With origins in language, a word for its regional variations and dialects, and for its use in practice rather than laid down in official sources, the term ‘vernacular’ developed across disciplines, from linguistics to architecture and beyond. It is viewed here as a term with an interdisciplinary, and even anti-disciplinary charge.
Exploring the vernacular continues to energise creative practitioners of all kinds. Attention to the vernacular has held the potential to critique the official, the elite, the monumental and the powerful by recovering the commonplace; the cultural production of the majority rather than the powerful minority typically studied. Traditionally the vernacular has been linked to the preindustrial and the place-bound and thus to the singularity of place, often by way of determinants of climate and geography.
In Ulster a wide variety of scholars and practitioners have sought human creations that tended to be characterised by constraints rather than by individual artistic freedom; by the narrowed range of choices experienced by ordinary people; solutions guided by unconscious or unselfconscious design; or by the ‘traditional’, passed-down and evolved rather than individually created.
Cultural forms were identified that were thought to be threatened by the homogenising forces of industrialisation and globalisation. Distinguishing something as vernacular continues to be a way of retaining it and so for some, a symptom of the contemporary fear of the loss of place.
The term can be criticised, however, for its dependence upon contradistinction, for placing things in exclusive categories, making distinctions that become untenable in practice. Some have advocated for the term as a kind of ‘frontier’, a word marking out the new for study and reproaching scholars for the limited range of their subjects. Others have argued for processual approaches, critical of studies that are preoccupied with production and neglect use.
These lenses provide a widened scope for vernaculars in which creation comes from our current cultural environment where vast ranges of manufactured things are assembled rather than made, expanding the term into contemporary conditions, and provide new perspectives on the old.
We encourage a range of formats in response to this call and invite papers, visual presentations, readings and performances in any discipline in which Ulster is a part, and vernacular in any of its possibilities is a perspective, a taxonomy, a subject of critique, an inspiration for practice, a celebration.
Themes can include:
- Identity, belonging and placemaking
- Makers and skills
- Hidden knowledge communities
- Design origin and evolution
- Interpretation and re-interpretation pathways
- Collecting, mapping and recovering
- Curation, engagement and impact
- Decolonisation and diversity
- Women’s roles in vernacularities
- Beyond Ulster: migration, diaspora and networks
- Challenging preconceptions of the vernacular
Please send your abstract / proposal (max 300 words), name, email address, position and institutional affiliation to vernacularitiessymposium@gmail.com by May 6th 2024.