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Conference Papers
Professor Paul Gough
3rd University College London/Imperial War
Museum Conference on Materialities and Cultural
Memory of 20th Century Conflict
Abstract
Body:Guard: the soldier as ceremonial unit
and fragment
The picture postcard image of a Guardsman standing sentinel outside
the palaces of Imperial London is one of the most visible material
objects of the Capital. Garbed in imposing bearskin hat, strident
red tunic and unflinching verticality, the guard is the apotheosis
of military control and whole-ness: his is the body Imperial. But
it is also the body impractical, theatrical and compromised by ceremonial
rectitude.
This paper briefly explores the material culture of the ceremonial
body by looking at two differing representations of the Coldstream
Guards: firstly, the short film Guards (Francis Alys, 2003) in which
64 guardsmen gather and incrementally form a phalanx of armed troops
that stride unopposed through the square mile of the City of London.
The second image is from a commemorative painting by David Rowlands,
a regimental artist commissioned regularly by the British armed
services to paint composite images that reflect the varied roles
of a battalion on home duty.
Where Alys’s work is concerned with the power generated through
the choreographed military body; Rowland’s paintings represent
diversity and fragmentation: the body often represented as an individuated
member.
Rowland’s fascination with multi-tasking heterogeneity is
compared with Alys’s undifferentiated troop, captured on film
as ciphers, their material trace caught as synchronised sound.
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