memorial – Anne Whitehead

4 July 20244 July 2024

Winter

Sounding the Angel can now be accessed in full here. In a series of four blog posts, I introduce each of the four sections of the sound work. Today’s post discusses the second part of the work, ‘Winter’. You can listen to this section here.

This is the second of four posts that share the sound work, ‘Sounding the Angel’. My last post, ‘Autumn‘, focused on the participants’ relation to the Angel of the North, asking why they had come to leave a memorial tribute at the site. This post reflects on the second part of the sound piece, ‘Winter’, which focuses on the act of leaving the memorial tribute.

Our first participant explained that he was scattering ash in memory of his wife at different locations that had been of significance to her. One of the intended sites had been Sycamore Gap, on Hadrian’s Wall in Northumberland, but the famous sycamore tree that was growing there had recently been chopped down. He was on his way to the National Arboretum of Scotland, to commemorate her amid the giant redwoods that she loved, when a rainstorm came on, so he stopped at The Angel instead. Even in the pouring rain, there was a man out walking his dog , and our participant reflected on the companionship offered by The Angel site – not only from the sculpture itself, but also from the visitors who are always there, and other memorial tributes that have been left in the trees. No other people were involved in the ritual, which was described as ‘a strictly intimate affair’ .

Our second participant also spoke of going to The Angel alone, to leave the tribute to her brother. Having come across clootie wells in Scotland, and the pieces of coloured cloth tied to the trees, she took the Christmas present ribbons and tied them to a tree in the copse, with the intention of adding to them on every visit, so that the tree would eventually look as if it was blossoming with new flowers. When she returned to the site, she found that some of the ribbons had gone, and also that the site was more crowded with tributes from other people. She found a different tree, on the perimeter of the memorial site, so that she could leave her tributes there, but this too was soon also in the middle of the expanding memorial. Where our first participant found comfort in the presence of the other tributes, our second participant preferred to be a little bit away from the main memorial garden. This inclination can also be seen in others when walking around the site, with some memorial tributes placed in trees that are a little distance away from the copse.

A resonance emerged between the two conversations as our participants reflected on what they had left. Speaking of the ash that formed the memorial tribute to his wife, our first participant reflected that ‘it would easily be blown away, or swept away, to be with the ghosts of the mineworkers that toiled below’. Likewise, our second participant found an unexpected comfort in her ribbons blowing away, observing: ‘wherever those ribbons are, [my brother] is there as well, and the love that we have for him and how we miss him and everything, those new places now know about [him]. I like the way mine has worked out, with the ribbons flying all over the country’. Both participants found solace in the wind’s dispersal of their tributes, seeing this as offering a connection to something larger – whether the mining community of the past, or different, unknown places, that had now become points of connection to the loss.

The impetus that led both participants to leave a tribute at The Angel was practical in nature. The first participant addressed the question of where to scatter his wife’s ashes, while the second participant faced the problem of how to grieve for her brother when there was no obvious place for her to go. The memorial site at The Angel is thereby connected to contemporary shifts in memorial practice, with a move away from the traditional cemetery plot, and with many mourners now located far away from the places that are associated with their dead. Following the coverage of this project in The Guardian, a number of people contacted me to suggest a connection between the memorial site and the tradition of rag or clootie trees. Here, one of our participants speaks of being inspired by Scottish clootie wells, and of consciously trying to recreate them at The Angel site. In my previous post, I reflected on whether the adaptation of the clootie tradition to the act of mourning might tend towards the use of more lasting or permanent fibres in the ribbon or cloth, but our participant finds comfort in the ephemerality of her tribute, as well as in the act of tying the ribbons itself.

In this section of the sound piece, you can hear recordings that David made with his contact microphones during Storm Babet. The heavy rain dropping onto the metal resonates through the structure, accompanying our first participant’s story of leaving the tribute for his wife at The Angel in the pouring rain, and suggestive both of the season and of tears.

3 July 20244 July 2024

Autumn

Sounding the Angel can now be accessed in full here. In a series of four blog posts, I introduce each of the four sections of the sound work. Today’s post discusses the first part of the work, ‘Autumn’. You can listen to this section here.

Today’s post introduces the first section of our sound piece, ‘Sounding the Angel’. The work has been divided into four sections, reflecting the project’s movement through the year from autumn 2023 through to summer 2024. For each of the seasons, you can hear samples from the field recordings that David made on site at that time of the year. In this section, you can hear passing traffic, recordings of the vibrations passing through The Angel, and samples from an autumn dawn chorus from the trees. ‘Autumn’ captures the participants’ previous associations with the site, and what The Angel means to them.

The two participants have very different relationships with The Angel of the North. Our first participant, who commemorated his wife by scattering some of her ashes at The Angel, described how the sculpture had threaded through their lives together. He describes his wife as ‘a Gateshead lass born and bred’, and speaks of her as an ardent defender of the sculpture when it was first proposed. The couple met and courted when they worked at a factory in the Team Valley – a site which now lies in the shadow of The Angel. After their marriage, he and his wife were both active in supporting the mineworkers during the strikes in the 1980s, he as a trade union organiser and she as a treasurer. At his wife’s funeral, the colliery band made a special recorded performance of her favourite tune, and her extensive collection of signature scarves was given away to people attending the funeral, with two of them then being tied to the top of local banner at the next Miners’ Gala Day procession.

Our second participant is South African, and she recalls vividly her first sight of The Angel, travelling north with her husband from Reading, where they were then living, to visit his family. Looking up from the road map, it seemed to her that The Angel filled the whole front screen of the car, and she describes the event as a ‘special moment’. Such was the impact of The Angel on her that our participant took her parents to see it when they visited from South Africa, and the sculpture had the same effect on them – especially her father, who was energised as he went up the hill towards it. It was on a separate occasion that the participant first registered the memorial site in the trees. Her friend was visiting and she spotted the memorials in the trees. When the participant’s brother died later that same year, she had no grave to visit and no places nearby that they had visited together. Her thoughts then returned to the memorial site. Her friend was later diagnosed with cancer, and The Angel became associated with her, too, because they had visited together. The memorial site helped the participant to feel connected to her friend and her brother after their deaths.

Even though the stories are very different in terms of the participants’ connection to The Angel, notable similarities emerged. For both participants, The Angel is comforting because it is constantly visible – on the news, on postcards, on stickers, and even on the inside pages of a passport. The second participant remarks that, even in South Africa, her parents see The Angel sometimes on TV or on a picture. The participants both also speak of their fondness for The Angel, which is associated with particular parts of the sculpture. The first participant remembers his wife always commenting on the shapeliness of The Angel’s bum and calves whenever she passed. The second participant speaks of the family nickname for The Angel – the ‘rusty bird’ – and of her love for The Angel’s wings.

The most striking resonance across the stories lies in the participants ‘ connection with the mining history of the site. I have already outlined the deep personal history that links the first participant, and his wife, to mineworking in the local area. Accounting for why her father was so energised by the site, the second participant explains that he used to work in the gold mines in South Africa. The sculpture was meaningful to him because it was built over a mine, and he spoke about the foundations of the sculpture extending deep underground. He observed to his daughter that ‘there must be people who died in the mines’, and that ‘The Angel is a memorial over them too’.

It is clear from our two conversations that The Angel has multiple layers of personal significance for both project participants, and that its associations also extend to the people memorialised. The iconic nature of The Angel means that there are constant reminders of the site in everyday life. The Angel’s presence as a memorial to mining and mineworkers is significant for both participants, both of whom have family connections to the mining industry.

28 June 202428 June 2024

Arches

Next week sees the installation of our sound piece in the Arches that mark the entrance to the main quadrangle of Newcastle University. Built in 1911 from a donation by north-east mining magnate John Bell Simpson, the brick structure now houses the Arches Sound Project, which projects four-track audio pieces through the microphones that have been installed in each of its corners. Passers-by can sit on the benches under the Arches to listen to the sound works in full, or they might encounter fragments of them as they walk through, whether to visit the campus or to cut through it to the Royal Victoria Infirmary beyond.

In the area just in front of the Arches, Antony Gormley’s Clasp has been installed, a semi- abstract sculpture that depicts two people embracing. The sculpture was installed on this site to celebrate the twentieth anniversary of The Angel in Gateshead, and our project both recognises and reinforces the line of connection between the two. Those listening to Sounding the Angel can also see the Clasp sculpture, so that the two works are brought into a new conversation with each other.

Turning to look in the opposite direction, one of the trees that has been planted immediately behind the Arches is a handkerchief or ghost tree, named after its beautiful, white flower-like bracts that flutter in the breeze, resembling innumerable pocket handkerchiefs. The bracts have now mostly fallen from the tree and been dispersed by the wind, which resonates with how the memorial tributes are described by participants in the sound work.

The installation, which lasts 30 minutes, is played on the hour every hour from 6am – 10pm, from 1-7 July. It comprises four parts, organized according to the seasons, and you can hear two counterpointed conversations with participants who have left memorial tributes at The Angel. These are combined with field recordings from the site across the seasons, documenting the sounds of nature and the vibrations resonating through The Angel itself. The piece is punctuated by a loud boom that was made by the metal of the Angel contracting after the heat of a summer’s day.

24 May 202424 May 2024

Remembering a daughter

In a recent post, I observed that some of the trees in the memorial at The Angel have been marked as the ‘plot’ of an individual family, making the site feel increasingly like a more formalised cemetery or graveyard. At the heart of the wooded copse, immediately beneath The Angel, an alder tree has been surrounded by a small wooden fence and a metal plaque has been placed into the ground, inscribed with the name of a family’s daughter. This tree at the centre of the memorial garden, which commemorates a little girl, represents for me the emotional heart of the site.

I do not know the girl’s surname, or her story. I only know her through this memorial tree. Over the few years that I have visited the memorial site at The Angel, the child’s family have decorated the tree each year on her birthday with tokens of the gifts they would have given her, including a birthday balloon which records that she would have been three, and then four, years old. I have found it moving to witness these tributes, both because of the parents’ ongoing ritual of remembrance, and because of the evident care with which the objects have been chosen and placed. The annual decoration of the tree takes place in the winter months, and the bare branches of the alders mean that The Angel is clearly visible above.

This tree raises questions for me about how I represent the memorials at The Angel, which are at once both public and private. The tree is so central to the memorial site – both physically and emotionally – that I do not feel I can tell the story of the grassroots memorial without documenting it. At the same time, there is a sensitivity in relation to it, because of the nature of the grief that it represents.

In an earlier post, I wrote of artist Miriam de Burca, whose work records the cillini: memorial sites in Ireland, which were burial grounds for those deemed unworthy of an official grave, including babies and children who had died before baptism. De Burca makes meticulous and detailed drawings of clods of earth from these remote and hidden sites, which she digs up, draws in her studio, and then returns to the site once the drawing has been made. De Burca’s drawing represents not only an act of recording, but also a quality of attention. The drawing takes time – it is not the instant image of the photograph – and it requires a sustained and careful process of observation.

Following de Burca’s lead, I have chosen to draw the tributes on this tree, with each pencil sketch taking several hours to complete. I hope that these works, which record just a selection of the many objects left on the tree, both recognise and honour a family’s acts of love and remembrance.

I have pointed out in a previous post that, while objects that are left on The Angel sculpture tend to be moved, the tributes left in the trees usually remain in place, disturbed only by the wind. This is true of the objects suspended from this tree, which visitors will often hang from its branches again if they are blown to the ground. On a recent visit, a toy monkey, which had been left at the side of the path leading out of the trees and which was getting muddy in the rain, had been placed in the fork made by two branches of the tree. This gesture protected the toy, and its positioning suggested that other visitors had also been moved by the memorial, wishing to leave their own gift for the little girl alongside those of her family.

In a moving piece of writing, Marcus Weaver-Hightower – the father of a stillborn baby, Matilda – reflects on the importance of things to parents who experience baby loss. He writes that material objects connected to the baby can help parents to resist ‘a pressure from others to forget (get over it)’, as well as offering a focus when there is ‘a lack of adequate quantities of memories and few people who share these memories’ (476). Weaver-Hightower adds that some parents actively create memories by buying new toys and other baby things, which can ‘provoke memory’, and which ‘might be kept in private or publicly displayed’ (476). His words chime with the memorial rituals that I have observed at the tree beneath The Angel, and my drawings of some of the tributes that have been left there seek to register their affective power, not only for the family but also for those who visit the site and encounter them.

References

Marcus Weaver-Hightower, ‘Waltzing Matilda: An Ethnography of a Father’s Stillbirth’, Journal of Contemporary Ethnography 41.4 (2012), 462-91.

18 April 202418 April 2024

Objects left on The Angel

Most of the posts in this blog focus on the memorial tributes that are left in the trees, which stand immediately below The Angel of the North. A variety of notes and trinkets are regularly either suspended from the branches of the trees or placed beneath them. Less often, memorial objects are also left on, or at, the sculpture itself, and it is these tributes that form the subject of today’s post.

The construction of The Angel means that a series of enclosed ‘shelves’ is created where the ribbing between sections meets, and these alcoves are readily accessible at the height of The Angel’s calves. That these ‘shelves’ can be easily reached is attested to by the layers of grafitti that are inscribed there – another way in which visitors to the site leave traces of their presence behind. When I visit, I often walk round The Angel first to check whether any objects have been left there, before proceeding down to the stand of trees.

I have written in a previous post about the difficulty of being able to tell whether an object is a memorial tribute, or if it is something discarded, or perhaps something found that has been placed there in the hope that it will be reunited with its owner. I observed that this problem of identification increases on the perimeter of the memorial site in the trees, and the same issue arises when faced with those objects that have been left at or on The Angel. It can be impossible to determine sometimes why a particular object might have been left there. In this post, I therefore focus on four tributes that I believe have been left with memorial intent, even if I do not know who or what is being commemorated by them.

The first tribute is a cap and a single red rose, which were left on adjacent ‘shelves’ on The Angel (pictured above). The rose had a card attached, but I could not see if any message was written on it and I followed my usual practice of leaving the objects undisturbed. It was tempting to read the grafitti behind the objects – the ‘Jacob was here’ behind the rose and the series of three kisses inscribed above the cap – as accompaniments to the objects, but it is more likely that their placing was either accidental, or that the person, or people, who left the objects there felt that they formed appropriate backdrops for their tributes – although the accompanying image behind the rose seemed to discount that theory.

The rose was more ephemeral than the cap, and it had disappeared by the time of my next visit. The cap had been moved to the memorial site in the trees and it was hanging on a branch of the oak tree near the entrance to the copse. Over my next few visits, the cap changed position in the memorial site a number of times. I was unsure whether it was being moved by the person who had originally left it there, or if other visitors were positioning and repositioning it across the site. I found that this degree of mobility often characterised objects that were left on or at The Angel; much more so than with the objects that were left in the trees, which tended to be moved by the wind but not by other visitors.

The second tribute also makes use of adjacent ‘shelves’ on The Angel, this time to place two bouquets of flowers, which were seemingly purchased on the way to the site and with the shop label partially removed. One of the bouquets is accompanied by one of the wild flowers that grows on the edge of the field on which The Angel stands. The next time I visited, there was no sign of these flowers; these seemingly quite spontaneous tributes are often ephemeral in nature. These two bouquets were left on The Angel, but it is more common to find them leaning against The Angel’s feet, at the front or side of the sculpture.

The third tribute that was left on the ‘shelves’ of the ribbing was a pair of plaster-cast wings. I spotted them as soon as I arrived, because they had been placed on the eastern side of The Angel, visible from the path that leads from the car park. Occupying a single ‘shelf’, the wings had been carefully positioned to echo but not to touch each other, and other visitors, like me, were looking at them but leaving them undisturbed.

When I returned the following week, I could see that the wings were no longer on their original ‘shelf’. Walking round to the west side of The Angel, however, I found both of the wings positioned on adjacent shelves, and arranged vertically to form a different kind of pairing.

Once again, I had no way of knowing whether the wings had been moved by those who had originally left them on The Angel, or whether subsequent visitors had altered their positioning and their placement. The movement from east to west had shifted the wings from sunrise to sunset, and I was tempted to find some meaning in this, even as I was aware that it was most likely coincidental. On my following visit, the wings had disappeared, and, even though I looked for them in the trees over succeeding visits, there was no further sign of them. This disappearance of the object was unusual, unless it was itself of a more ephemeral nature: it was more common that a tribute left on The Angel would turn up in the trees, if it was no longer visible at the sculpture itself.

The fourth tribute left on The Angel was a small, artificial candle. Smaller than the other objects, it had been positioned on The Angel’s north side, where the ribbing is narrower and the ‘shelves’ correspondingly smaller. There was no accompanying note or message, although its memorial purpose seemed clear. There was something touching in the contrast of scale between The Angel and the diminutive candle; something too, perhaps, in the way in which The Angel seemed to shelter the candle’s tiny flame and to offer it protection. I thought of The Angel, unlit at night, forming a vast shadowy presence, and I wondered if this solar candle would then illuminate a tiny scrap of the surrounding dark. There was something of the altar about this tribute; the positioning of the candle transforming the domestic ‘shelf’ into something with a more sacred resonance.

The placing of objects at or on The Angel is facilitated by the design of the sculpture itself, which, as I have noted, forms ‘shelves’ of varying depths onto which the tributes can be placed. It is nevertheless striking that the memorial tributes are more commonly left in the nearby trees rather than at The Angel itself. This might be due to practical considerations – objects left here are more exposed, both to the weather and to other visitors, and so are often moved or disappear. Objects left at The Angel accordingly tend to be ephemeral and disposable in nature – tributes such as flowers, or a candle. The exceptions to this – the cap and the plaster wings – were subsequently repositioned, whether by the same visitor/s or others, with as much apparent thought and care as when they had originally been placed there.

Why, then, do the trees rather than The Angel seem to have a gravitational pull, such that even objects placed on The Angel seem to end up there? One factor certainly seems to be the shelter that they afford from the elements, especially the force of the wind. But the trees also offer shelter from other visitors, who venture less frequently into the copse, and are less likely to disturb what they find there. Leaving a memorial tribute on or at The Angel is a more public act, even if it is conducted when nobody else is there. The memorials in the trees constitute tributes that are public and private, and that speak not only to The Angel, but also to the community of other memorial objects that they join, and by which they are surrounded.

25 March 202426 March 2024

Chimes

There are a few sounds that are particularly evocative for me of the memorial site at The Angel of the North: the rustling of the alder leaves overhead in the summer months, the steady background hum of traffic on the nearby A1 motorway, and the tinkling of wind chimes when they are caught by a gust of wind.

Over the several years that I have been visiting the memorial, I have photographed a number of different wind chimes that have been suspended from the branches of the trees. Some, as in the photograph above, have been comprised of several bells, while others are made up of a single bell. The placing of wind chimes at the memorial is unsurprising, given their traditional association with good luck and the summoning of benevolent spirits, as well as their conventional placing at the site of a shrine.

When I visited The Angel last Friday, it was late afternoon and there was a high wind carrying occasional spatters of rain. There were only a few visitors and they did not venture down to the memorial site, which does not yet have its sheltering canopy of leaves. The strong winds had brought down even more branches since my last visit and the site felt raw and exposed with the late winter gale and darkening skies.

As I emerged from the memorial site up the little banked path that leads to The Angel, I caught the intermittent notes of a wind chime as it trembled in the wind. I headed along to one of the trees that edge the path leading west from The Angel to listen more closely to its strange music. As David wasn’t with me, I captured the sound by holding my mobile phone close to the chimes and pressing record.

Audio credit: Anne Whitehead

When I listened back to the recording, I could hear the tinny tinkling of the chimes, the gusts of wind, and the ever-present background noise of the traffic.

David’s recordings of The Angel with his contact microphones enable us to hear both the wind and the traffic resonating through its hollow structure. I have written in a previous post about the ways in which listening to these vibrations through his headphones shifts our perception of the sculpture, so that it is transformed momentarily into a vast musical instrument. If The Angel resonates with the wind that buffets its wings and vibrates down through its body, then the wind chimes in the trees form a high percussive complement to its deep notes.

Attending to the various sounds of the memorial site enables us to register the invisible but powerful presence at The Angel of the wind. Its destructive effects can currently be seen in the fallen branches and scattered tributes. But the wind can also be heard as it sets into motion the chimes that hang from the trees. With the help of David’s microphones, we can also capture the wind’s eerie booming and droning within the interior space of The Angel itself, as it forms a mighty echo chamber. The influence of the trees on the memorial site is evident, because it is visible. But if we attend to the auditory aspects of the site, we can encounter the vital agency of the wind, in its creative as well as its destructive aspects.

6 February 20246 February 2024

Speak Their Name

Yesterday, I went to see the North East Speak Their Name Suicide Memorial Quilt, which is currently being exhibited at Newcastle Cathedral. The Speak Their Name movement originated in Manchester and the first memorial quilt was made during the pandemic. The North East project was led by Tracey Beadle of the charity Quinn’s Retreat and Suzanne Howes, both of whom have lost children to suicide.

The quilt is made up of three panels with 120 squares in total. Working with suicide bereavement groups across Tyne and Wear, Teesside and County Durham, the project provided a supportive community for those bereaved by suicide to remember their loved ones by making their own square. Looking at the panels, it was evident how much care had gone into the design and making of each square, and they spoke powerfully to the lasting impact of suicide loss.

Some of the squares used photographs of loved ones to make portraits of them as they are remembered now. Kelly’s aunt used a photograph of her niece to create a cyanotype on the fabric, capturing the lovely young woman that she was.

Dyllon’s mother used a photograph of her son that was on his laptop and that he himself had drawn. Tracing over the image, she sewed in details to celebrate her son’s artistic nature and love of Goth.

Other squares focused on the person’s passions. Paul was remembered by his aunt through a nurse’s uniform and stethoscope, representing his ambition to be a nurse and his commitment to his studies through a life-threatening illness. The square also celebrates the qualities of compassion and care that drew Paul to nursing as a profession, and that characterised him as a person.

Samuel’s brother shared his passion for football and they often went to see Crystal Palace together. He used the shirt that his brother wore to the games to make his square, and sewed onto it his name and the age he was when he died. Samuel had worn the shirt to the FA Cup Final in 2018.

A number of the squares had quotations embroidered onto them. Graham’s son wrote onto his square the words of a song that his Dad used to sing to him every evening when he went to bed.

Mark’s son remembered the Moomins book that his Dad had given him, and which became a firm favourite. He embroidered onto his square an image and a quote from the book.

Naomi’s best friend turned to the poetry she has read as a source of comfort and connection since her death, and her chosen quotation from Emily Dickinson was a poem that she felt Naomi would have loved.

Graham’s daughter-in-law also looked to where she had found comfort and solace since his death. Her square represents Lochranza Castle on the Isle of Arran, where she and her husband had felt a strong connection with Graham through the beauty of nature. Sand gathered from Lochranza beach has been attached to the square to form the shape of Arran, together with a magpie to represent Graham’s love of Newcastle United.

These are only a few of the squares sewn into the panels; each of them gives a vivid and intimate portrait of a person who is loved and who was lost to suicide. The inscribing of the names speaks a loss that is socially difficult to communicate and often silenced. The squares also speak eloquently of creativity and community, balancing grief with hope.

The quilt will be on display in Newcastle Cathedral until 27 March 2024.

30 January 202431 January 2024

Lamesley

I wrote in my last post about the mining explosion of 1757 that killed 16 men at the Ravensworth Ann Pit, which formerly occupied the site where The Angel of the North now stands. All 16 of the men were buried in the churchyard of St Andrews’ Church in Lamesley on 12 June 1757, and this weekend I walked to the village to see if there was any surviving trace of the burials.

The Angel of the North is in the parish of Lamesley and its silhouette was clearly visible behind the church, as I looked across from Lamesley Pastures. The Pastures are an area of farmland that has remained undisturbed by mining and that is now being managed by the Durham Wildlife Trust as a winter water meadow, using medieval methods of flooding the fields in winter to provide a habitat for wading birds such as curlew, lapwing, redshank, and snipe. Exmoor ponies grazed in the surrounding fields, which helps wildflowers to thrive.

The village also houses the ruins of Ravensworth Castle, former seat of the Liddell family. Barons of Newcastle, the Liddells occupied the estate for over 300 years, much of their fortune coming from coal mining on the land. Walking round the churchyard, I found tombs and gravestones dedicated to various members of the Liddell family. Although not buried in Lamesley, Alice Liddell, the model for Alice in Wonderland, was a relative of the Liddells of Ravensworth and the village pub, The Ravensworth Arms, is where Lewis Carroll is reputed to have written parts of the book.

Although I searched carefully among the graves, I could find no memorial to the mining accident of 1757, and neither did I see any individual graves for the men listed on the Durham Mining Museum website. It could be that, unlike the Liddells, the miners’ families could not afford to mark the burial site, or the stones might either have disappeared over the years or weathered to make the writing illegible. There was one communal grave in the cemetery, now planted with wildflowers, which marked an outbreak of cholera in 1848-9 that claimed the lives of 120 people in the neighbouring village of Wrekenton. In his paper, ‘On the Mode of Communication of Cholera’ (1855), Dr John Snow reported that the disease was particularly virulent among the mining communities. He wrote as follows:

The mining population of Great Britain have suffered more from cholera than persons in any other occupation; a circumstance which I believe can only be explained by the mode of communication of the malady. Pitmen are differently situated from every other class of workmen in many important particulars. There are no privies in the coal pits, or as I believe in other mines, the workmen stay so long in the mines that they are obliged to take a supply of food with them, which they eat invariably with unwashed hands and without a knife and fork.

Snow also reported that, once contracted, cholera spread among the mining community faster than in any other occupation, due to the working conditions underground.

Even though I could find no trace of the miners killed in the explosion, other headstones in the churchyard commemorated individual miners whose lives were lost in the surrounding collieries. William and Mary Richards of Ravensworth lost one son, William, aged 28, in 1841, when he was working at the Stoddart Pit of Marley Hill Colliery. A second son, George, died in 1845 after an accident in the same colliery that broke his back when he was coming up the shaft. Although George survived the initial impact, he died six weeks after the injury.

A second headstone also commemorates two lives lost from the same family, although the exact relation between the men is not clear. George Steel died at Newbottle Colliery in 1821, aged 28, and Charles Steel died at Springwell Colliery in 1840, aged 55.

Walking through the graveyard in Lamesley gave me a different perspective on The Angel. Not only was I seeing the sculpture itself from an unaccustomed viewpoint, but reading it in relation to the gravestones in the cemetery offered a new sense of it as a memorial to the coal industry. Coal mining employed many men across the region, and it also generated substantial profits. The Liddells as landowners had mined coal on their estate since the early seventeenth century, and their profits enabled them to demolish the original castle in 1808 and to commission the foremost architect of the day, John Nash, to build a grand house for them in the Gothic Revival style. How do the ruins of Ravensworth Castle relate to The Angel that now rises on the hill above them? How, too, do we position The Angel in relation to the largely agricultural landscape of Lamesley? Lamesley Pastures reminded me that farming also takes place in the shadow of The Angel, and that it is important to consider the diversity of employment in the surrounding area, both historically and in the present. Does The Angel risk projecting a monolithic history of the North, based in the decline of heavy industry, and occluding alternative stories and identities?

References

Northumberland Archives, ‘The 1848-9 Cholera Visitation’, 16 May 2017, https://www.northumberlandarchives.com/2017/05/16/the-1848-9-cholera-visitation

24 January 202430 January 2024

Ravensworth Ann Pit

sculpture of miner — Ray Lonsdale, ‘Marra’, Horden Village, 2015. Photo credit: Angie Scott.

In my previous post, I wrote about the explosion of 1757 that killed 16 men at the Ravensworth Ann Pit, the mine on which The Angel of the North stands. Fifteen men were killed by the blast, and one died later. A partial list of the who died is on the Durham Mining Museum’s website, alongside the details of a further 64 men who died as a result of accidents while working at the mine. Before 1850 there was no legal requirement to record fatal colliery accidents; while the Durham Mining Museum commemorates 20,900 on-site deaths at collieries in County Durham and Northumberland, the number of men and boys who died will therefore be much greater. This figure also does not include those men who died from mining-related illnesses such as emphysema and pneumoconiosis, or those who died in the days or months after being injured.

In his history of Birtley, Robert Hull documents that in 1741 George Humble of Birtley had opened a pit known as Birtley Colliery. Prior to this, the Bishop of Durham, George Winship, had leased the Birtley land to a series of tenants for coal mining and routes had been put in place to transport coal to the River Tyne, probably leading to the staiths at Felling. In 1731, there had been a dispute over working conditions, described as a ‘mutinous revolt’, but very little is known about this incident. Hull records a description of the Birtley mine in 1750, just a few years before the explosion nearby:

There were two pits visible and one covered by Humble’s Waggonway besides the Stappel pit which Humble spoke to where there was a vacuum at about 5 fathoms. Winship had a pit at Stappel, waste heaps prove this. By the widths of the shafts opened there must have been house ginns for no Jack Roll (a wooden windlass turned by hand) could draw the water at so wide a pit and he has no doubt that the Waggonway pit will be found in the Winship’s working pit. (p. 23)

Below, I list some of the miners who died in the mine explosion of 1757, using the information that is available on the Mining Museum webpage for the colliery. Even though this event has long passed out of living memory, it is fitting on a blog that is dedicated to the Angel of the North site as a memorial to commemorate the names that have been passed down. Although no women are named, it is hard not to imagine the impact on their lives in reading the names of those killed by the explosion, which in some cases claimed two generations of the same family.

The names of those miners who died from individual accidents at the Ravensworth Ann Pit can be found on the Durham Mining Museum webpage listed in the references below.

In Memoriam:

John Brown, address: Penny Fine. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

John Brown, son of John Brown, address: Penny Fine. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

Ralph Brown, son of John Brown, address: Penny Fine. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

John Carr, address: Cox Close. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

John Cole, address: Cox Close. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

Paul Gardiner, address: Cox Close. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

William Gardiner, address: Ravensworth. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

Thomas Garfott, son of William Garfott, address: Kibblesworth. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

William Garfott, address: Kibblesworth. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

William Hewson, address: Street Gate. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

William Hewson, son of William Hewson, address: Street Gate. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

Matthew Morrowley, address: Kibblesworth. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

James Richardson, address: Cox Close. Buried: St Andrew’s Churchyard, Lamesley, on 12 June 1757.

A series of serious explosions in the coal mines of the north east led the Rector of Bishopwearmouth to search for a safer way of lighting coalmines than the open candles that miners routinely carried underground. Almost sixty years after the explosion at the Ravensworth Ann Pit, Humphrey Davy was commissioned to work intensively on the problem. After two months in the laboratories of the Royal Institution, Davy made the first prototypes of the miners’ safety lamp in 1815. In January 1816, the lamp was successfully tested at Hebburn Colliery and it was immediately put into production. The lamp significantly reduced deaths by explosion in the mines, but it also enabled mining at greater depths, which meant that coal mining remained a very dangerous occupation.

References

Durham Mining Museum, ‘Ravensworth Ann Colliery’, https://www.dmm.org/colliery/-003.htm

Robert Hull, Birtley: The Growth of an Industrial Community in the Nineteenth Century, with a foreword by Antony Gormley (Tudhoe, County Durham: Durham County Local History Society, 2023).

Royal Institution, ‘Humphry Davy’s miners’ safety lamp’, https://www.rigb.org/explore-science/explore/collection/humphrey-davys-miners-safety-lamp

23 January 202423 January 2024

Easington Colliery

When I first spoke to David about the Sounding the Angel project, he told me about a recording he had recently made at Easington Colliery in County Durham. He had been recording the wildlife in the ponds with underwater microphones, and had walked up to the reconstructed pit cage nearby, which marks where the miners would have descended into the mine for their underground shift. Using his contact microphones, David tested to see what noise this large metal structure might make. The sound that he heard through his headphones is similar to the vibrations that reverberate through the hollow form of The Angel, and David integrated them into the larger sound piece that he was making. You can hear ‘There Is Power In These Titans Yet’, David’s recording of the pit cage memorial, here.

Listening to David’s piece through headphones, the deep rumblings, surgings and flexings caused by the structure’s amplification of the wind are similar to the sounds that the contact microphones pick up at The Angel. David’s evocative title invites us to read the piece as a sonic statement of the energies and potential that still reside in former mining areas. As with his recordings of the aquatic life in ponds, David’s sounding of the pit cage shows us that community extends beyond the human, and his work gives us insights into a larger ecology that mostly goes unwitnessed. The recordings make visible that which lies below the surface, whether that is the unseen wildlife under the water, or sounds that travel through the earth. Each of these elements of David’s work resonate with the Sounding the Angel project, given the siting of Antony Gormley’s sculpture on the former pithead baths of Ravensworth Ann Colliery, also known as the Ann Pit.

Last weekend, I visited Easington Colliery to gain a better sense of the inter-relationship between the reconstructed pit cage and The Angel. To what extent can one be transposed onto another, and what distinguishes them apart? Approaching the pit cage from a pathway that leads from the road, way markers give visitors key facts about the history of the mine. Although the pit cage now stands in isolation, an extensive mine works had once surrounded it. The sculpture is only fully visible after climbing to the crest of the hill, framing a view of the sea beyond. From beneath the pit cage, I looked out over extensive views north to the Sunderland coastline, and south to Teesside. Although there were some other visitors, the sculpture did not have the same constant flow of people as The Angel.

Metal pit cage with backdrop of the sea — Photo credit: Anne Whitehead

The most significant difference from The Angel became apparent when I followed a muddy track past a children’s playground to the Easington Colliery Disaster Memorial. Here, a horizontal pithead wheel is enclosed in a circular wooden cage, and the spaces between the spokes of the wheel have been filled with coal. The memorial commemorates a significant mining accident that took place on 29 May 1951, when an explosion in the mine resulted in the deaths of 83 men, two of whom were rescue workers. The death toll was so high because the explosion occurred at the change of shift, which renders the pit cage memorial even more poignant. The ornamental metalwork that surrounds the Disaster Memorial inscribes the year of the explosion and the total number of men that were lost.

Metal flowers with inscribed plaque — Photo credit: Anne Whitehead

I have previously differentiated the grassroots memorial in the trees from roadside memorials, noting that the memorial at The Angel does not mark the site of a death. Comparison with the memorials at Easington Colliery offers a sharpened perspective on this statement. Paired with the Disaster Memorial nearby, the pit cage at Easington marks the site where the explosion occurred in 1951; the sculpture commemorates the 83 lives that were lost there. The form of the pit cage is also specific to the event of the explosion, commemorating the change of shift that had entangled so many men at a single site.

If I turn to the entry for the Ravensworth Ann Colliery on the website of the Durham Mining Museum, the single listing under ‘Disasters (5 or more killed)’ is an explosion that took 16 lives on 10th June 1757. This accident, although claiming over the 10 lives that qualify an event as a mining disaster, is on a smaller scale than at Easington and it is far outside of living memory. Under ‘Names of those killed at this colliery’, 80 men are listed, including the 16 men who died in the explosion. The remaining 64 men died as a result of individual accidents, most often killed by a fall of stone or being struck by a truck. These deaths have different causes and, while they lend weight and specificity to Antony Gormley’s intention to commemorate on the site those who died as a result of the mining industry, The Angel is not specific either to these men or to the Ravensworth Ann colliery. The form of The Angel does not explicitly reference the mine, and the sculpture’s title gestures to the broader demise of heavy industry across the region.

Reading the pit cage at Easington Colliery in relation to The Angel calls attention to the importance of history in understanding the resonance of the site as a memorial space. The pit cage memorial at Easington marks the site where the explosion occurred in 1951, and it commemorates the 83 lives that were lost. The Angel stands on a site that still carries the emotional weight of the 80 deaths listed by the Mining Museum as having occurred over the timeframe that the colliery was in operation. Nevertheless, Gormley’s sculpture does not commemorate either a single event or particular lives. The lack of specificity of The Angel lends itself to adoption as a grassroots memorial in a way that the Easington pit cage memorial does not – the sculpture marks the site out as a place of memorial significance, but it evokes a range of associations, meaning that visitors can more readily connect it to their own particular lives and losses.

References

‘Ravensworth Ann Colliery’, Durham Mining Museum, https://www.dmm.org/colliery/-003.htm