Category Archives: Travel Writing

Santiago de Compostela pilgrimage


People go on pilgrimages for many different reasons. Even in the 21st century, spiritual reasons probably dominate. The group I travelled with, known to themselves only as the Cofraternity of Repentant Hedge Fund managers, juggled the twin pillars of God and Bacchus adroitly. Arriving in Santiago after a week’s trekking, the sight of the Cathedral made the grown men weep, and head towards the nearest bar. As the waiter brought bottles of champagne and crayfish to the table, the group toasted each other and the large amounts of money raised for charity. This was not a pilgrimage for pilgrims, this was a pilgrimage for executive pilgrims.

The Santiago de Compostela pilgrimage is an ancient path that follows many routes. Our group was on the Camino Frances (The French way), which went over the Pyrenees and across the farmlands and forest tracks of Northern Spain into Santiago. This is where the remains of the apostle Saint James (San Tiago) now rest. It is said that James left Jerusalem after Christ’s death, with the intent of evangelising Spain. Having had little success, he returned to Jerusalem, only to be beheaded by Herod Agrippa. The remains of his body were carried away in the dead of night by James’s followers and placed in a boat, only to float off unguided to Iria Flavia in Northwest Spain. About 800 years later, strange happenings started to occur in the field where St. James’s body was buried. A mysterious star was observed and enchanting music was heard there. As news spread, pilgrims began to come to the Field of the Star of Campus Stellae.
For an executive pilgrimage, our journey was not without its challenges. The route was hilly, unsteady underfoot, and the weather changeable – it could change from very cold and foggy early in the morning to unpleasantly hot during the day. Our ranks were thinned by foot ailments, which resulted in a mildly amusing evening spent at a local Spanish hospital, where the author was the only Spanish-speaker among the group, and had to find Spanish words for, among other things: ganglia, deep-vein thrombosis, torn ligaments, blood clots and internal bruising. One of the team couldn’t go any further, which didn’t stop his partner from demanding the immediate use of a horse at the local hospital, in broken Spanish. Spanish medical healthcare is notoriously good, but even still…

The route we followed was really quite beautiful. Starting from Sarria, we walked to Portomarin, then Palas de Rei, then Melide in A Coruna, and finally Santiago. Though the daily distances were long (we walked approximately 20 miles most days, though the last day was much shorter), the landscapes and passing pilgrims were enough to ward off the boredom of the dusty path. The route traced across villages, sometimes into someone’s back garden or just outside the kitchen of an ancient crone whose cooking skills far exceeded anything I’d tasted before. Pigs ears, pardon peppers, octopus, local cheeses, stews and seafood dishes- these meals could be eaten along the route at any number of small kitchen inns or local bars. Indeed, the presence of the pilgrimage seemed to keep up an economy that was otherwise non-sustainable. This proliferation of bars also fulfilled the requirement that pilgrims have their certificate stamped at least twice a day, mainly (and conveniently) in bars and hostels. Once you have finished the route, the Pilgrimage Bureau (Oficina de Peregrinacion) in Santiago check your pass, ask you several questions and present you with a certificate. This certificate, which requires a minimum of 100 kilometres on foot or 200 on a horse, will redeem your past sins up to the time of arrival; if you complete this on a Holy Year (next year), the penance is even greater.

The Cofraternity made quite an impression along the route, particularly given the fact that one of the pilgrims was a Scotsman in a kilt and a bandaged leg, several of the members were wearing bright orange wigs, and one of the pilgrims (my father) was wearing a penance round his neck for extreme and unnecessary competitiveness. All of us wore the shells round our neck, the ornament adopted to symbolise the tomb of the apostle and identify fellow pilgrims along the route. Though the pilgrimage was an enjoyable and light-hearted (though still physically taxing) trip, it was clear that not everyone treated this trip quite as lightly. The majority of the pilgrims along the route are Spanish, and to them, as it is to me, the pilgrimage is an important cultural experience. Some of the pilgrims are Christians, and the sight of nuns and priests in habits and backpacks is immensely moving. It is hard for a modern pilgrims to understand the impact such a pilgrimage had on Western European culture. It practically created tourism, albeit in a superior spiritual form and was instrumental in the reintegration of Christian Spain into Europe. Notably, it also created a concept of ‘Europeanness’ among its participants. The popularity of the pilgrimage peaked in the 11th and 12th centuries, when as many as half a million pilgrims a year would make the journey. Though we were not travelling in the high season (which is July), there was always a pilgrim or two on the path with us for the entire week, and the density increased as we got nearer to Santiago. The pilgrimage fits into the 21st century because of the breadth of its appeal: it works for students, sports-enthusiasts, the rich and the poor, the religious and the godless. It clearly makes virtually everybody better –even an agnostic like myself can see the beauty and attraction of the religious experience, where I might not have seen it elsewhere.


Saudade: love, death and despair

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Photo taken in Havana, Cuba.

Fado music is a key element of traditional Portuguese culture. The Portuguese word saudade is often associated with it. Each works with the other to express a particular emotion, an almost fatalistic world-view where love is doomed and destiny rules on. From an Anglo-Saxon perspective, it is very easy to confuse saudade with nostalgia – it is nostalgia and something more. Fado music, which comes from the word fatum in Latin, meaning fate, is a Portuguese urban folk style, with supposed origins in the rhythms of African slaves. The style was adopted by the poor of Lisbon to express a discontent with the status quo. Its common themes are destiny, betrayal, love, death and despair.

Saudade is a nostalgic longing for someone or something that once was and is no longer. An element of this longing is the submerged realisation that the missing object or person will never really return, and yet hope for its return remains constant. Saudade differs from nostalgia because it is located firmly in the present, while also looking towards the future for the eventual realisation of this longing. Saudade can express varying forms of love and longing, from the unrequited love to the love one feels for a missing person, or a distant relative. It can also express a longing for the motherland, and is thus used by Portuguese emigrants as a way of illustrating their homesickness and estrangement in their new land. A fado performer or fadista who does not express saudade is not a true fadista.

I once saw a fado performance in a Portuguese Social Club in Westbourne Grove. The female singer emerged, cloaked in black and resplendent, from the men’s toilets mid-song. As we ate our stew and got steadily drunker, she walked slowly around the tables and sang with such a presence, such a palpable sadness, that we couldn’t help but be moved. Several members of the audience cried hopelessly. If a fado performance does not move one to tears, it has failed as an art form.

This article is featured in this month’s edition of Garageland Magazine, the Nostalgia Edition

Dissocia Zine

Work has started on Jay and I’s new zine, Dissocia. Here’s our creative mess, below. Thou must follow us on Facebook, Twitter, the Dissocia blog, and whatever goddamn piece of technology we can master.
Contribute, contribute! We’re looking for prose, poetry, fashion writing, satire, comics, doodles, paintings, photography, one-page plays, jokes, essays, sketches, book reviews, film reviews, rants; write about politics, or art, or sport. And send in your stuff: dissocia @googlemail.com.

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Randomly, while flyering around Cowley Road, Rosy and I came across this gem of a wall:
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“DISSOCIA, DISSOCIA, WELCOME TO DISSOCIA!”
-Anthony Neilson, ‘The Wonderful World of Dissocia’ (2004)-

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Callejon de Hamel, Cuba

Some of the best graffiti (if you want to call this that) that I’ve seen was on this weird, riquety old street in Havana, Cuba. The incredible colours, and the African, religious, and patriotic influences were really captivating.

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This street provided a contrast to the more overtly political graffiti I noticed around the city, such as this one: SOCIALISM OR DEATH.

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“Graffiti writing breaks the hegemonic hold of corporate/governmental style over the urban environment and the situations of daily life. As a form of aesthetic sabotage, it interrupts the pleasant, efficient uniformity of “planned” urban space and predictable urban living. For the writers, graffiti disrupts the lived experience of mass culture, the passivity of mediated consumption.” – Jeff Ferrell, Crimes of Style

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We took a bus from the centre of Marrakech that went all the way up into the mountains, a ‘precarious’ journey (the odd rock slide and snowstorm got in the way). The landscape went from busy city, to dusty desert, to the snowy peaks of the Atlas mountains in the space of a couple of hours.
Exploring a kasbah was my favourite part of the trip. A kasbah, like a medina, is a walled city, a fortress if you like. A lot of filming had been done in this area; Lawrence of Arabia was filmed here, as were some other films I hadn’t heard of, and you can see why they chose this location. It really is beautiful:
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Bellydancing:
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On the last night, a belly dancer performed in the local restaurant where we were having dinner. I was struck by how sensual it is, how much flesh the dancer shows, bearing in mind that Morocco is a predominantly Muslim country. It brought back the bellydancing lessons a friend and I did ages ago, very badly, when we thought the teacher was coked up to the eyeballs.

Even though many of the women I saw were veiled, or at least it seemed so to me while I was there, I loved the way the eyes, so heavily kohled, became such a focal point. There’s a bit in Anais Nin’s diary when she’s in Morocco and some women in a harem show her how to kohl her eyes:

“At the house of Driss Mokri Montasseb I was allowed to visit the harem. Seven wives of various ages…They told me how they made up their eyes. They bought kohl dust at the market, filled their eyes with it. The eyes smart and cry, and so the black kohl marks the edges and gives that heavily accented effect”.

Speaking of harems, I include a picture of the window of a harem in the kasbah we visited. This is where the women look through to the outer world. It is a very old window…
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And finally, the shelves of the pharmacy in the kasbah:
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more journals

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Some of these journals are two years old, the order is a bit random. In fact, I’ve just learnt how to scan properly, so I’ll try to scan some more later on. Meanwhile, I recommend a much better journaller (journalist? It can’t be): Blu. Blu is also a seriously talented graffiti artist. My favourite piece of his is a massive wall grafitti of guns he did in Rio, but I can’t find it on the internet. His style is weird and distinctively his; alien, political, sci-fi:

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Paris journals

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scanned journals

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