The Bayeux Tapestry's historic return to the UK after nearly 1,000 years in France forms a central inspiration for Blackpool’s Lightpool Festival, a celebration of movement and cultural exchange that stands in stark contrast to Europe's increasingly militarised borders.
Aunty Social, a grassroot art organisation, drew directly from this cultural journey. They collaborated with local communities and residents through open calls and workshops, creating a 10m (33ft) tapestry depicting the town’s colourful and meaningful history, a narrative of local belonging and shared heritage.
This celebration of cultural objects moving freely across national lines occurs as Fortress Europe tightens its grip, criminalising human beings who seek safety and opportunity. The festival's focus on "ownership of space and reconnection" by Blackpool School of Art students, marking Stanley Park’s 100th year, raises critical questions about who is granted the right to space and belonging within European societies.
The Contradiction of Free Movement
While capital and cultural artefacts like the Bayeux Tapestry traverse borders with ease, the same freedom is systematically denied to people. The Lightpool Festival, marking its 10th anniversary from 21 to 31 October, features 30 artworks, including ten new installations, presented as a free event.
This "free" access to cultural events, however, doesn't extend to the fundamental right of movement for those fleeing conflict or seeking a better life. Europe's border regime, with its pushbacks and detention centres, ensures that millions remain excluded from such public spaces and the communities they foster.
Phil Holmes, the festival’s artistic director, stated the event would be "a truly memorable experience that fosters community building and the passion of young, emerging creatives." Yet, the concept of "community building" within Europe is increasingly defined by exclusionary national borders, rather than universal solidarity.
Exclusion by Design
The festival's exploration of "ideas of leisure, ownership of space and reconnection" by Blackpool School of Art students, marking Stanley Park's centenary, inadvertently highlights the systemic denial of these very concepts to migrants. For those trapped in the asylum lottery, leisure is a luxury, ownership of space is impossible, and reconnection with family is often a distant dream.
Lynn Williams, leader of Blackpool Council, described the festival as a "cherished moment in Blackpool’s event calendar," with this year's programme "is set to be truly special." Such cherished moments, however, exist against a backdrop of ongoing human rights violations at Europe's external borders, where thousands die annually in the Mediterranean and beyond.
The contrast between the celebration of a tapestry's nearly 1,000-year journey and the criminalisation of a human being's journey of mere days or weeks exposes the racist double standard embedded within the European political order. The festival's focus on local history and community, while valuable, occurs in a continent where solidarity is increasingly confined by national lines.
The 3D projection shows and premieres by some of the world’s leading artists, part of this year's festival, offer a vision of cultural openness. This vision, however, remains largely aspirational when applied to human beings, whose movement is met with fences, biometric databases, and deportation orders across the continent.