Exploring Digital Narratives of Cultural Heritage at Dreamland
Conveying social history through digital mediums at Dreamland, focusing on subcultures, nostalgia, and the evolving concept of "New Vintage." Discusses using apps, GPS, and augmented reality to enhance visitor experiences and capture the essence of past eras in an interactive way, while also addressing the challenges and opportunities of preserving cultural identity in a rapidly changing world.
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For Seminar 10 Memory, heritage, history, retro, revival As well as Savage Pick one from this list (or add your own punk/pop autobiography) Marc Almond, Tainted Life: the Autobiography(Pan Books, 2000) Adam Ant, Stand and Deliver: the Autobiography(Pan Books, 2007) Pauline Black, Black by Design: a 2-Tone Memoir (Serpent's Tail, 2012) Billy Bragg, The Progressive Patriot: A Search For Belonging (Black Swan, 2007) Boy George, Take It Like a Man: the Autobiography of Boy George (Sidgwick& Jackson, 1995) Richard Hell, I Dreamed I was a Very Clean Tramp: an Autobiography(Ecco Press, 2013) Holly Johnson,A Bone in My Flute (Arrow Books, new ed. 1995) Isaac Julien & Colin MacCabe, Diary of a Young Soul Rebel (BFI, 1991) Nick Kent, Apathy for the Devil (Faber, 2011) John Lydon,Rotten: No Irish, No Blacks, No Dogs (Plexus Publishing, new ed. 2003) Horace Panter, Ska'd for Life: a Personal Journey with The Specials (Pan, 3rd ed. 2008) Penny Rimbaud, Shibboleth: My Revolting Life (AK Press, 1999) Steve Strange, Blitzed!: the Autobiography of Steve Strange(Orion, 2002) Raven Taylor, If I Fall Back Down. A Punk Rock Memoir (New Haven Publishing, 2013) Tracey Thorne, Bedsit Disco Queen: How I Grew Up and Tried to be a Pop Star (Virago, 2013) (Also available via Bob as Radio 4 s Book of the Week) Boff Whalley, Footnote*(Pomona Press, 2004) Jah Wobble,Memoirs of a Geezer: Music, Mayhem, Life (Serpent's Tail, 2010) AND one from this list Nick Groom, "Please wash your hands before leaving the 20th century Nick Groom", Popular Music and Society, 19.1, 1995, 157-167
Dreamland Brief You don t need to be there to be there Digital technology in an analogue park How do we convey social history digitally through the medium of Dreamland. Sub Cultures, Day Trippers, Economics and Revivals. The New Vintage this iteration of Dreamland is a 50 s and 60 s pastiche of repro and retro made cool, but in twenty years time what will the new Vintage be? Will Dreamland be a 90 s revival park with Brit Pop, Pop Rave and the optimism of new labour over post war whimsy? Families and local s how does this current aesthetic and cool national profile meet the needs of the Thanet locals? How can we do it better? A park that symbolic of better days, happier times that provided Margate with its identity.
Digital Analogue Apps, GPS, or hangout linked to a subculture. Taking stuff that s already out there. QR codes, tag, Augmented Reality Adding on, have an app and when you go the park, it would flag up history, and might be prompted to build an album of social history, How the TV screen of heritage footage, , is a form of history, encourage social media feedback, Video, photos, - changing formats and what do they mean
New Vintage Fashion in waves, Sports casuals, reebok casuals, What will be the new vintage? Some subcultures merge (skate and sportwear). Less defined, Fragmentation, technological innovation harder to keep something? How do you keep it yours? Rebirth of zines, return to the digital (and they are loads easier to make because of the technology)
Heritage and local community Margate s past, iconic past like Brighton and Southend, Mods and rockers, skins, fashion heritage and subculture heritage, Local making the past marketable in the present, is that exploitative, meet the needs of the locals, locals get in for free, work along side. Capture resistance to the park, JOBS,
Groom What is he saying, how and why? (in a nutshell, in a diagram) How can this inform your reading of memoirs?
Memoirs in the room Adam Ant Morrissey Steve Strange Horace Panter Richard Hell Viv Albertine Boff Whalley Margaret Thatcher
Present your memoirs why were they written? What shape are they? How do they fit together as a genre. What is their role in subcultural identity work? Create a template for the perfect subcultural memoir
For next week Theatres of Memory extracts and John Savage Where are they now? Think about New Vintage or Heritage and the local: Key themes, concepts, bibliography, key reading, primary source.
and You need to produce your own reflexive history of Brighton. Use it to really think about what you have gained from this course. How does Brighton look different to you now? What does this course look like in practice. Be as creative or literal as you like. Ideas might be: Pick one spot, place or area. Think about a walking tour. Or think about a re-enactment or restaging of an event. Interview each other. You may work in groups or on your own. You may use film or sound only or create a series of images. Don t worry about the editing and polishing. Filming something on a mobile phone is fine. Just make sure that it is in a format that we can show on our computer systems and uploadable (so not enormous).
