Research:
From the start, the actual meaning of the local Frisian identity fascinated Jonas Staal. Public Interface phrased the question: ‘How is the local Frisian identity influenced by immigration?’ Jonas Staal placed this question in a slightly different perspective. He decided to focus on the influence of globalization on the local Frisian identity. Jonas Staal was intrigued by the huge contrast between the existence of a strong local identity on one hand and the consequences of globalisation, capitalism and liberalism, such as the chain of shops, on the other hand.



During his first walk through the peaceful provincial town he discovered an advertisement for a computer game, called:’ World in Conflict’. This became the subtitle of everything he saw in Leeuwarden.  It became a metaphor for the huge contrast between local and global. According to Staal the conflict becomes visible whenever you realize that the symbol of locality (the Frisian flag) became a product as well.

The design of the flag is being used as a pattern you can repeat endlessly. This is causing a lost of its original meaning. The seven ‘Pompeblêden’ (the leafs of a white water lily represented within the Frisian flag) are symbolizing the seven regions of historical Friesland. When this pattern is repeated endlessly the motif of the flag becomes a representation of the idea of a strong cultural identity instead of a strong cultural identity in itself.

Project: Design for Friesland:



The proces of creating the new design for Friesland

Background:

Within the context of the think-tank ‘Wolkom yn it Heitelân’ organized by Wouter Osterholt and Elke Uitentuis in Buro Leeuwarden, I was asked to develop a project that could represent the actual Frisian identity, influenced by immigration and commerce. I wondered how much of the old traditions and nationalistic sympathies took part in the experience of a Frisian identity. Based on the presentations during the meetings organized in Buro Leeuwarden, where different guestspeakers reflected on social, political and artistic perceptions on this topic, I developed a ‘new design’ for the actual state of the Province of Friesland.

Concept:

‘Design for Friesland’ is a shirt, with a motif of diagonal white and blue stripes (a duplication of the stripes of the Frisian flag) on which I painted a ‘pompeblêd’ of blood, placed on top of the heart. I used the blood of Patrick Gofre, a French immigrant living in Friesland. You can consider Gofre as a new Frisian, even though he’s a Frenchman, he knows a lot about the history of Friesland. Patrick Gofre attaches a certain importance to Frisian traditions and history but he’s placing this cultural heritage in a more global perspective.

The meaning of the different symbols:

-    The design-shirt is representing a culture that got more and more influenced by globalism and commerce. Contrary to the historical character of the city of Leeuwarden there are the chain of shops, rather European or American than Dutch or Frisian, that are dominating the citycenter. The shirt is handmade. It’s a design of Charlotte Kan, a fashion designer coming from Friesland but living and working in Rotterdam.
-    The motif of diagonal white and blue stripes, a duplication of the stripes on the Frisian flag, is representing the industry producing ‘original’ and ‘traditional’ Frisian products that are in fact only representing the idea of nostalgic Frisian products. The endlessly repetition of the motif is characterizing the relativity of the use of ‘new’ symbols within the Frisian culture: the association with the traditional is more important than the traditions itself.
-     The Frisian flag became a product (for example the brand ‘Friesche vlag’) but this is not recognized or visualized in the flag itself. The process of mass production towards this Frisian symbol is clearly recognizable. You can buy wallpaper, shoes, fabrics etc. with the motif printed on it. The relationship between the number of stripes and the historical context do not coexist within these sorts of products.
-    The use of the blood of the French migrant Patrick Gofre refers to the ‘Heitelân’ (Fatherland). To use blood as a material is referring to rituals that are associated with pureness and self-sacrificing within nationalistic movements (for example the right-wing nationalistic movement ‘Blood & Honour’) In the ‘Design voor Friesland’ imperfect blood has been used, namely of an immigrant. Simultaneously it concerns a person, Patrick Gofre, which can be seen as a typical ‘new’ Frisian: an immigrant who has a lot of knowledge and feels strongly connected to the Frisian culture. His blood represents a ‘new Friesland’, where different cultures fulfil an essential part of the Frisian culture, on a national and a global level.
-    The pedestal with the Plexiglas showcase on top of it, where the shirt will be presented in, isolates the object and emphasizes its unicity. Because of the commercial use of the Frisian flag it lost its unique character. For example the company ‘Friesche vlag’ is producing export articles for the international market, selling so-called ‘traditional’ and ‘original’ Frisian products.

Realization:

The ‘Design voor Friesland’ will be placed in the ‘Fries museum’ in one of the spaces dedicated to the Frisian history. Through regional media and a website Jonas Staal wants to postulate the questions: To what extent can the new design for Friesland become a part of the Frisian cultural framework? Is there openness towards redefining the Frisian culture over and over again while taking external influences into consideration?


Soon to be seen in the Frisian museum; 'design for Friesland'.