narrative’ for Scots in relation to their English neighbours, based on perceived differences in economic and sporting resources. This ‘underdog mentality’ is argued to act as a legitimating force for the expression of anti-English sentiment within an individual’s ‘ontological narrative’ in both a sporting and wider social context. The paper concludes by reflecting upon the benefits of adopting a narrative analysis approach, and outlining the proposed use of similar methods within my PhD research on the 2014 Glasgow Commonwealth Games and the Scottish independence referendum.

Panoramic Sea Happening (After Kantor): Video Installation

Panoramic Sea Happening (After Kantor) is a 7 minute durational film that reimagines part of Tadeusz Kantor's original sea happenings from 1967 in a landscape in which the sea has retreated. The conductor of Kantor’s original performance is replaced with a sound object cast adrift on a beach in Dungeness (UK). The object plays back the sound of the sea into the landscape, which was performed live and then filmed from three distinct angles. The first angle mimics the position of the conductor in Kantor’s original happening, facing outwards into the horizon of the beach and recalls the image in Kantor’s work of a human figure undertaking the absurd task of orchestrating the sound of a gigantic expanse of water. The second angle exposes the machine itself and the large cone that amplifies the sound, reinforcing the isolation of the object. The third angle reveals a decommissioned nuclear power station and sound objects used as a warning system for the power plant. Dungeness is a location where the sea has been retreating from the land, leaving traces of human activity through the disused boat winches, abandoned cabins and the decommissioned nuclear buildings. It is a place in which the footprint of the anthropocene is keenly felt. The sound object is intended to act as an anthropomorphic figure, ghosting the original conductor and offering the sound of the sea back into the landscape through a wide mouthpiece, echoing Kantor’s own load hailer in the original sequence of sea happenings. It speculates on Kantor's theory of the bio-object, which proposed a symbiotic relationship between the human and the nonhuman object in performance, as a possible instrument to access a form of geologic imagination. In this configuration, the human itself is absent, but is evoked through the objects left behind. The sound object, helpless in a red dingy, might be thought of as a co-conspirator with the viewer, enabling a looking back to the past in a landscape of an inevitable future. The work was originally commissioned by the University of Kent in collaboration with the Polish Cultural Institute for the Symposium Kantorbury Kantorbury in Canterbury (UK) to mark the 100 years since Tadeusz Kantor’s birth (15 - 19 September 2015). It should be projected and requires stereo speakers.