 King Teare: A Pilgrimage of my own making, to a Holy Island. Framing the Discussion Reflecting on my recent visit to the Holy Island of Lindisfarne (Adam, 2009), I was struck by the convergence of history, spirituality, and landscape. Known for its pivotal role in early Christianity in England (Wild, 2010), the island fostered a profound connection to the narratives shaped by this sacred space. Understanding my own place within academia (Teare, 2023), and the progress/discoveries I’ve already made (King Teare, 2025), Lindisfarne carried a deeper significance for me perhaps than for the average visitor, not only as a site of historical/cultural transformation, but also as a space that resonates with my research into hidden performances, power structures, and the unseen forces that shape history. A Living Narrative: Where History and Performance Meet Lindisfarne is more than just a historic site; it is a place where history, spirituality, and landscape merge into a living narrative. Shaped by centuries of pilgrimage (Wells, 2016, p. 57), devotion, and storytelling, the island holds an undeniable sense of significance (Gameson, 2017, p. 135). Its landscape, formed by faith and conflict alike, provides a perfect theatrical backdrop, blurring the lines between history, performance, and tourism (Sharpley & Telfer, 2023, p. 130). Everywhere I turned, I found moments of theatre, whether in the way the castle loomed like an imposing set, against the sky backdrop, or in the delighted reactions of children - who really did believe I was a literal king. Maybe I am one? (Sun, 2022). I am thinking of the song (Stevens, 2023) 'King of a Land' by Cat Stephens. Walking up Pilgrims Way (Dowson et al., 2019, p. 73) felt like stepping into an ancient performance, where history, myth, folklore (Higham, 2018, p. 3), and the force of nature intertwined. Inside the castle, I discovered a tiny room with a stage. An ideal space for an intimate solo performance. I imagined a musician playing a lute there by candlelight, evoking a time when music and storytelling were central to community life (Nanson, 2021). The immersive power of small-scale theatre struck me in a new way, reinforcing how space and setting shape an audience’s experience (Freitag et al., 2020). As an Invisible Theatre (Boal, 1974; Boal, 1980; Boal, Howe and Soeiro, 2019; King, 1964; Lovett, 2019; Sobel, 2022; Tudorache, 2019) practitioner, I’m fascinated by the intersection of theatre and belief (Rozik, 2002), and Lindisfarne embodied this beautifully. Even my own presence in regal attire added to the spectacle, with onlookers feeding into the atmosphere. Performance, in many ways, is a shared experience, one that invites participation and interpretation (Harpin and Nicholson, 2016, p. 7). Spiritual Resonance and Sacred Landscapes Beyond its theatricality, Lindisfarne carries a profound spiritual presence. The nearby garden overlooking the castle had an almost meditative energy, reinforcing the sense of pilgrimage. Having attended the Lindisfarne Festival twice, finally setting foot on the island felt like an important personal and cultural milestone wrapped in layers of history. Even the small stacks of stones dotting the coastline which has a technical term of rock balancing art (Stringer, 1999), also has a strong folk element as a tradition, including claims of Scottish origins. However rock balancing itself is not uniquely Scottish. Similar practices exist worldwide, such as Zen stone stacking in Japan, Buddhist cairns in Tibet, and Inuit inuksuit in North America. The modern artistic form of rock balancing is a contemporary global practice rather than an ancient Scottish tradition. However it felt like physical manifestations of devotion. Though the castle staff downplayed any spiritual significance there, I couldn’t shake the feeling that Lindisfarne held deep, unknown energies. Lindisfarne in Contemporary Storytelling The island’s impact extends beyond its ancient roots (Van der Kiste, 2017), finding new life in modern narratives. Danny Boyle’s decision to use Lindisfarne as a setting for his upcoming film '28 Years Later' (Danley, 2024), highlights the island’s eerie isolation, linking its historical solitude to contemporary stories of survival and resilience. Rituals, whether ancient or cinematic, shape how we interpret spaces (Bergmann, 2017). As a researcher and community arts practitioner, I see storytelling and ceremony as essential social tools, methods of preserving history while reimagining it for new audiences. The National Trust (Newby, 1995) has done an excellent job of maintaining the site; however, greater investment in digital engagement (Tanner, 2020) and social media could further enrich public interaction with Lindisfarne’s heritage. By integrating contemporary tools, the visitor experience could be enhanced, making the island’s traditions more accessible and participatory in the years to come. Theatre and Ritual: A Shared Tradition Ultimately, theatre and ritual are inseparable (Rozik, 2002, p. 66), as seen in diverse traditions ranging from the pagan roots of Christmas (Parry, 2022) to the symbolic acts of communion (Brinsley, 1652), among many others. The winter solstice was a festival long before it became a Christian holiday (Walter, 2014), and even Father Christmas has druidic origins (Lévi-Strauss, 1993, p. 3). Our traditions evolve through cultural adaptation (Kumar & Jha, 2024), absorbing older narratives into new forms. Theatre operates in the same way, constantly reshaping ideas to remain relevant (Wallace, 2018). In many ways, Jesus themselves (Esler, 1995, p. 47) could be seen as a master performer (Yount, 2008, p. 45), using spectacle, parables, hidden knowledge (deHaven-Smith, 2001), and public engagement to spread a powerful message. History is filled with recurring myths of divine figures (Leeming, 1990), saviours, warriors, and miracle-workers, whose stories echo across cultures. Jesus is perhaps the most enduring, but his 'universe' shares striking lore with others: the Roman god Mithras (Clauss, 2001), celebrated on December 25th; the Greek hero Hercules (Anderson, 1928), born of a mortal woman and a god; the Egyptian goddess Neith (Murdock, 2008), associated with virgin birth; and the Horus story which has a lot of overlap with Christ as he's a deity linked with resurrection. These parallels hint at an ancient tradition of weaving celestial archetypes (Herzberg, n.d.) into the fabric of our shared belief (Bar-Tal, 2000). Perhaps a hidden script that has shaped our spiritual narratives for millennia's. Lindisfarne, with its deep history and layers of belief, stands as a living example of how ritual and performance continue to shape our understanding of the world. As I stood atop the castle, dressed as a king, I couldn’t help but wonder: why should kingship be inherited when it can simply be performed (Morgenroth & Ryan, 2018)? If theatre has taught me anything, it’s that power lies in the act, in the affect and in the inspiration that grows. The Politics of Fear My beliefs have led me to view the politics of fear as a root cause of many conflicts and the marginalisation of individuals and groups. Fear of ‘the other’ has often been represented through the metaphor of cannibalism, an anxiety about being consumed by difference. This is central to the politics of fear (Ahmed, 2014, p. 64). Tales of human sacrifice and cannibalism were historically exaggerated and distorted to justify the enslavement of non-Europeans as a labour force in the colonies (Buck-Morss, 2009, p. 117). The amplification of these fears reinforced the perception of ‘the other’ as dangerous, making it easier to rationalise colonial violence. The religious transformation of Lindisfarne reflects a broader dynamic in which Christianity did not merely suppress pagan traditions but also absorbed and reshaped them. The Viking raid of 793 AD was framed by Christian monks as an act of barbaric violence by pagan ‘others,’ reinforcing a moral and theological divide. However, the success of Christianity in Britain was not solely due to coercion, it also offered spiritual and social structures that many willingly embraced. Ideas once seen as radical, such as the divinity of Christ or the doctrine of love and charity, became embedded within institutions and daily life. The construction of ‘the pagan’ as savage and dangerous was not only a religious narrative but also a political tool to consolidate power. Yet, this process was complex, involving both suppression and integration, with elements of older belief systems persisting within Christian practice. The oppressed often internalise the worldview of their oppressors, making it difficult to perceive what truly serves their interests (Freire, 1970, p. 62). This dynamic fosters an attraction towards the oppressor's way of life, despite its exploitative nature (Freire, 1970, p. 62). Historically, fears surrounding ‘the other’ have been reinforced through exaggerated narratives, such as myths of cannibalism, which were used to rationalise colonial violence and exploitation. Similarly, racial slurs have been weaponised to dehumanise marginalised groups, entrenching social hierarchies and justifying systemic oppression. This process fostered deep-seated anxieties that continue to shape social structures and perceptions of difference today (Ahmed, 2014, p. 64). Such fantasies of the extreme, for instance cannibalism, cement the idea of ‘the other’ as a threat to life itself, reinforcing fear-based justifications for oppression (Ahmed, 2014, p. 64). These narratives played a significant role in defending European exploitation of Africa (Buck-Morss, 2009, p. 117). On Lindisfarne, this fear-based framing was crucial to Christianising the region. The island had long been a spiritual centre, as suggested by its prominence in early medieval monastic records (Bede, 731) and archaeological evidence of pre-Christian ritual activity (O’Sullivan, 2018). Before Christianity took hold, local belief systems likely included elements of Norse and Celtic paganism, reflected in surviving place names, oral traditions, and the broader syncretic religious landscape of early medieval Britain (Hutton, 1991). This fear of ‘the other’ is not only historical but continues to shape societal structures. The way an outsider is portrayed impacts our ability to engage with them. This influence starts in childhood, where negative experiences or even the mere threat of disapproval from parents, religious institutions, or the state, can restrict a child’s freedom to interact with difference (Edelman, 2004, p. 21). The Origins and Decline of Democracy The consolidation of power through fear-based narratives not only shaped religious and social structures but also influenced the development of political systems. The struggle between the powerful and the powerless has long been a defining feature of governance, and in Ancient Greece, this dynamic played a key role in the emergence of democracy. The origin of the word 'politics' is intriguing. In Ancient Greece (before 500 BC), polis referred to the collective body of those without power, the weak (Boal, 1998, pp. 16-17). A farmer, for instance, had to provide five-sixths of his produce to the landlord, leaving him with very little. Without individual political influence, his only power came from uniting with others who were similarly oppressed (Boal, 1998, pp. 16-17). Polis thus represented the strength of the powerless, a force that gave rise to democracy. The term ‘democracy’ itself derives from demos (people) and cracia (rule), with the public square functioning as a space for discussion rather than mere transit (Boal, 1998, pp. 16-17). However, modern democracy has largely devolved into spectacle, where political engagement is often reduced to a performance designed to maintain the illusion of participation rather than genuine public influence (Debord, 1967; Chomsky, 1999; Boal, 1998; Rancière, 1999; Crouch, 2004). Today’s politicians, statesmen, and world leaders frequently function as dishonest deceivers, manipulating public opinion through empty rhetoric (Bennington, 2016, p. 1). Public discourse now serves to obscure inequalities under the guise of democratic legitimacy (Bennington, 2016, p. 1). Because knowledge and health are sources of power, economic elites seek to limit access to both, ensuring that an uninformed and weakened population remains easier to control (Boal, 1998, p. 33). Neoliberalism has exacerbated these issues, transforming political institutions into mechanisms that serve capital rather than people (Bennington, 2016, p. 1). Former colonial nations are now forced to confront their past, yet social cohesion is fracturing as people become increasingly polarised. This division benefits those who exploit public frustration to maintain their control. A contemporary crisis, such as a pandemic, further highlights these disparities. While the virus disproportionately affects marginalised groups and enables vast profiteering by the privileged, it also fosters grassroots activism. Historically, wealth has consolidated in the hands of corrupt elites, dictators have used division as a tool of control, and civilisations have collapsed due to natural disasters and disease (Ledwith & Springett, 2010, p. 13). The decline of democracy echoes the decline of once-powerful societies, just as Lindisfarne, once a centre of learning and faith, fell to a combination of external threats and internal shifts. In this sense, Lindisfarne serves as a microcosm of broader historical cycles where fear-based narratives lead to oppression, ideological dominance, and eventual decline. The transformation of the island from a pagan landscape to a Christian stronghold, and later to a relic of the past, mirrors the way fear and control shape the fate of societies. Understanding this history offers insight into the continued use of fear as a tool for division and control today. Law and the Nature of Evil It seems the primary justification for law is the idea that evil is inherent in human interactions. Laws would be unnecessary if wrongdoing were not a possibility, just as the concept of evil would be meaningless without the existence of law (Esposito, 2010, p. 65). The potential for harmful actions is ever-present in human relationships, and law serves as the standard by which conduct is judged (Esposito, 2010, p. 69). At the foundation of human existence lies freedom, which inherently contains the possibility of wrongdoing. As Esposito (2010, pp. 66-67) explains, “The history of nature begins with goodness, for it is the work of God; but the history of freedom begins with evil, for it is the work of man.” Laws, then, are a means of negotiating the tension between freedom and responsibility. Affective Politics and Invisible Theatre My approach of using theatre as a reflective tool, as only the human being is human (Boal, 1998, p. 114), with the unique ability to reflect upon emotions, moods, and theories of affect (Salvador, 2014, p. 5) is interdisciplinary. This perspective considers how political discourse mobilises emotions, shapes identity, and fosters active citizenship (Tait, 2016; Gregg & Seigworth, 2010). Invisible Theatre, in particular, provides a means of deconstructing systemic fantasies rooted in colonisation and fear. By immersing audiences in performative disruptions of everyday life, it challenges the narratives that sustain oppressive structures. My studies contribute to the ‘affective turn’ in theatre research, highlighting the role of experiential, sensory, and emotional engagement in political resistance (Thompson, 2007). Understanding the politics of fear and the decline of democracy through the lens of performance, allows for a deeper interrogation of power structures. Theatre, as a site of reflection and disruption, holds the potential to reshape perceptions and offer alternative visions of social and political engagement. Lindisfarne Castle: A Space of Transformation This dive into this cultural history is only accessible at low tide via a causeway that offers a brief but meaningful journey into its isolation (Brown, 2023). Originally a 16th-century fortress, the castle later transformed into a country retreat under Sir Edwin Lutyens’ designs in the early 1900s. His touches, like intricate fireplaces and elegant wooden beams, add a homely charm to the austere setting. As you wander through its intimate rooms, the blend of strategic military structure (Kazumine, 2013) and domestic comfort offers a glimpse into Edwardian ideals of merging beauty with function (O'Neill & Hatt, 2010).. For centuries, pilgrims have visited Lindisfarne, drawn by its legacy of spirituality (Adam, 2009). Walking around the castle, it’s almost impossible not to reflect on the peaceful silence and the sense of removal from the busy world. From the battlements, the view of the North Sea offers a striking reminder of both nature’s beauty and the isolation that the monks would have felt. Experiencing Lindisfarne: A Journey Through Time A trip to Lindisfarne Castle isn’t just about exploring history; it’s about experiencing the deep stillness of the island itself. If you plan to visit, be sure to check the tide schedules to ensure safe passage and take time to breathe in the tranquillity that makes this place unforgettable. For any visitor, Lindisfarne offers a kind of time travel. In AD 635, the Irish monk Aidan established a monastery on Holy Island at the request of King Oswald of Northumbria (Adams, 2013). This monastery became a renowned centre of early Christianity, closely associated with St. Cuthbert and the creation of the Lindisfarne Gospels (Backhouse, & British Library, 1987). However, Viking raids in the late 8th and 9th centuries severely disrupted the monastic community. Despite these attacks, historical evidence suggests the monastery was never entirely abandoned (Gameson, 2017, p. 1). It was later re-established in the 12th century as Lindisfarne Priory, the ruins of which still stand today. For centuries, it was widely believed that the original monastery was located where the present-day priory and parish church now stand. However, archaeological excavations conducted between 2016 and 2018 uncovered structures on the Heugh, a rocky ridge overlooking the island. These findings suggest that this elevated area may have been part of the early religious settlement. A reconstruction of an Anglo-Saxon church discovered during these excavations offers new insights into the layout and significance of Lindisfarne in its earliest days. Conclusion: The Power of Place Arriving to the site, I was instantly captivated by its rugged beauty. I found myself contemplating the lives of the monks who dedicated themselves to their faith. A significant part of local history is the 'Lindisfarne Gospels', produced on the island, and it’s worth seeing this remarkable artifact to appreciate the artistry and devotion involved in its creation. I was reminded of scholars like McCauley (2008), who discuss how sacred spaces foster community identity. The landscape itself seemed to echo with the prayers and practices of those who came before. Lindisfarne is not merely a historical site; it is a living narrative of faith, culture, and identity. Tilley’s (1994) ideas on how landscapes shape our understanding resonate deeply with my experience, as I felt an undeniable connection to the heritage of this place, especially considering my own spiritual leanings (Lewis, 2009; Harrington, 2007; Pokorny, 1908). There's even a famous band and a famous mead named after the site. My visit was a meaningful exploration of how history and spirituality intertwine in shaping narratives. This journey reaffirmed my belief in the power of place to evoke a sense of belonging and identity. In a way, Lindisfarne itself is a stage, one that continues to host performances of faith, history, and culture. My time there was both an exploration and an enactment, reinforcing my belief in theatre as a means of connection (Gatt, 2020; Theriault, 2009). Bibliography Adam, D. (2009) The Holy Island of Lindisfarne. New York: Morehouse. Adams, M. (2013) The King in the North: the life and times of Oswald of Northumbria. London: Head of Zeus Anderson, A. R. 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