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This workshop considers issues of social (re)integration arising from facial difference. It takes place in the unique surroundings of Hannah’s at Seale Hayne and will include a visit to the 1914FACES2014 / SAVING FACES exhibition at the Chapel Gallery, Seale Hayne.
Participation is free but places are limited.To register, please email j by 3rd June
9:30-10:00
Registration and refreshments
10:00-10:15
Welcome and introduction David Houston Jones and Manuela Barreto
10:15-11:00
Living with facial disfigurement: Stigma, empowerment and face equality: James Partridge Chair: Manuela Barreto
11:00-11:30
Discussion
11:30-11:45
Break and refreshments
11:45-12:15
The impact of the Savings Faces Art Project on the patients, the clinicians, and the public: Iain Hutchinson Chair: Thomas Morton
12:15-12.45
Guided tour to the Saving Faces Art project exhibition by Iain Hutchinson including questions and discussion
12:45-13:45
Lunch
13:45-14:00
Reconvene and Recap
14:00-14:45
Developing Interventions: Promoting Social Integration for People with Visible Differences: Nichola Rumsey Chair: Dale Weston
14:45-15:15
Discussion
15:15-15:30
Break and refreshments
15:30-16:15
Understanding interactions between individuals with and without a facial disfigurement: Dale Weston, Manuela Barreto, and Thomas Morton Chair: David Houston Jones
16:15-16:45
Discussion
16:45-17:30
Final discussion: Wrap up and plans for the future: Manuela Barreto
The Long Goodbye is a major installation of ‘love letters’ to those of a century ago who engaged in the participatory democracy of volunteerism and employment in aid of their communities and countries. Led by 1914FACES2014 collaborator SM Steele, The Long Goodbye is an eXegesis Poetry Collective project, funded by an Exeter Award and by the College of Humanities, University of Exeter, and reflects on ways of ‘re-facing’ the conflict of 1914-18 through memorial and imagined connections to individuals who lived through it.
This project includes not only combatants, but also the millions of non-combatants – from the sphagnum moss pickers on Dartmoor, to the women ‘Canaries’ of munitions factories, to children collecting eggs for the wounded, the blind massage therapists, the pigeon fanciers who became part of the signal corps, the young boys who took to the mines at age 12 and 13 to support their families while the men were away, the women who knit and sewed for the 4 million refugees, the 1.2 million women who went to work in offices, as mechanics, dentists, etc. etc. We also welcome letters to conscientious objectors, the valiant Quakers who served at the Front as Ambulance Corps. e.g., or those who joined the Non-Combatant Corps or who chose prison rather than fight, and we welcome letters from all sides of the conflict and in all languages.
We are looking for as wide an engagement as possible – including staff, students and the general public. All are invited to write a few lines on a postcard, or a letter, from us in 2014 to those in 1914 to those who left for the Great War. This can include non-combatants, children, women and people of non-military age, who engaged in or who were affected by the war on all fronts – the Western Front, Mesopotamia, Serbia, Africa, Australia, India etc
The installation of thousands of these letters will roll out on 4 August, 2014 from the Wall of the Welbeing Centre on the Streatham Campus, down the hill towards St David’s train station – the point of departure a century ago.
There will be an opening event on 4 August 2014 on the University Campus, which will include live music and dramatic readings from both the installation, and from Professor Tim Kendall’s Poetry of the First World War (OUP). There will also be a presence from the Chaplaincy from all denominations. Keep a lookout on this website for more information about this event.
eXegesis, whose ethos is of inclusivity and collaboration, is made up of the artist Dr. Jaime Robles, author of Hoard (2013), Mike Rose-Steel, PhD researcher, videographer, poet, philosopher, and SM Steele, PhD researcher, official war artist (Afghanistan 2008-2010), award-winning poet, librettist (Afghanistan: Requiem for a Generation) and video installation artist.
This workshop, held on 31st March 2014 at the Innovation Centre, University of Exeter, made a fruitful contribution to our exploration of the long-term cultural legacy of facial disfigurement. In underlining the close links between the face and the passions and studying their representations in past and contemporary works, participants tackled questions that lie at the heart of the 1914 FACES 2014 project, such as the expressivity of the faces of First World War disfigured combatants and the perceptions and artistic depictions of disfigurement since the medieval period.
A key concern throughout the day was the legacy of Duchenne de Boulogne and the enduring influence of the idea of the passions in contemporary representations of the face. The starting-point for this dialogue was François Delaporte’s paper, ‘La Fabrique du visage et des passions’. Drawing upon Professor Delaporte’s landmark publications in the field, including L’Anatomie des passions (2003), the paper addressed the revolutionary influence of Duchenne, not only transforming understandings of the muscle physiology of the face, but also leading to repercussions in numerous other fields including medicine, art, literature, cinema and philosophy. The session was chaired by Professor Bernard Devauchelle, and led into a round table featuring François Delaporte, Bernard Devauchelle and the maxillo-facial surgeon Professor Iain Hutchison (St Bartholomew’s). The session identified numerous avenues for further discussion, and informed the consideration of modern and contemporary treatments of the face in philosophy and the arts later in the day. The second paper, by Julie Mazaleigue, discussed the representation of sexual desire, including representations of bodily dysmorphia, with special reference to the face and the gaze. The enquiry stretched from Franz von Bayros’ controversial illustrations of the nineteenth century all the way through to twenty-first century cinema. Alex Murray’s paper then questioned whether the face can be considered as biopolitical, assessing the brief analysis of the face in Agamben’s work and considering its articulation in technologies of security and surveillance. Joe Kember focussed on Harry Langdon’s facial performances in silent cinema of the early twentieth century. An exploration of facial grotesquery, the non-expressive face and the allegorical meaning of the face in silent cinema culminated in an analysis of the face in short silent film clips. David Houston Jones, meanwhile, discussed the enigma of the expressive and inexpressive face in the work of Samuel Beckett and the French photographer Luc Delahaye, considering Delahaye’s debt to Walker Evans and documentary traditions while also subverting contemporary and historical norms concerning the visual representation of the face. The final paper of the day came from Professor Patricia Skinner, who gave a cutting-edge account of the medieval face and the iconographical traditions which underlie it. In particular, Skinner’s paper considered the relationship of the passions to the deadly sins: love, pain, fear and anger and the pathological understanding of those states. Skinner assessed the diagnostic value of physiognomy texts – associating facial features with character traits and behavioural tendencies – frequently bound together with collections of medical texts after the 13th century.
Accompanying the workshop was a selection of artworks by Justin Jones, curated by Cristina Burke-Trees, ahead of the upcoming Faces of Conflict exhibition beginning in January 2015 at RAMM. Jones’s work draws upon two key strands of 1914FACES2014: the facially injured soldiers of the first world war, and the Passions, the theme of today’s workshop.
