War Stories

Posted on October 11, 2016 by Derek Gregory

The video from our War Stories event in Vancouver last month – including Farah Nosh‘s narration of her wonderful photographs, a superb capsule genealogy of PTSD from Ann Jones, my discussion of casualty evacuation over the last hundred years, a drama staged by veterans from Afghanistan and directed by George Belliveau, Contact! Unload!, and a lively Q&A with the audience moderated by Peter Klein is now available here.

My lecture, Precarious journeys, has also been carved out for the Peter Wall Institute website here. The idea behind the event was, in large measure, to think through the multiple ways in which modern war is narrated, which is why we had such a rich and diverse portfolio of performers and why I take the turns I do… Regular readers will probably recognize that the arc of my presentation draws on my current research on evacuation from the Western Front in the First World War, on evacuation from Afghanistan today, and on my admiration for Harry Parker‘s Anatomy of a Soldier (see my ‘Object lessons’ here and the slides available under the DOWNLOADS tab).

More in an interview with Charlie Smith from the Georgia Straight here.

War Stories

Posted on August 24, 2016 by Derek Gregory

Thursday 15 September 7 – 9.30 p.m. on the Goldcorp Stage at the BMO Theatre Centre – 162 West 1st Avenue, Vancouver:

War stories from Afghanistan, Iraq and other conflict zones told by foreign correspondents, combat veterans and scholars.

Award-winning Iraqi-Canadian photojournalist Farah Nosh and writer/photographer Ann Jones will share images and stories of the impact of war on civilians. Wall Distinguished Professor and geographer Derek Gregory will discuss changes in the evacuation of war casualties from battlefields over the past century. Contact! Unload, a play directed by Wall Scholar George Belliveau, will feature Canadian veterans depicting what it means to transition home after overseas service. The play highlights Marv Westwood’s Veteran’s Transition Program and artist Foster Eastman’s Lest We Forget Canada! mural. Moderated by Emmy Award winning journalist Peter Klein.

Following the presentations the performers will engage with the audience in a discussion about the different perspectives and approaches to sharing war stories, and the value of storytelling’s ability to chronicle, enlighten and heal.

Register here (free). I’m really excited about this – I admire the work of Farah Nosh and Ann Jones enormously, I’m looking forward to the extracts from Contact! Unload – I’m still thinking about Rosie Kay‘s Bodies on the line and Owen Sheers‘ wonderful work in a similar vein – and Peter Klein will be a wonderful interlocutor. Do come if you can.

UPDATE: We’re sold out, but there is a wait list. And you can find more on WAR STORIES from the wonderful Charlie Smith at the Georgia Straight here.

Bodies on the line

Posted on January 5, 2015 by Derek Gregory

The more I think about corpography (see also ‘Corpographies under the DOWNLOADS tab) – especially as part of my project on casualty evacuation from war zones – the more I wonder about Grégoire Chamayou‘s otherwise artful claim that with the advent of armed drones the ‘body becomes the battlefield’. He means something very particular by this, of course, as I’ve explained before (see also here).

But let me describe the journey I’ve been taking in the last week or so that has prompted this post. Later this month I’m speaking on ‘Wounds of war, 1914-2014‘, where I plan to sketch a series of comparisons between casualty evacuation on the Western Front (1914-18) and casualty evacuation from Afghanistan. I’ve already put in a lot of work on the first of these, which will appear on these pages in the weeks and months ahead, but it was time to find out more about the second.

En route I belatedly discovered the truly brilliant work of David Cotterrell who is, among many other things, an installation artist and Professor of Fine Art at Sheffield Hallam University. He became interested in documenting the British military casualty evacuation chain from Afghanistan, and in 2007 secured access to the Joint Medical Forces’ operations at Camp Bastion in Helmand. He underwent basic training, a course in even more basic battlefield first-aid, and then found himself on an RAF transport plane to Bastion. The Role 3 Hospital was, as he notes, a staging-ground. ‘Field hospitals are islands between contrasting environments,’ he wrote in his diary, ‘between the danger and dirt of the Forward Operating Bases and the order and convention of civilian healthcare.’ You can read a long, illustrated extract from the diary (3 – 26 November 2007) here, follow the photo-essay as a slideshow here, and explore David’s many other projects on his own website here.

The diary is immensely interesting and informative in its own right, not least about the exceptional personal and professional difficulties involved in documenting the evacuation process. Here there’s a helpful comparison to be made with journalist Ann Jones‘s no less brilliant They were soldiers: how the wounded return from America’s wars (more on this in a later post), which starts at the US military’s own Level III Trauma Center, the Craig Joint Theater Hospital at Bagram, and moves via Landstuhl Regional Medical Center in Germany, the largest US hospital outside the United States, to the Walter Reed Army Medical Center in Washington DC.

David’s visual record is even more compelling, as you would expect from a visual artist, not only in its documentary dimension but also in the installations that have been derived from it. In Serial Loop, for example, we are confronted with a looped film showing the endless arrival of casualties at Bastion: ‘The sound of a continuously arriving and departing Chinook helicopter accompanies images of a bleak and wasted landscape; the banality of the film’s fixed perspective masks the dramas that unfold within the ambulances as they travel to triage.’

9-liner explores what David calls ‘the abstraction of experience within conflict’:

9-Liner explores the dislocation between the parallel experiences of casualties within theatre. It is a quiet study of a dramatic event: the attempt to bring an injured soldier to the tented entrance of the desert field hospital. The screens show apparently unrelated information. JCHAT – a silent scrolling codified message – runs on a central screen. Our interpretation of it is enabled through its relationship between one of two radically different but equally accurate views of the same event. To the left we see the Watchkeeper – a soldier manning phones and reading computer screens in a crowded office. On the right we view the MERT flight – the journey of the Medical Emergency Response Team in a Chinook helicopter.

SHU’s REF submission includes this summary of David’s work (one of the very few useful things to come out of that otherwise absurdist exercise):

The research made clear that soldiers recovering from life-changing injuries had limited means of reconstructing the narrative of their transformative experiences. From the time of wounding through to secondary operations in the UK, many soldiers remained sedated or unconscious for a period of up to five days. The radical physical transformation that had occurred during this period was not adequately reconciled through medical notes, and the embargo on photographic documentation of incident and subsequent medical procedures served further to obscure this period of lost memory.

A culture of secrecy meant that medical professionals were unable to access documentation of the expanded care pathway with which they, and their colleagues, were engaged. This fragmentation of experience and understanding within the process of evacuation, treatment and rehabilitation meant that the assessment of the contradictions and disorientation experienced by casualties and medical practitioners was denied to front-line staff.

Family members, colleagues and members of the public outside the immediate environment of the military were unable to visualise or understand the transformative effects of conflict on directly affected civilians and soldiers. Partly as a result, the scope for public debate to engage meaningfully with the longer term societal cost of contemporary conflict was limited.

The submission goes on to list an impressive series of debriefings, presentations to military and medical professionals, major exhibitions, and follow-through research in Birmingham.

And it’s one of those follow-throughs that prompted me to think some more about corpographies. I’d noted the connection between corpography and choreography in my original post, but David’s extraordinary collaboration with choreographer Rosie Kay and her dance company gives that a much sharper edge. Again, there’s a comparison to be drawn – this time with Owen Sheers‘s impressively researched and executed body of work, not only the astonishing Pink Mist but also The Two Worlds of Charlie F (2012), which was a stage play based on the experiences of wounded soldiers who also made up the majority of the cast (see my discussion of these two projects here).

5 Soldiers started life as a stage presentation in 2010 (watch some extracts here):

A dance theatre work with 5 dancers, it looks at how the human body is essential to, and used in, warfare. 5 SOLDIERS explores the physical training that prepares you for war, as well as the possible effects on the body, and the injury caused by warfare.

Featuring Kay’s trademark intense physicality and athleticism, 5 SOLDIERS weaves a journey of physical transformation, helping us understand how soldiers are made and how war affects them.

5 SOLDIERS is a unique collaboration between award-winning choreographer Rosie Kay, visual artist David Cotterrell and theatre director Walter Meierjohann. It follows an intense period of research, where Rosie learnt battle training with The 4th Battalion The Rifles and David spent time in Helmand Province with the Joint Forces Medical Group.

Rosie explained her commitment to the project (and her training with The Rifles) like this:

“I wanted to look at how the physicality of a soldier’s job defines them –like a dancer, the soldier is drilled, trained, their responses becoming automatic, but can anything prepare you for the realities of war? It is young soldiers and their bodies that are the ultimate weapon in war – their strength and weaknesses may win or lose a battle, their ability to harm or injure others is key to victory. While war is surrounded with weaponry, uniforms, history and ceremony, the real business is human, dirty, messy, painful and happening right now.”

(She is, not coincidentally, an affiliate of the School of Anthropology at Oxford).

And now there’s a film version that works as a multi-screen installation (screen shot above).

Instead of just creating a short film, the team wanted the web user to get a truly interactive way to watch dance, and actually feel that they can go inside the minds and the body of the work. The 80-minute work was cut to just 10 minutes long, and the company spent one week filming in a huge aircraft hangar at Coventry Airport…

Using a variety of cutting edge filming techniques, the collaborative team have created a 13 angle edit that takes you into the heart of the work, follows each of the dancers, and zooms out so that the performers appear to be like ants in a huge empty landscape.

You can see the interactive, multi-perspectival version here. This relied on helmetcams, and there’s a fine, more general commentary on this in Kevin McSorley‘s ‘Helmetcams, militarized sensation and “somatic war”‘ here. But here’s the short, ‘director’s cut’ version:

And look at the tag-line: ‘The body is the frontline’. It’s not only drones that make it so.

Survivable life

Posted on November 20, 2013 by Derek Gregory

Just back from St Andrews – the video of the Neil Smith Lecture will be available online shortly, and I’ll post a notice when it’s ready – and so much to catch up on it’s not easy to work out where to start.

But this is as good a place as any: Ann Jones‘s new book, They were soldiers: how the wounded return from America’s wars (Haymarket, 2013):

After the American invasion of Afghanistan in 2001, Ann Jones spent a good part of a decade there working with Afghan civilians—especially women—and writing about the impact of war on their lives: the subject of Kabul in Winter (2006). That book revealed the yawning chasm between America’s promises to Afghans and its actual performance in the country. Meanwhile, Jones was pondering another evident contradiction: between the U.S. military’s optimistic progress reports to Americans and its costly, clueless failures in Afghanistan as well as Iraq. In 2010-2011, she decided to see for herself what that “progress” in Afghanistan was costing American soldiers. She borrowed some body armor and embedded with U.S. troops. On forward operating bases she saw the row of photographs of “fallen” soldiers hung on the headquarters’ wall lengthen day by day.

At the trauma hospital at Bagram Air Base she watched the grievously wounded carried from medevac helicopters to the emergency room and witnessed the toll that life-saving surgeries took on the doctors who performed them. She accompanied the wounded on medevac flights from Bagram to Landstuhl Regional Medical Center in Germany, then on to Walter Reed Hospital in Washington, and finally—for those who made it—back to all-American homes where, often enough, more troubles followed: violence against wives, girlfriends, children, and fellow soldiers; Big Pharma-induced drug addiction; murder, suicide, and the terrible sorrow of caretaker moms and dads who don’t know what happened to their kids. They Were Soldiers is a powerful account of how official American promises—this time to “Support Our Troops”—fall victim to the true costs of war.

This dovetails perfectly with what I hope will be my new research project on caring for those wounded by war – combatants and civilians – between 1914 and 2014 and their precarious journeys away from the killing zones (see DOWNLOADS tab and scroll down). As I’ve noted before, much of the critical commentary on modern war has been preoccupied with those killed – which is of course important – but the other casualties of war have all too often been marginalised. It’s high time to supplement inquiries into what Judith Butler calls the constitution of a ‘grievable life’ with others into the constitution of a ‘survivable life’.

Hence the vital importance of Ann’s book. There’s an interview with Amy Goodman at Democracy Now here, and another with Truthout here, in which she deftly rejects the lazy politics in which the left supposedly cares only for ‘their’ civilians while the right cares for ‘our’ troops:

We worry – if at all – about how vets are treated when they return because of our mistaken notion that Vietnam vets suffered mightily from not being greeted as heroes. What Vietnam veterans truly suffered from was not their reception, but the war. That fact we tend to forget. Consequently, we think we can resolve all the possible nasty consequences of war by waving flags at airports as troops return. The deeper problem is that none of these veterans of the wars of choice in Iraq and Afghanistan – not one of them – should ever have been sent to war. But without a draft that can potentially strike any family in the country, those who have no fear that a family member may be compelled to serve are free to ignore the whole political and public relations process by which leaders drag the country into war and carry it on. War can be left to a supposedly “all volunteer” standing army – those poor kids with no job options or a shot at college – which is precisely what the founding fathers warned against, believing that a standing army would be used by autocrats to destroy democracy. That volunteer army, of course, is shadowed by a larger privatized for-profit army of mercenary contractors. The standing army of the poor and patriotic is alienated from the general public and left at the mercy of the president. Our recent presidents and their cronies, who hold a nearly unblemished record of evading military service, have thrown kids into war with an enthusiasm undampened by any real knowledge of what war is, while the most influential segments of the general public, feeling both grateful and guilty that their kids are safe, make no effort to restrain those war-loving leaders.

You can read an extract from They were soldiers, with a very helpful prefatory note from Nick Turse, at TomDispatch here:

In 2010, I began to follow U.S. soldiers down a long trail of waste and sorrow that led from the battle spaces of Afghanistan to the emergency room of the trauma hospital at Bagram Air Base, where their catastrophic wounds were surgically treated and their condition stabilized. Then I accompanied some of them by cargo plane to Ramstein Air Base in Germany for more surgeries at Landstuhl Regional Medical Center, or LRMC (pronounced Larm-See), the largest American hospital outside the United States.

Once stabilized again, those critical patients who survived would be taken by ambulance a short distance back to Ramstein, where a C-17 waited to fly them across the Atlantic to Dover Air Base in Delaware. There, tall, multilayered ambulances awaited the wounded for the last leg of their many-thousand-mile journey to Walter Reed Army Medical Center in Washington D.C. or the Naval Hospital at Bethesda, Maryland, where, depending upon their injuries, they might remain for a year or two, or more.

Now, we are in Germany, halfway home. This evening, the ambulance from LRMC heading for the flight line at Ramstein will be full of critical-care patients, so I leave the hospital early and board the plane to watch the medical teams bring them aboard. They’ve done this drill many times a week since the start of the Afghan War. They are practiced, efficient, and fast, and so we are soon in the air again. This time, with a full load.

Two rows of double bunks flank an aisle down the center of the C-17, all occupied by men tucked under homemade patchwork quilts emblazoned with flags and eagles, the handiwork of patriotic American women. Along the walls of the fuselage, on straight-backed seats of nylon mesh, sit the ambulatory casualities from the Contingency Aeromedical Staging Facility (CASF), the holding ward for noncritical patients just off the flight line at Ramstein.

At the back of the plane, slung between stanchions, are four litters with critical care patients, and there among them is the same three-man CCAT (Critical Care Air Transport) team I accompanied on the flight from Afghanistan. They’ve been back and forth to Bagram again since then, but here they are in fresh brown insulated coveralls, clean shaven, calm, cordial, the doctor busy making notes on a clipboard, the nurse and the respiratory therapist checking the monitors and machines on the SMEEDs. (A SMEED, or Special Medical Emergency Evacuation Device, is a raised aluminum table affixed to a patient’s gurney.) Designed to bridge the patient’s lower legs, a SMEED is now often used in the evacuation of soldiers who don’t have any.

Here again is Marine Sergeant Wilkins, just as he was on the flight from Afghanistan: unconscious, sedated, intubated, and encased in a vacuum spine board. The doctor tells me that the staff at LRMC removed Wilkins’s breathing tube, but they had to put it back. He remains in cold storage, like some pod-person in a sci-fi film. You can hardly see him in there, inside the black plastic pod. You can’t determine if he is alive or dead without looking at the little needles on the dials of the machines on the SMEED. Are they wavering? Hard to tell.

They were soldiers is available as an e-book if, like me, you can’t wait.