#the composition is more cohesive and the emotional journey is evident

[iamnotlookingidonotseeit]

was schoenberg. ok (<- fully aware he was not)

[georgiafitzsimons]

DRAFT LEARNING AGREEMENT

To illustrate the evolution of my learning agreement, I documented versions featuring substantial changes. This practice facilitated referencing to assess the success or shortcomings of each iteration. Despite my initial satisfaction with one version, upon revisiting it and engaging in discussions with my critical buddy Leia, I identified it as overly lengthy and detailed. Subsequently, I refined the version I ultimately submitted, affording me greater freedom to explore aspects like audience, narrative theory, and critical contexts in a more concise manner. While I had content for each of these elements, I recognised the need for a more refinement, anticipating that in-depth analysis could be undertaken later in the process.

This one particularly focused on the highlighting of the 5 w's and 1 h along with this I tried to link in the LO'S.

FINAL MAJOR PROJECT BRIEF 

Synopsis of study   

'Sound often cannot be linguistically transcribed fully, but it can be surprisingly well notated through the communally agreed upon methods of music and graphic notations.' Vernallis, C. (2004) P.176.  

To cater and enhance the audiences' understanding of a specific musical materials concept I will be creating promotional material such as posters, videos and interactive pieces featuring and interpreting David Ward's song 'Freewheeling' (2023). I have a goal to evoke a range of emotions through visuals while improving upon my use of composition in both physical and digital works. This endeavor is a challenge to leverage various Adobe software tools and create a high-quality set of materials that visually narrate the song.  

Tailored for a diverse audience, yet honing in on a specific persona like Sarah Johnson—a 23-year-old enthusiast of films, food, and art. Sarah values visually stimulating content that invites thoughtful interpretation. Emphasising accessibility, the objective is to provide a distinctive and captivating experience, catering to individuals who may not have a strong inclination towards the arts but can still discover value in the fusion of music and visuals. Therefore, it benefits both the music artist through more people discovering his music and stimulating the target audience. 

The song's narrative revolves around an individual joyfully riding a bike, intermingled with moments of doubt and self-awareness. The lyrics, starting with 'Underneath a gold sun,' set the journey's initial tone, while the conclusion hints at impending challenges near the ending with 'lightning and thunder starts.' Despite the bike serving as a sanctuary, disruptive thoughts emerge, creating a contrast with the initial happiness. 

To convey these emotions, I will use theories such as semiotics Hall, S. (2012) and primary metaphor Hampe, B. (2017). Visual elements and typography will be manipulated to depict the evolving mood. For instance, the use of weather as a metaphorical device could be explored through experimenting (LO2) with different states of weather to mirror the emotional shifts in the song.  

The goal is to produce a cohesive and industry-standard body of work that would be useful for a portfolio piece. Which would capture the attention of individuals or companies.  

To evidence LO1, I will engage in extensive tasks, including academic research through the available library resources including articles, eBooks and librarian advice. Additionally, I will explore contemporary design found in social media and web pages. During this stage of development, I will consider how it could benefit critical contexts such as social benefits. Finally, personal research will involve interviewing the musician to have a clear understanding of the concept therefore giving me scope to explore the use of narrative theories while analysing and developing my work. This research will all inform my practice and viewpoint.  

Linking to LO4 Critical reflection will be facilitated through discussions with peers, seeking feedback from tutorials, lecturers, and workshop specialists to refine and select the most suitable approaches. Alongside this, I will use Figure 1 as a tool for self-reflection. The refinement phase will involve a combination of digital screenshots/recordings and physical tests proofs to document improvement in accuracy. 

Aims  

I aim to provide opportunities to allow me to source information and gain knowledge from the diverse forms of rigorous research that is required to undertake and manage my major project. 

I want to be able to exercise and enhance my knowledge and abilities in developing a body of creative work and technically competent work for my chosen study. 

I plan to apply the advanced level of time management required to develop a significant body of work. 

I will work independently with supervision from tutorials and peers. Allowing myself to develop and document my practice and show understanding of contemporary professional practice and audience.  

Learning Outcomes  

LO1 Demonstrate my ability to develop a clear understanding of the relationship of research to my  practice in forming a personal and critical viewpoint in the realisation, refinement and production of my  Major Project. 

  LO2 Demonstrate sustained and effective development of a practical working methodology to a topic that   I have defined and which includes speculation on new and effective approaches that are at the forefront  of Visual Communication practice. 

  LO3 Demonstrate an ability to authoritatively and independently project manage ideas, practice, time and  work strategies in the production of a well realized body of work, reflecting the complexity of the major  project and engaging effectively with academic support and resources. 

  LO4 Demonstrate an ability to critically reflect on the process of my major project documenting its relation to both personal and wider professional contexts, practices and debates. 

Assessment Components   

A professional, focused body of work including initial ideas to final outcomes. You will also submit a professionally considered portfolio that evidences how you have selected and displayed your work and how these decisions shape your portfolio. All final outcomes must be presented to a professional standard. 80% A designed and illustrated display book, that details your research methods and strategies deployed for each individual project brief contained in this unit (word count between 2000 to 2500 words). 20% 

References  

Hall, S. (2012) This Means This, This Means That Second Edition: A User’s Guide to Semiotics [Ebook] Hachette, UK. Available From: Link [Accessed: February 16th] 

Hampe, B. (2017) Metaphor: Embodied Cognition and Discourse [Ebook] Cambridge University Press. Available From: Link [Accessed: February 22nd] 

Sekarwinahyu, M, et al. (2019) Development of problem-based learning for online tutorial program in plant development using Gibbs’ reflective cycle and e-portfolio to enhance reflective thinking skills. IOP Publishing [online] Available From: Link [Accessed: February 20th] 

Vernallis, C. (2004) Experiencing Music Video: Aesthetics and Cultural Context [Ebook] Columbia University Press. Available From: Link [Accessed: February 22nd] 

List of Figures 

FIGURE.1 

Action plan/time plan  

LO3 

I've crafted a day-to-day schedule resembling a list to outline my expectations and guide my activities, helping me stay on course. 

WEEK 1 – JAN 29 

31st – Project launches - research & book camera off siso 

1st Experiments 

2nd Tutorial with emily 

3rd – 5th Refining and improving  

WEEK 2 – FEB 5 

6th Presentation creation 

7th  Tutorial & improvements / finish 

8th  Fmp start - start thinking of what i want to do - start planning days out - create tumblr drafts for stages of brief research/development  

9th  Brainstorming getting ideas down onto paper - type workshop - los breakdown 

10th   Mood boards for separate focuses  

11th  some visual testing/research  

WEEK 3 – FEB 12 

Feb 12th  Presentation creation - portfolio focus day – establish basis of first idea (music vid) 

Feb 13th  Present & document feedback - respond to this - start up document for brief creation 

Feb 14th Create plan for following days  

15th Music video research 

16th Music video research + type workshop 

17th Contextual research + other idea research/ considerations 

18th Contextual research + other idea research/ considerations 

WEEK 4 – FEB 19 

19th Presentation creation + dimensions workshop 

20th Tutorial – document feedback – other idea considerations 

21st  Tutorial – pitch one idea 

22nd – 23rd  Ideation documentation for editorial + photography 

24th – 26TH – Brief refinement 

WEEK 5 – FEB 26 

26th After effects workshops – brief writing refinement 

27th Tutorials 

28th Brief improving 

29th Brief improving  - study skills  

1st  brief hand in - Story boarding - letterpress workshop  

2nd – 3rd  Story boarding - 3d experimenting 

WEEK 6 – MAR 4 

4th  More visual testing/storyboarding ready for presenting 

5th Tutorial – showcase options 

6th Respond to feedback – research  

7th – 10th Continue experimenting 

WEEK 7 – MAR 11 

11th  Pecha kucha creation 

12th Tutorials 

13th Resond to feedback 

14th – 18th Finishing up experimenting 

EASTER 

Choose idea/develop/refine/experiment/ test print. 

Take the time to check back on lo’s and reflect, learn and improve. 

WEEK 8 – APR 8  

8th Presentation creation  

9th Tutorial  

10th Respond to feedback 

11th – 14th Refine/ develop and test print/ re render 

WEEK 9 – APR 15 

15th Make sure final solution is ready to present 

16th Tutorial 

17th – 21st Develop/refine/research/experiement 

WEEK 10 – APR 22 

22nd Continue on from last week 

23rd Studio day – helpful for feedback 

24th Sign up to a tutorial 

25th Work on feedback 

WEEK 11 – APR 29 

30th Present solution 

1st – 5th Refine from feedback 

WEEK 12 – MAY 6 

Refinement and print week 

WEEK 13 – MAY 13 – HAND IN 

[thecoolarchitecos]

Music Review: FICMARO // ep1

FICMARO's debut EP, 'ep1,' is a sonic journey that defies boundaries, showcasing a remarkable fusion of electronic, nudisco, electro, and hypnotic-like techno. Hailing from Montreal, this Canadian music producer has crafted a collection of tracks that captivate listeners with their dramatic and emotional intensity. From the first note, it's evident that FICMARO is a skillful architect of soundscapes, seamlessly navigating through genres while maintaining a cohesive and cinematic quality. The EP's hypnotic techno beats draw listeners into a world where each track tells a unique story, leaving an indelible mark on the mind. What sets FICMARO apart is his extraordinary range, evident in tracks that range from the commercially appealing realms of house to the more intimate and introspective tones of lofi-house. This versatility not only showcases his musical prowess but also underscores his ability to connect with a broad audience.

FICMARO's music is not only intriguing but also carries an air of mystery, inviting listeners to delve deeper into the layers of his compositions. The EP unfolds like a narrative, with each track adding a new dimension to the overall experience. It's a testament to his tremendous talent as a producer, leaving an indelible mark on the electronic music scene. In 'ep1,' FICMARO has created an immersive listening experience that goes beyond the ordinary. His ability to blend genres, evoke emotion, and maintain a sense of mystery makes this debut release a standout in the Canadian music landscape. Keep an eye on FICMARO; he's a force to be reckoned with in the world of electronic music.

[musicarenagh]

‎“Davka” by Baklava Express – A Transcendent Fusion of Cultures and TraditionsNew York City-based Middle Eastern fusion band Baklava Express has been making waves with their mission to introduce the enchanting sounds of the Middle East to a broader audience. The band’s debut album, “Davka,” is a delightful mosaic of musical influences, incorporating elements from the Arab world, Turkey, Greece, Jazz, Flamenco, Rock, and Eastern European Folk music. https://open.spotify.com/album/6V39Q5PWbmbPRtPBw2irjd?si=EOizdscmQZm5Kbov7Uo-rA Baklava Express is an extraordinary collective of talented musicians, including Josh Kaye on oud and composition, Daisy Castro on violin, John Murchinson on qanun, Max O'Rourke on guitar, James Robbins on bass, and Jeremy Smith on percussion. Together, they weave a rich tapestry of sounds, effortlessly blending diverse styles and traditions. “Davka” comprises nine beautifully crafted songs, each a testament to the group’s penchant for blending cultural landscapes and breaking boundaries. The album is characterized by its slow and calm tempo, soothing the soul and setting a relaxing atmosphere that carries listeners away on a voyage through various emotions and moods. This harmonious fusion of genres showcases the band’s dedication to creating an inclusive and unifying musical experience. The manner in which “Davka” examines themes of individual development, identity, and togetherness is one of its most notable features. Baklava Express’s unique instrumentation and style lend themselves to storytelling, with captivating melodies resonating across the album like a tapestry of intertwining narratives. This approach results in a cohesive and immersive listening experience that defies conventional genre boundaries. While firmly rooted in Arabian-style music, “Davka” effortlessly blends in elements of jazz, flamenco, rock, and Eastern European folk music, paying homage to each tradition while creating something entirely new. The album’s fluidity demonstrates Baklava Express’s ability to transcend cultural barriers and create an expressive, shared language of music. One can’t help but draw comparisons to other artists who have seamlessly merged cultures, such as Afro Celt Sound System, Rodrigo y Gabriela, and even elements of Pink Floyd’s more experimental work. For listeners new to Middle Eastern music, “Davka” serves as an accessible and enjoyable introduction. Those already familiar with the genre will undoubtedly appreciate the band’s innovative approach and intricate musicianship. No matter the listener’s background, “Davka” offers a profoundly moving experience that transcends geographical borders and musical conventions. Baklava Express’s debut album “Davka” is a fascinating and engaging journey through a world of diverse musical traditions. The band’s unmistakable ability and dedication to their craft are evident throughout the album, producing a peaceful and immersive ambiance that is guaranteed to enchant music fans of all backgrounds. It is a triumphant celebration of unity, diversity, and the power of music to bridge cultural divides. Follow Baklava Express on Facebook, Bandcamp, YouTube and Instagram.

[languageyeti1985]

Exploring UK Culture Through Iconic Songs...

The music of any country reflects the nation's culture, history, and societal values. For language learners, exploring songs from a country provides a unique opportunity to gain cultural insights and develop a deeper appreciation for its people and heritage. 

In this blog, we will delve into the cultural significance of six iconic songs from the United Kingdom, allowing learners to embark on a musical journey through British culture.

 Bohemian Rhapsody - Queen

As you already know, Bohemian Rhapsody is an epic rock ballad by the legendary British rock band Queen, released in 1975. This iconic song has become a cultural masterpiece and one of the most celebrated compositions in music history. It's multifaceted nature and imaginative storytelling make it a unique representation of British rock music's creativity and ingenuity.

Genre-Defying Brilliance - Bohemian Rhapsody defies conventional song structures and seamlessly blends rock, opera, and ballad elements into a cohesive masterpiece. Its genre-blending reflects British rock's innovative and experimental spirit during the 1970s.

Freddie Mercury's Genius - The song's brilliance owes much to the artistic vision and vocal prowess of the late Freddie Mercury, Queen's lead singer and songwriter. His powerful and emotive vocal performance has left an indelible mark on the music world and continues to inspire generations of musicians.

Cultural and Artistic Legacy - Bohemian Rhapsody is emblematic of British artistic expression, where music becomes a canvas for creativity, storytelling, and theatricality. The song's intricate harmonies and operatic sections showcase the UK's love for dramatic and grandiose musical performances.

Timelessness and Global Impact - Despite being over four decades old, Bohemian Rhapsody has stood the test of time and remains a global anthem. Its cultural impact is evident in its continued popularity across generations and diverse audiences worldwide.

An Anthem for the Ages - Beyond its musical brilliance, Bohemian Rhapsody symbolises resilience and self-expression. Its message of grappling with inner turmoil and seeking acceptance resonates with listeners, making it an anthem for those who need to break free from societal norms.

Imagine - John Lennon

Imagine is a profound anthem for peace and unity written and sung by the legendary John Lennon, released in 1971. This iconic song has left an indelible mark on the world, inspiring countless individuals to imagine a world without divisions and a more harmonious future.

A Message of Hope and Unity - Imagine is a timeless plea for a world without borders, religious or political divides. Its powerful lyrics call for unity, compassion, and the dismantling barriers that separate humanity.

Lennon's Legacy of Social Activism - Beyond his musical talents, John Lennon advocated for peace and social change. Imagine reflects his dedication to promoting a better world through his music and activism, making it a powerful symbol of British social consciousness.

Global Reverberation - The universal appeal of Imagine transcends cultural and linguistic boundaries. The song's message resonates with people worldwide, fostering a sense of international solidarity and a shared vision for a more harmonious planet.

Inspiration for Humanitarian Causes - Imagine has become an anthem for various humanitarian causes and movements advocating for peace, justice, and human rights. It continues to inspire individuals and organisations striving for positive change.

A Reflection of British Musical Influence - Imagine showcases the British influence on music and art, exemplifying the UK's ability to produce thought-provoking and impactful creations that influence global thought and action.

Don't Look Back in Anger / Wonderwall - Oasis

Oasis, a British rock band from the 1990s, achieved global fame with hits like Don't Look Back in Anger and Wonderwall. These songs exemplify the Britpop movement, which celebrated British identity, resilience, and youthful rebellion.

Britpop's Resurgence of British Identity - Oasis was a prominent figure in the Britpop movement, which emerged as a response to the dominance of American grunge music in the UK. The movement celebrated British culture, art, and music, reclaiming a sense of national pride.

Generation-Defining Anthems - Don't Look Back in Anger and Wonderwall became anthems for a generation of Britpop enthusiasts, resonating with young audiences who sought a sense of belonging and camaraderie through music.

Rivalry and Unity - Oasis, especially the Gallagher brothers (Noel and Liam), were known for their fiery sibling rivalry. However, their music brought people together, illustrating how art can transcend personal conflicts and unite diverse audiences.

Impact on UK's Music Scene - Oasis's success contributed to the revitalisation of the UK's music industry, with Britpop bands gaining international recognition and inspiring a renewed interest in British rock.

Cultural Zeitgeist of the 1990s - The songs Don't Look Back in Anger, and Wonderwall encapsulate the cultural zeitgeist of the 1990s, reflecting the hopes, dreams, and aspirations of a generation navigating the complexities of modern British society after the 1980s gave the UK false promises.

Candle in the Wind '97 - Elton John

Originally written as a tribute to Marilyn Monroe, Candle in the Wind was reworked by Elton John as a tribute to Princess Diana after her tragic death in 1997. The song became a symbol of The UK's collective grief and mourning for the beloved Princess, reflecting the British public's strong emotional connection to the Royal Family.

A Nation in Mourning - Candle in the Wind '97 captured the profound grief the British public and people worldwide felt following Princess Diana's untimely death. The song became an outlet for collective mourning, offering comfort during a national tragedy.

The People's Princess - Princess Diana, affectionately known as the People's Princess, held a special place in the hearts of the British public. The song's heartfelt tribute to her life and legacy underscored her impact on the lives of many and the enduring memory of her charitable work.

Expressing Grief through Music - Candle in the Wind '97 demonstrated how music can serve as a cathartic expression of collective emotions, providing solace and healing during loss and upheaval.

Continuing Impact - The song's emotional resonance has endured over the years, making it an anthem of remembrance and tribute to Princess Diana's legacy and her lasting impact on British society.

The Royal Family's Connection to the Nation - Candle in the Wind '97 highlighted the unique relationship between the British Royal Family and the nation they serve, showcasing how music can unite a country in moments of joy and sorrow.

God Save the Queen - Sex Pistols

God Save the Queen by the Sex Pistols is a punk rock protest anthem released during Queen Elizabeth II's Silver Jubilee celebrations in 1977. The song's provocative lyrics and rebellious spirit challenged traditional values and institutions, symbolising punk's countercultural movement.

Punk Rock Rebellion - The Sex Pistols and God Save the Queen embodied the spirit of punk rock rebellion, which sought to challenge the establishment and societal norms through music, fashion, and attitude.

Critique of the Monarchy - The song's lyrics satirically criticised the British monarchy and the prevailing social and political climate during Queen Elizabeth II's Silver Jubilee. It exemplified punk's ethos of anti-establishment and political commentary.

Controversy and Banned Airplay - God Save the Queen faced significant controversy, with many radio stations refusing to play it due to its perceived anti-monarchist and anarchistic themes. This controversy added to the song's allure and cemented its status as a punk rock classic.

Defying Censorship - Despite the ban on airplay, God Save the Queen found its way to the public through alternative means, including underground music scenes and fan-made recordings. Its defiance against censorship only fueled its popularity among rebellious youth.

Cultural Impact - God Save the Queen became an anthem of punk's anti-establishment movement, inspiring a generation of youth to question authority and challenge societal norms. It highlighted the power of music as a catalyst for social change and provided an outlet for disenfranchised voices.

Maggie May - Rod Stewart

Maggie May is a folk-infused rock song by Rod Stewart, released in 1971, which song tells the story of a romantic relationship with an older woman. Over the years, it has garnered additional interpretations and associations, including being linked to former British Prime Minister Margaret Thatcher.

Nostalgic Storytelling - Maggie May is a masterful piece of storytelling, where Rod Stewart recounts a heartfelt tale of a young man's romantic entanglement with an older woman. The song's evocative lyrics and folk-rock melody capture the essence of nostalgia and the bittersweet memories of youth.

Embracing British Folk Traditions - The folk-infused rock style of "Maggie May" reflects the UK's rich folk music heritage, which has significantly shaped the nation's musical landscape. Fusing traditional folk elements with contemporary rock underscores the UK's ability to blend the old and the new seamlessly.

A Voice of the People - Amidst its narrative, Maggie May embodies a relatable human experience that resonates with listeners from all walks of life. The song's universal themes of love, longing, and youthful exploration contribute to its timeless appeal.

Social Commentary Through Music - The association between Maggie May and Margaret Thatcher exemplifies how music can sometimes unintentionally become entangled with political and social contexts. This linkage showcases the power of songs to evoke diverse interpretations and capture the spirit of an era.

Musical Expression of Identity - Maggie May represents Rod Stewart's artistic expression and identity as a British musician, in which his ability to create music that connects with people personally and culturally has cemented his place as a prominent figure in the UK's music history.

Exploring iconic songs from the United Kingdom offers language learners a gateway to understanding the nation's rich cultural tapestry. Each song mentioned in this blog embodies a unique aspect of British culture, reflecting the country's artistic diversity, social consciousness, and historical significance. By immersing themselves in these musical classics, learners can deepen their appreciation for UK culture, history, and the timeless impact of music as a cultural expression.

Now, it's your turn to embark on this musical journey! 

Go and listen to these iconic songs for yourself, allowing the harmonies and lyrics to resonate with your emotions and experiences. Each listener's interpretation of these songs may differ, drawing upon personal connections and unique perspectives. As you explore these songs, consider how they make you feel and what messages they convey.

Music has the power to transcend language barriers and connect people across cultures. So, turn up the volume, listen closely, and let the melodies guide you through the essence of British culture. Discover the stories and insights these songs have to offer and allow them to enrich your understanding of the UK's artistic legacy.

Whether you find inspiration, solace, or a deeper connection to British history and society, each song will leave a lasting imprint on your language-learning journey. So, embrace the power of music as a cultural expression, and let the melodies of the United Kingdom become a soundtrack to your language-learning adventure. 

Happy listening!

[blackswaneuroparedux]

Treat Your S(h)elf

The Places In Between by Rory Stewart

“I offered Asad money but he was horrified. It seemed a six-hour round trip through a freezing storm and chest deep snow was the least he could do for a guest. I did not want to insult him but I was keen to repay him in some way. I insisted, feeling foolish. He refused five times but finally accepted out of politeness and gave the money to his companion.Then he wished me luck and turned up the hill into the face of the snowstorm." 

- Rory Stewart

Just weeks after the fall of the Taliban in January of 2002 Scotsman Rory Stewart began a walk across central Afghanistan in the footsteps of 15th Century Moghul conqueror Emperor Babur and along parts of the legendary Silk Road, from Herat to Kabul. He'd find himself in the course of twenty-one months encountering Sunni Kurds, Shia Hazala, Punjabi Christians, Sikhs, Kedarnath Brahmins, Garhwal Dalits, and Newari Buddhists. He said he wanted to explore the "place in between the deserts and the Himalayas, between Persian, Hellenic, and Hindu culture, between Islam and Buddhism, between mystical and militant Islam." He described Afghanistan as "a society that was an unpredictable composite of etiquette, humour, and extreme brutality."

The Places in Between is Stewart's account of walking across Afghanistan from Herat to Kabul in January 2002. The book was the winner of the Royal Society of Literature Ondaatje Award and the Spirit of Scotland Award and shortlisted for the Guardian First Book Award, the John Llewellyn Rhys Memorial Prize and the Scottish Book of the Year Prize.

I first read the book as a teenager a few years after it came out when I was spending a few months doing voluntary work for an Afghan children’s charity in Peshawar, Pakistan with my older sister who was a junior doctor at the time.

I read it on the rocky bus ride from Peshawar, Pakistan and into Afghanistan from Jalalabad to Kabul with my sister and her colleagues. I avidly read the book because I already knew the author through my oldest brother but from a distance because of our respective ages. Little did I realise then that I would be back in Afghanistan a few years later but this time in uniform doing my tour in Afghanistan flying combat helicopters against the Taliban.

I had the book with me (but a newer copy) and it took on a greater prescience precisely because as soldiers, even from the most senior officers on down, we privately questioned what the hell were we really accomplishing in a country ravaged by war since the Soviet invasion in 1979 (and that’s being generous given how history has buried empires into the graveyard of Afghanistan as a testament to their hubris).

Maybe it was hubris or perhaps it was that adventurous strain that needs to be scratched that led Rory Stewart to undertake his madcap journey. Stewart did the entire journey on foot, refusing any other form of transportation (and at one point going back and redoing a section of the walk when he couldn't turn down a vehicle ride). He took an uncommon route straight through the centre of the country and the heart of the mountains, instead of the more common route through the south that bypasses the dangerous mountain passes. This choice was partly because it was shorter, partly because the south was still partially controlled by the Taliban, and partly I suspect (though he doesn't say this explicitly) because it's the less-discussed and less-known route, even today.

This is, therefore, a sort of travel book, describing places that 99.99% of readers in the Western world are very unlikely to ever go. It's also unavoidably political, since Afghanistan is unavoidably political. However, unlike many travel books and many books with political overtones, it's carefully observational, documentary, and quietly understated in a way that gives the reader room to analyse and consider. Stewart focuses on his specific journey and concise, detailed descriptions of what he encountered and lets any broader implications of what he saw emerge from the reader's evaluation. He describes how he reacts to the remarkable natural beauty and almost-forgotten ruins that he encounters, giving the reader a frame and a sense of the emotional impact, but he's not an overbearing presence in the book. The story is clearly personal, but he doesn't dominate it. This is a very difficult line to walk, and I don't recall the last time I've seen it walked as deftly.

Instead there is a real sense that the author has gotten over the novelty of travelling and is more focused on the fundamental circumstances he encounters. The book overall is a fascinating read and there is much to be learned about the epistemologies driving the Afghan people and how different interpretations of Muslim teachings (and likewise, any teachings) can create small, but significant differences between neighbours. He has a gift for vividly describing the people and the landscape without injecting himself too much into the scene.

I suspect every reader will take different things from The Places in Between.

For some readers unaccustomed to the culture of Afghanistan, they would find it distressing to read how dogs are treated in Afghanistan. It's said Prophet Muhammad once cut off part of his own garment rather than disturb a sleeping cat. Unfortunately, he didn't feel equal affection for dogs, and they're "religiously polluting." They're not pets, and they're never petted. A quarter of the way in his journey Stewart has a toothless mastiff pressed upon him by a villager and he named him Babur. The evidence of past abuse could be seen in missing ears and tail, and someone told Stewart the dog was missing teeth because they'd been knocked out by a boy with rocks. Stewart found the dog a faithful companion and said he'd call him "beautiful, wise, and friendly" but that an Afghan, though he might use such terms to describe a horse or hawk would never use it to describe a dog.

But I knew all this growing in Pakistan and India as a small girl. Friends would look perplexed that we Brits - or any Westerners - have dogs or cats as pets and even see them as part of the family.

For me though two big themes stuck out when I first read the book.

One of the things that struck me most memorably is the spider’s web of personal loyalties, personal animosities, different tribes and history, and complexity of Afghan politics that Stewart walks through. Afghanistan is not coherent or cohered in the way that those of us living in long-settled western countries assume when thinking about countries. While there are regions with different ethnicities or dominant tribes, it doesn't even break down into simple tribal areas or regions divided by religion. The central mountain areas Stewart walked through are very isolated and have a long history and a complex web of rivalries, differing reactions to various central governments, and different connections. Stewart meets people who have never traveled more than a few miles from their village, and people who can't go as far as his next day's stop because they'd be killed by the people in the next village. It becomes clear over the course of his journey why creating a cohesive western-style country with unified national rule is far less likely and more difficult than is usually portrayed in the Western news media. The reader slowly begins to realise that this may not be what the Afghans themselves want, and some of the reasons why not.

A large part of that recent history is violent, and here is where Stewart's ability to describe and characterise the people he meets along the way shines. It is a tenet of both Islam and the local culture to give hospitality to travellers, which is the only thing that makes this sort of trip possible. Stewart is generally treated exceptionally well, particularly given the poverty of the people (meat is extremely rare, and most meals are bread at best), but violence and fighting fills the minds and experiences of most people he meets. He memorably observes at one point that one of his temporary companions describes the landscape in terms of violent events. Here, he shot four soldiers. There, two people were killed. Over there is where they ambushed a squad of Russians. It's striking how, after decades of fighting either for or against first the Russians and then the Taliban shapes and marks their mental map of the world. It's likely that few of the people Stewart meets are entirely truthful with him, but even that is an intriguing angle on what they care to lie about, what they think will impress him, and how the Afghan people he encounters display status or react to the unusual.

The second big theme that stuck out for me on a personal note was how Stewart respectfully weaves the wonder of history with the sad lament of the destructive loss heritage on his travels. In the book, Stewart followed roughly the same path as Babur, the founder of the Mughal Empire, did in 1504 at roughly the same time of year. He quotes occasionally from the Baburama, Babur's autobiography, which adds a depth of history to the places Stewart passes through. The Minaret of Jam in the mountains of western Afghanistan is one of the (unfortunately rare) black and white pictures in the centre of this book, and Stewart describes the legendary Turquoise Mountain, the lost capital of a mountain kingdom destroyed by the son of Genghis Kahn in the 1220s, of which the minaret may be the last surviving recognisable remnant. He describes the former Buddhist monasteries at Bamyan in Hazarajat (the region of central Afghanistan populated by the Hazara) and the huge empty alcoves where giant statues of the Buddha had stood for sixteen centuries until destroyed by the Taliban in 2001. This book then is full of history of which  is described with a discerning eye for necessary detail.

How Afghanistan's precious historical and cultural legacy was being destroyed even back in 2002 is heart breaking to read. I think many Westerners certainly know about how the Taliban dynamited the giant Bamiyan Buddha statues over a millennium old because they considered them "idols." Just as profound a loss is discovered by Stewart in his travels. There is a legendary lost city, the "Turquoise Mountain" of the pre-Moghul Ghorid Empire. Archeologists couldn't find it - but when passing through the area, Stewart had found villagers who had, and were looting artefacts with no care for the archeological context or the damage they were doing to the site, selling the priceless wares for the equivalent of a couple of dollars on the black market. This is what he tells us about his discussion with the villagers about the lost city:

"It was destroyed twice," Bushire added, "once by hailstones and once by Genghis." "Three times," I said. You're destroying what remained." They all laughed.

Even as I write this I can’t help but think this episode eerily echoes the madness gripping us in Britain, Europe, and the US (albeit for different reasons) in defacing and pulling down historical statues in wanton in acts of extreme ideological vandalism.

Overall I enjoyed the ‘peace’ of this book as there is a constant tone of a simple purpose. There are some moments along the way that are quite confronting and even frustrating, but so many that are warm and celebratory of the Afghan belief in hospitality.

Perhaps others will differ but I didn’t find too many irritating passages that wax-poetic on the evolution of the traveller. Stewart’s writing style is clinical; completely void of sentimentality, he never allows his own initial or personal meditations on these places overtake his observations, written with much hindsight. Whether being harassed by local soldiers or struggling through snowdrifts Stewart does not bridge a gap with the reader to really get a sense of who he his, as if his own story would detract from the crucial timing of his recordings of this landscape and its people.

His own biography is something out of John Buchan. The son of Scottish colonial civil servant who was born in Hong Kong and grew up in the Far East (and subsequently the second most senior official in the British secret intelligence) before being packed off back to England to Dragon School, Eton and onto Balliol, Oxford to study PPE. A short stint with the Black Watch regiment (as his father and uncle before him) before joining the British Foreign Office and work in some hot spots of the world, including a stint as deputy governor in the Coalition Provisional Authority in Iraq after 2003. He went on to work at the Carr Center for Human Rights Policy at Harvard before returning to the UK to successfully run as a Conservative MP in his native Scotland. Served as a minister in different ministries under Prime Minister Theresa May’s government and improbably came close to upsetting the coronation of Boris Johnson as the next leader of the Conservative party. He resigned from the party rather than be purged and made an unsuccessful bid to run as an independent candidate for London Mayor. He continues to writer and author travel books and front documentaries. He has a storied background but he wears it very lightly.

Of course there is a conceit to the book which in a sense all travel books of this kind that largely goes unquestioned. I don’t think it’s wrong to question a certain kind of entitlement that pervades these kind of books, no matter how much I enjoy reading them especially about countries you have traveled to and know a little bit about. Stewart after all embarks on a journey ‘planning’ to rely on the proverbial kindness of strangers because that is an Islamic cultural and religious value. Try planning a trip anywhere in Western Europe or the USA and Canada. I cannot imagine anyone walking across America, or England and Scotland for that matter, who would believe that he was entitled to expect food, shelter and assistance because he asked for it.

And he does it - as have countless travellers before and after him. Because Stewart succeeds in his journey, he is evidence of an astonishing degree of Afghan Muslim hospitality and generosity. As a back packer who has done it rough not just in Afghanistan but also neighbouring Central Asia as well as Pakistan, India, and China I can see why it might rub some up the wrong way. But I also think it’s not cultural or some sort of colonial arrogance on Stewart’s part. It’s hard to articulate but it’s really a kind of cultured sensitivity of people and lands you already are familiar with or know well from childhood.

Certainly for Rory Stewart - and myself - didn’t exclusively grow up in England and Scotland but in the Eastern post-colonial countries of the ex-British Empire that afforded a privileged childhood (privileged as in a real cultural engagement and immersion) that left a deep appreciation and respect for those countries cultures and traditions. I believe for the vast majority of Western back packers who take adventurous treks across these lands they do so partly out of genuine respect and understanding of different cultures.

For instance, the legacy of this book has been that Rory Stewart has spear headed a long term project called Turquoise Mountain. Alongside his partners, they have been re-creating the "downtown" river district in Kabul and restoring it to it's former glory. They have opened schools for people to re-learn the ancient arts of carving, weaving, architecture, etc. They have supported efforts to restoring city blocks that have been covered in a mountain of trash, and restoring homes where families have lived for centuries. And all for free. The Afghan have never been sure why someone would be doing this out of the goodness of their hearts, but that the poignant irony is that the goodness began with them through their hospitality of the stranger.

The kindness to strangers is a real thing in this part of the world. Kindness to strangers has it roots in fear that the strangers might be gods or their messengers alongside the pragmatic need that strangers in a strange land might need assistance. I sometimes wonder how is it we cannot show the same unabashed kindness to strangers to our homes?

However you slice it, you have to admire Stewart for his mostly un-aided walk across Afghanistan. It does take a certain kind of ballsiness to do it. He carried just his clothes and a sleeping bag (and money), trusting that the villagers along the way would put him up for the night and feed him. He got very sick (diarrhoea and dysentery), was at constant risk of freezing to death in the mountains, and had some very unpleasant encounters with Afghan soldiers in the last few days, after rejecting very strong advice not to walk through this section.

Strangely though nothing about this book is breathtaking of ‘Oriental exoticism’ beloved of Western imagination. Indeed nothing in this book is romanticised and nothing is placed on a pedestal. Stewart writes openly and honestly of all the people he met, those friendly, and those that would've preferred to rob him and leave him dead in a ditch. He's truthful and humorous, and I found myself walking alongside him, a sort of ghost following his rugged trail through mountains, valleys, and Buddhist monasteries.

Re-reading this book when I was doing my tour in Afghanistan with time to kill between missions, I wished George W. Bush and Tony Blair - and all the other Western leaders since these two - could have taken that walk with Stewart and learned the lessons he did. Stewart gives you a sense of the complexity and diversity of the culture and of Islam - and just how ludicrous and ignorant were the assumptions and goals imposed on the country by the invading Westerners. Indeed at the very end of his walk, Stewart reaches Kabul, the heart of the western intervention in Afghanistan and the place where all the political theorists and idealists came to try to shape the country. He describes the impact of seeing draft plans for a national government, which look ridiculous in the light of the country that he just traveled through.

It's a rare bit of political fire in the narrative that's all the more effective since it's one of the few bits of political commentary in the book. Indeed it’s all the more rich and relevant given its emergent commentary and background for the current war being fought there. Stewart necessarily tells only part of the story of Afghanistan, but he tells far more of the story than most will know prior to reading it. It should be mandatory reading for anyone making decisions about how to proceed in that region.

I would recommend anyone take a walk with Rory Stewart.

[musicarenagh]

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