swan – EalaCreative

Eala explores “The Swan of Tuonela”

Tuonela – the realm of the dead – is the setting for the Kavela’s mythic hero Lemminkäinen‘s fate. Read more here about this famous Finnish tone poem by Sibelius The Swan of Tunela.

You can read much more on this epic tale as the inspiration for Jean Sibelius, – Finland’s famous music composer – composition – the Lemminkäinen Suite – here.

The Kalevala – Finland’s national ‘story epic’ and work by artist Akseli Gallen-Kallela will be forever entwined.

“Koru-Kalevala, The Illustrated Kalevala- sketches for Väinämöinen’s visit in Tuonela D-GKM-3837.tif” by Akseli Gallen-Kallela. This file is shared by The Gallen-Kallela Museum. CC0 1.0.

You can read more about these links between ‘ancient stories’ and ‘modern times’ in an essay by Michael Hunt (2019), for the exhibition The Kalavala – In Other Words.

Elsewhere you can read more about “an alternative Kalavela” and research by Juha Pentikäinen, Professor of Modern Ethography at the University of Lapland. Juha Pentikäinen‘s research includes a focus on the deeper shamanic roots of the Kalavela’s folktales. See also here a discussion on the Kalavela’s philosophy, its story roots as ‘deep knowledge’ and links to folk healing.

Tuonela

“Tuonela is described as being at the northernmost part of the world but is sectioned apart from the world of the living by a great divide. In the divide flows the dark river of Tuonela. The river is wild, and the dead can be seen trying to swim across it. The dead must cross the river, either by a thread bridge, swimming, or taking a boat piloted by the daughter of Tuoni.^[1] The river is guarded by a black swan that sings death spells.” Source https://en.wikipedia.org/wiki/Tuonela

The Finnish word for swan is joutsen. The word derives from jousi, the Finnish word for arrow.

Celtic Swans and Children of Lir in the Cairngorm National Park

Scottish and Irish mythology – a ‘Celtic mythology’ also features swans and here is a link to the famous Finnish story The Swan of Tuonela (and also a mention of the Irish story ‘The Children of Lir‘) as told by “The Irish in Finland”.

Finally, find a storytelling link here to the Scottish links to this folktale of the swan Children of Lir that includes a link to the history of Insh Church (the chapel of the swans) as told by Scottish musician Hamish Napier. The children turned to swans – as it is told here – flew between Ireland and Scotland for nine hundred years before eventually – on being turned back to their human form – they crumble to dust. Find some more information on Insh Church at the Am Baile Highland archive collections site. The church is near Loch Insh in Badenoch, located in the Cairngorm National Park in Scotland’s highlands. Nearby to the church is Insh Marshes a national nature reserve rich with ecology and wildlife as”one of the most important wetland areas in Europe”.

Broken ice on Loch Insh, Cairngorms by Masa Sakano (CC BY-SA 2.0) at Flickr

Looking West – Looking North

The EALA project is a OER connections project based at the University of the West of Scotland (UWS) and working in creative practice and arts pedagogy partnership with the University of Lapland. The EALA project was funded by the Scottish Government’s Arctic Connections Fund 2022-2023 to explore and expand Scottish and Arctic creative contexts and commons.

EalaCreative – the working group of participants – have used the symbol of the swan – jousten (finnish); eala (scots gaelic) – as a theme for our cultural, environmental and socio-ecological pedegogy focus.

In Finland the swan holds a very special symbolism for the nation and this Tuonela swan myth is explored by the EALA creative project team here.

We have looked west, south and east in our focus on looking north! This post speaks a little more to looking west and the islands of the Outer and Inner Hebrides.

Mute Swans in Flight by Caroline Legg (CC-BY-2.0) at Flickr

Energy “at the margins” – powercuts! Across the islands of Scotland’s west swans (most usually Mute Swans) are often seen flying high overhead as they migrate but so too they might fly low and occasionally power would be lost (“powercut“) as they might fly into the electricity cables that hung from the wooden poles across the islands’ moorland. In Uist in the Hebrides to the west of Scotland, for example, it might occasionally happen that a “downed” swan might be found dazed and slightly disorientated in the narrow water course channels of the intricate loch and peatland bogs and the land drainage systems. Having hit the wire the swan might rest and recover in these low lying bogs and ditches.

Elsewhere across the cultural history of Scotland and other landscapes and nations the swan is a symbol of life long partnership. Images of swans paired together consumed with their ritual return nesting habitats are common across digital resources and informed our EALA logo design.

Archives and Wildlife Science

In exploring the open accessible resources available online (creative commons) for images of swans at South Uist at Loch Bee we discovered the work of Dr Mary Gillham, a wildlife scientist. An archive project offers her collection of photographs for others to view and re-use and includes many images taken in Scotland, but also in regions such as Antartica:

“Dr Mary Gillham MBE (1921 – 2013) was a pioneering naturalist and prolific wildlife author, who took an active interest in the environment for over 80 years. In 1959 Mary was a member of the first Antarctic expedition to include women scientists,” Dr Mary Gillham Archive Project

Below is just one image from Dr Gillingham’s archive – an image of Loch Bee on South Uist, Outer Hebrides. Although rather difficult to see the swans in the distance (small white dots on the dark blue water) the image offers a sense of the area’s assets low lying natural ecology of the loch, alongside its working landscape that includes crofting (cattle are seen grazing), estate management (loch fishing), and the ‘open skies’ of the islands north Atlantic ‘periphery’ situation for the nearby defence missile testing site (the”rocket range”) Range Hebrides. A view of a rusting oil drum can be seen lying in the peat moorland bog in the foreground.

Image : Mute swans over west half of Loch Bee (Bi) South Uist, *South Uist Moor. MT* (Outer Hebrides Scotland). Courtesy of Dr Mary Gilliham Archive Project (CC-BY-2.0) at Flickr.

EALA Logo

EALA Logo by Bingrui Su (CC-BY-SA) at Flickr

Co-designing the EALA logo for EALA project by Bingrui Sui CC-BY-2.0 at Flickr

I was very happy when I knew that the shape of the EALA logo I was going to design was to be a swan. In the year or so that I have lived in Ayr, the wildlife I have seen often, and found most memorable, are the swans on the river. They are free to feed and play in the river in groups every day. In creating a graphic for the EALA project – with the name EALA the word for swan in Scottish Gaelic – I was inspired by the birds on the Ayr River, taking time to watch them and to sketch and model the creation of some ideas for an image. In terms of my developing of the initial design by EALA project lead for a swan shape logo, the first thing that came to my mind is the classic version of Swarovski swan logo image. In this logo, the swan wings are made of a bunch of dots, which makes the whole logo very elegant. But I wanted to design the image of the swan as a little more closer to life, and most especially I wanted to reflect the lively and flexible aspect of the swan’s movement. As for the final presentation form of this EALA logo, I choose to use strong lines for the outline. Because the simpler the shape, the easier it is for the viewer to remember. The lines created a sharp yet elegant feeling. In the design of the swan’s body shape, I gave the swan a rich and ‘full’ outline as observing the swans in the Ayr River impressed upon me this sense of fulllness, that they were ‘fat’. Fat is not a bad word, it reflects the swans’ freedom, unfettered, and that their living environment is good. The silhouette of the swan’s tail and wings is the highlight of the logo and the ‘punchline’ of the whole design. When I sourced various logo cases of swans online I found that most of the swan logos are dedicated to showing the posture of swans when they open their wings, depicting the wings of swans straight and high, just like the brilliance of a peacock. I found that swans spread their wings when bathing, fighting, and mating and I was drawn to this and learned much more about the nature of these birds. Working with the EALA lead (Kathryn A. Burnett) in Scotland we spoke about the design concept of our EALA logo and the idea of cultural links and partnership. The two swans being mirrored in the graphic logo represent Scotland and Finland respectively and how we are producing content about both Scotland and the Arctic under the commons of friendly cooperation. I chose the pose of a swan with its wings slightly spread. I like the upward tail of swans very much. The upward tail makes the overall flow shape of swans very smooth, and matches well with the long neck of swans, reflecting the graceful posture of swans. In terms of colour choice, I spoke to Kathryn and we explored both the colours of both Finland and Scotland’s flag. Both have a wonderful blue colour but in the end as I decided to use the blue from the Scottish flag as the outline colour of the swan as I personally now love the blue of the Scottish flag; it is very bright and vibrant. And for the swan’s beak I used orange to style the beak but it also works quite well to distinguish it from the blue, and the swan graphic looks more vivid, and with a more distinctive look.

River Ayr UWS campus landscape By EALA Project CC-BY-2.0 at Flickr
By Bingrui Su, MA Creative Media Practice, University of the West of Scotland

“Among the birds”

Nest of a Whooper Swan (*Cygnus cygnus*) (image “n106_w1150“) by BioDivLibrary
is licensed under Public Domain Mark 1.0 at Flickr.

EALA has taken the swan as its motif. The EALA participants explored a number of resources related to swans, and other birds in both Scotland and the Arctic using online resources and digital repositories of images. This image of a nest of a Whooper Swan is from a collection of images held by the Biodiversity Hertiage Library from the book by R.H. Porter (1904) Three summers among the birds of Russian Lapland, London. Source: biodiversitylibrary.org/page/40161711

Biodiversity of the Arctic is a key safeguarding focus for the Arctic Council. You can read a full account of this here at the Arctic Council’s safeguarding the Arctic biodiversity pages.

“Ever since its establishment, environmental protection has been at the core of the work of the Arctic Council. In the Council’s founding document, the Ottawa Declaration, the eight Arctic States affirmed their commitment to protect the Arctic environment and healthy ecosystems, to maintain Arctic biodiversity, to conserve and enable sustainable use of natural resources. It does so through defined actions based on scientific recommendations.”

Quote Extract available from: https://arctic-council.org/explore/topics/biodiversity/

Group of flying whooper swans. Free public domain CC.0. 1.0 at Open Verse

NatureScot operates to manages Scotland’s biodiversity. In December 2020 the Scottish Government published the Scottish Biodiversity Strategy Post-2020: A Statement of Intent. This paved the way for the Scotland’s new, ambitious 25-year strategy drafted and review, to be published in Spring 2023.

“Our work contributes to the Scottish Government’s purpose of “creating a more successful country, with opportunities for all of Scotland to flourish, through increasing sustainable economic growth.” NatureScot

Scotland’s natural capital plays an important role in:

supporting economic growth

improving health and well-being

reducing greenhouse gas emissions and helping us to adapt to climate change

strengthening communities

Photo: Wildlife and biodiversity by Scottish Rural Network (CC-BY-SA-2.0) at Flickr
Image detail: The image relates to Wildlife and biodiversity Discussion theme at the Scottish National Rural Network regional event in Orkney. The event took place on 28th May 2010 at the St Magnus Centre in Kirkwall. You can find out more about the Rural Network at www.ruralgateway.org.uk.

EALA BLOG : Hello : Hei

Welcome to the EALA project ‘blog post’ page. Some of our explorations and OER resources based around our EALA project learning are shared here with links to available materials and downloads. This is a learning space for the EALA team and so we may look to revise, amand and improved our materials and OER elements – learning as we go – so you may see some things (posts, images and other materials) change over time!

EALA LOGO by Bingrui Sui CC-BY-2.0 at Flickr

Why EALA ? – Our EALA project has taken its title – and its logo – from the swan. The swan represents Finland’s national bird and our University of Lapland partner as well as the symbolic connection the swan holds in many cultures of ‘the North’ as symbolic of mythical creatures, transformation, and other worlds, not least here in Scotland. In the Gaelic language of Scotland the word for swan is eala. As part of the original idea for the project we wished to select an image that represented ideas of partnership, connection, mobility and the migration of knowledge and understanding. We also wanted to celebrate the ecocultures of place while we explored our Arctic and near Arctic contexts. The UWS (University of the West of Scotland) Ayr Campus is located on the River Ayr and we see swans regularly in the rivers, coasts and lochs nearby. One of the EALA participants is international student Bingrui Sui studying MA Creative Media Practice at UWS who worked to develop our original first draft design to the final EALA logo you can see above. You can read about Bingrui’s reflection on the creation of this resource here.

This EALA learning exchange project (2022-2023) explored Scotland’s links to the Arctic through an OER focus for learning and creativity exchange. OER – open education resource – is a process and ambition to create, curate and circulate materials and artifacts such as images, texts and documents for wider access and sharing. EALA as a title also offers us a simple summary of the project’s frame of reference: Engagement, Alliance and Learning for Arts. Please click on the menu for more information and we look forward to sharing our artefacts and reflections with you.