NODAL INTERFACE

This worked out proposal is a visual loaded with rich connotations on my interpretation of Interfaces in rural areas. The research for this started with a critic on rural ‘hang-outs’ in contrast with urban ‘recreational areas’. The tradition of dancing and meeting at crossroads in rural areas evolved as a pragmatic site due to the convergence of two roads or two villages. This in itself screams with metaphor of the political/religious condition in Northern Ireland. Two communities abide side by side often segregated, sometimes integrated. In Belfast city, the overlap of these segregated areas is very evident through Ireland’s own Berlin wall’ or ‘peace-lines’ that snake through residential areas in Belfast literally separating protestant and Catholic communities. In rural areas, these enclaves of jurisdiction are not physically evident and exist predominantly as ‘states of mind’. The political border has now evaporated and it would seem infrastructure is now being laid down to ease tensions and hopefully gradually dispel any type of sectarianism or division. The CROSSROADS analogy offered a visual description of the convergence of two entities at a ‘nodal point’. The memory of more innocent times when dancing/music/performance/gatherings were organised at crossroads is now gradually beginning to look familiar in the current advent of a peaceful Northern Ireland. My proposal is to utilise this heritage and analogy and organise performances which occur at nodal points in rural towns and villages... Crossroads, Bridges, Wells, social hubs etc. This also addresses the current situation where the social hub or meeting point is the ‘pub’. I propose to create a demountable stage platform which could be easily erected at rural nodes. The platform would offer potential for performance, sculpture, dance, music, etc and would hover above or to the side of the convergence of roads or rivers without blocking their paths. It links to the idea of decontextualising the conventional artistic accommodation also, as it creates rural, country and a colloquial setting for artistic intervention. This makes art/culture much more accessible to the local farmer and offers a sense of ownership and pride to the area. This could be a model for rural regions throughout Ireland.


-Pól