Stonehenge humour – joke


Sacrilege, a huge inflatable Stonehenge replica, will briefly appear in London parks this summer.

A section of Sacrilege, the life-sized inflatable model of Stonehenge conceived by Jeremy Deller Photo: Jeremy Deller

A section of Sacrilege, the life-sized inflatable model of Stonehenge conceived by Jeremy Deller Photo: Jeremy Deller

As part of the London 2012 Festival celebrations, Turner Prize-winning artist Jeremy Deller has created Sacrilege, a life-sized inflatable replica of Stonehenge which has popped up unexpectedly in locations throughout the country. With the Olympics beginning shortly, the massive bouncy castle is now set to begin its brief tenure in London.

 First seen in Glasgow, the work is a co-commission between the Glasgow International Festival of Visual Art and the Mayor of London, and has been supported by Creative Scotland and the Arts Council England.

Deller has described the work as “a way to get reacquainted with ancient Britain with your shoes off” and access to the bouncy castle will be free and open to people of all ages. Mayor of London Boris Johnson expounded on the broad range of people it is likely to appeal to, saying: “’You don’t have to be a specialist in ancient British history or an acolyte of the summer solstice ritual to be aware of the unending fascination that Stonehenge continues to inspire around the world. Jeremy Deller’s Sacrilege is a wonderfully witty, quite literal leap into that history and a fantastic example of the irreverence that are hallmarks of our great British humour and our incomparable artists. I have no doubt it will be a great hit with Londoners as well as visitors to the capital.’

Although exact opening hours of the portable Stonehenge are unconfirmed a list of London opening dates and locations have been released and are listed below. Dates are subject to change so it is advisable to confirm before departure for the venue. For updated information on times and local weather conditions members of the public are asked to follow sacrilege on Twitter @Sacrilege2012.

Sacrilege tour dates (subject to change)

Sat July 21 – Sunday July 22
Central Park, Greenwich, London

Wednesday, July 25
King Edward VII Park, Brent, London

Saturday, July 28
Paddington Recreation Ground, Westminster, London

Sunday, July 29
Cheam Park, Sutton, London

Tuesday, July 31
Ravenscourt Park, Hammersmith & Fulham, London

Wednesday, August 1
Hampstead Heath, Camden, London

Thursday, August 2
Clapham Common, Lambeth, London

Saturday, August 4
Burgess Park, Southwark, London

Sunday, August 5
Barra Hall Park, Hillingdon, London

Tuesday, August 7
East Ham Central Park, Newham, London

Thursday, August 9
Crystal Palace, Bromley, London

Friday, August 10
Alexandra Palace, Haringey, London

Saturday, August 11
Christchurch Green, Redbridge, London

Sunday, August 12
The Waterworks Nature Reserve, Lee Valley Park, Enfield, London

Source: http://www.telegraph.co.uk/travel/destinations/europe/uk/london/9405605/Jeremy-Dellers-Stonehenge-bouncy-castle-comes-to-London.html

The Stonehenge Tour Company – http://www.StonehengeTours.com

Children were walking on air today after Turner Prize-winning artist Jeremy Deller unveiled his life-size bouncy castle… of Stonehenge.

The 20ft-high inflatable, called Sacrilege, is modelled on the prehistoric monoliths and was opened to the public on Glasgow Green as part of the 18-day Glasgow International Festival of Visual Arts Festival.

It was designed using detailed plans of the Salisbury monument and took two months to make thanks to the efforts of workers at Inflatable World Leisure, who Mr Deller said built the first ever bouncy castles in the UK.

King of the bouncy castle ... Jeremy Deller's Sacrilege at Glasgow Green is part of the Glasgow international festival of visual arts. Photograph: Jeff J Mitchell/Getty Images

King of the bouncy castle ... Jeremy Deller's Sacrilege at Glasgow Green is part of the Glasgow international festival of visual arts. Photograph: Jeff J Mitchell/Getty Images

 

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The 20ft-high inflatable, called Sacrilege, is modelled on the prehistoric monoliths and was opened to the public on Glasgow GreenThe 20ft-high inflatable, called Sacrilege, is modelled on the prehistoric monoliths and was opened to the public on Glasgow Green

Children were walking on air today after Turner Prize-winning artist Jeremy Deller unveiled his life-size bouncy castleChildren were walking on air today after Turner Prize-winning artist Jeremy Deller unveiled his life-size bouncy castle

His giant inflatable is one of the highlights of a festival programme featuring more than 130 artists at almost 50 venues across the city.

Mr Deller, who won the Turner Prize in 2004, said: ‘It has taken two months to put together so it is wonderful to finally see it up and being used by the public.

‘Stonehenge is a part of our history and it is such an iconic structure that I wanted to recreate it as accurately as I could.

‘We haven’t done it exactly but it is as close as we could get it. People should come down – it’s here for two weeks and it’s free.’

After appearing in Glasgow, the castle – the artist’s first major work in Scotland – will be taken on a tour of the UK.

Artist Jeremy Deller has a go on his installation in ScotlandArtist Jeremy Deller has a go on his installation in Scotland

The giant inflatable took two months to build and is one of the highlights of a festival programme featuring more than 130 artists at almost 50 venues across the cityThe giant inflatable took two months to build and is one of the highlights of a festival programme featuring more than 130 artists at almost 50 venues across the city

 

After appearing in Glasgow, the castle - the artist's first major work in Scotland - will be taken on a tour of the UKAfter appearing in Glasgow, the castle – the artist’s first major work in Scotland – will be taken on a tour of the UK

Other highlights at the Glasgow festival include solo shows by Glasgow-based 2009 Turner Prize winner Richard Wright, Adrian Wiszniewski and Karla Black.

Mr Deller added: ‘I couldn’t have done it without the help of Inflatable World Leisure who built the first bouncy castle in the UK, so they are good company to be in.’

The festival also includes the first UK show called Triumph, an installation of more than 2,500 discarded sporting trophies collected by Polish-born Aleksandra Mir, and an exhibition focused on Glasgow’s Socialist Sunday School movement that flourished in the early 20th century.

More than 90 per cent of the work on show during the 18-day festival is either new or previously unseen in the UK.

'Stonehenge is a part of our history and it is such an iconic structure that I wanted to recreate it as accurately as I could,' Mr Deller said‘Stonehenge is a part of our history and it is such an iconic structure that I wanted to recreate it as accurately as I could,’ Mr Deller said

There will also be a range of newly commissioned works drawing on other artistic disciplines such as dance, film and music.

Teacher Lynda Darrock, 31, visited the bouncy castle with children from Annette Street Primary School in Govan, Glasgow.

She said: ‘The children thought it was absolutely amazing. They were talking about it all day, I even had a go myself.

‘They keep asking if we are going back.

‘Jeremy spent lots of time talking to the children beforehand and afterwards asking if they enjoyed it. He was brilliant.

‘Some of the children have been to Stonhenge and they were blow away with how similar it is to the real thing. They had a great day.’

AND HERE’S THE REAL THING… THE MAGIC AND MYSTERY OF STONEHENGE

The Wiltshire monument was completed around 4,500 years ago and is believed to have taken around 35 years to complete.

The largest of the gigantic upright stones weighs about 40 tons – the equivalent of an articulated lorry.

A Time Team dig (for the Channel 4 show) in 2009 established that Stonehenge was built around the same time as Durrington Walls, another henge, or circular earthwork, two miles away.

The two adjacent henges were part of the same complex, with Durrington Walls the location for a massive Neolithic village that housed the workers who built Stonehenge.

The Time Team suggested that this site housed up to 4,000 people, which would have made it the largest Neolithic settlement in north-west Europe.

The Wiltshire monument was completed around 4,500 years ago and is believed to have taken around 35 years to completeThe Wiltshire monument was completed around 4,500 years ago and is believed to have taken around 35 years to complete

While the circle at Durrington Walls represented life and the land of the living, Stonehenge, encircled by burial mounds, represented the land of the dead, the team claimed.

The two were connected by the River Avon and the procession route from one to the other represented the transition from life to death.

It is thought that the stones used at Stonehenge were moved from Marlborough Downs, about 20 miles to the north.

Digs suggest that the area around the stone circle was used to bury the cremated remains of hundreds of people.

Other experts believe that it was a place for healing.

Meanwhile, a study earlier this week suggested Stonehenge could have been designed with acoustics in mind like a Greek or Roman theatre.

A team of researchers from the University of Salford spent four years studying the historic site’s acoustic properties in a bid to crack the mystery of why it was built.

While they could not confirm the exact purpose of the stones, the researchers did find the space reacted to acoustic activity in a way that would have been noticeable to the Neolithic man.

‘Stonehenge is very well known, but people are still trying to find out what it was built for and we thought that doing this research would bring an element of archaeology that so far hasn’t been looked at,’ lead researcher, Bruno Fazenda said.

He added the new area of acoustic science, named archaeoacoustics, could be helpful in the archaeological interpretation of important buildings and heritage sites, some of which may not exist in their original form, such as in the case of Stonehenge.

Because the site in Wiltshire is in a derelict state, researchers travelled to Maryhill in the U.S. where a full-sized concrete reconstruction of Stonehenge was built in 1929 as a memorial to the soldiers of WWI.

They were able to make proper acoustic measurements that allowed an investigation into striking acoustic effects such as echoes, resonances and whispering gallery effects.

The second phase consisted in the creation of a full 3D audio-rendition of the space using a system comprised of 64 audio channels and loudspeakers especially developed at the University of Salford based on Wave Field Synthesis.

This system enables an accurate and immersive recreation of what Stonehenge would have sounded like.

SOURCE – Read more: http://www.dailymail.co.uk/news/article-2132789/Stonehenge-bouncy-castle-comes-Glasgow.html#ixzz1sgMI1wJF

The Stonhenge Tour Company
www.StonehengeTours.com

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Thought I’d share this Stonehenge Joke with you……..

It was an early attempt to precisely map positions of stars and planets to facilitate better horoscope writing.

A few people drank too many cups of espresso one morning, had to work it off.

It was a technological innovation from a people way ahead of their time, as explained by the little-known inscription: “Someday we will be able to use this to receive something called ‘satellite TV’ for free.”

And if you have time, read further………….

Stonehenge, Merlin, and gallows humour
Stories that `explain’ Stonehenge have been told since the Middle Ages.

People have tried to explain Stonehenge for centuries – certainly since the Middle Ages. The monument probably takes its name from Old English stan hengen – `the stone hanging (- places)’, suggesting it could perhaps have been an Anglo-Saxon execution site. But no excavation there has located one of those pathetic, contorted burials that so graphically illustrate early medieval royal control (see BA, February). Although Domesday Book shows that Stonehenge was on a royal estate, it was not the meeting-place of the local hundred court. Nor is it close to a boundary, and although roads went close by, it was not at a crossroads. So it was probably not an Anglo-Saxon `killing-place’; but people who saw in the stone trilithons a similarity to the two-post and crossbeam gallows typical of the period may have given the monument its macabre name – England’s first example of gallows humour?

Any joke was lost on Henry of Huntingdon, the author of the work in which Stonehenge is first recorded, for the early copies of his book spelt it stanenges, perhaps because he took the name from an h-dropping Wiltshire native. The section of his History of the English that mentions Stonehenge was issued c. 1130, and it is quite likely that Henry had seen Stonehenge, for he gives an eye-witness account: `stones of remarkable size are raised up like gates, in such a way that gates seem to be placed on top of gates’ – a graphic description of how the lintels of the outer sarsen circle are overtopped by the central trilithons.

Henry regarded the monument as one of England’s marvels: `no-one can work out how the stones were so skilfully lifted up to such a height, or why they were erected there’. He was soon to be given an explanation, however. Geoffrey of Monmouth’s History of the Kings of Britain of c 1136 claimed that Merlin had the stones brought from Ireland and re-erected, using his `wondrous art’ at the behest of his British patron. Twelfth century writers understood patronage, and their Histories reflected contemporary tensions by offering legitimisation variously to Normans, English, or Welsh.

Henry accepted Geoffrey’s story, but many others since have not, doubting the existence of the `old book’ that he claimed was his main source. He must have had some source other than Henry, however, as he put the `h’ in his spelling of Stonehenge. But what he says about the monument does not suggest that he had ever seen it; he seems to have thought it a single ring, and makes no mention of the lintel-stones. If he had known the area better, he would not have described Amesbury, beside the Avon, as a mons (`mountain’).

If Geoffrey did not know the area, how much trust can be placed in his stories about the stones being moved? The archaeologist Stuart Piggott argued that the story of the transfer of the stones was a folk-memory of the bluestones being brought from Wales. Folklore scholars say that these stories were common-place, and that Geoffrey could have heard them told about other stone rows and circles, and done a bit of transferring of his own.

Stories to `explain’ landscape features were probably told often enough; `the tendency of fiction to gather round places and place-names’, as the historian Patrick Sims-Williams wrote in a study of their use (or uselessness) in understanding the Anglo-Saxon settlement. One area for which much has been claimed is Uffington, where the long barrow Wayland’s Smithy is recorded in a 10th century charter, and where other names around the White Horse, such as the Ring Pit, may seek to locate the exploits of Wayland, the mythical smith. Barrows, recognised as ancient burial places, were particularly likely to acquire heroic names. But in general the boundary marks in Anglo-Saxon charters are boringly prosaic. The circuit of an estate close to Stonehenge went `from the Avon to the old camp ditch . . . to the track . . . to the boundary that Wulfsige laid down’, recognising previous use of the land with its reference to an Iron Age or Roman enclosure but not giving it a fabulous origin. Ownership rights are stressed by the reference to Wulfsige. Heroes, giants and gods are allowed an occasional place, but overall the landscape is viewed as parcels of property.

Local people may have told stories about Stonehenge, but the monument’s name does not suggest anything but some grim tale about an execution – or it may just be a nickname. It can only be said that, from archaeological evidence, medieval people seem not in fact to have used the place at all. It was what Henry of Huntingdon said, a marvel, but it had no role to play in the medieval landscape of managed, demarcated downland, where the king’s sheep grazed under the watchful eyes of their shepherds.

One of these shepherds may have spoken to Henry of Huntingdon. When Henry asked for an explanation of the monument, the shepherd did not reply with a story about Merlin and the rest, but gave the answer that summed up local knowledge and has not changed since – `I don’t know.’