Episode 61: What Lies Under Nottingham?

Beneath the veneer of woke nonsense promoted by Nottingham Castle, there lies an ancient history.

Nottingham Castle’s Art gallery, museum displays and Robin Hood exhibition each promote a woke agenda which is irrelevant to the true history of the city and its people.

In marked contrast to the Papplewick Pumping Station, the various displays and exhibitions, Nottingham Castle’s computer-generated activities, the videos and artwork are, in the main, aimed at women and children.

The exhibits featured in this RogueCast have been in-situ for over a year now and it is a reasonable question to ask, when will they change them?

As regular visitors to the castle, my children and I have, over the last 12 months, seen it all.

If we begin with the Robin Hood section, it becomes clear and apparent that the entire exhibition has been contaminated with what some may term ‘woke nonsense’ – black and brown-skinned actors and characters are depicted throughout the rolling video,

with one talking head being an African-descended actor who plays the role of a priest (left). The street scenes are depicted as being populated by brown-skinned characters and this is manifestly a false representation, designed for reasons of ‘diversity’ – the fabricated notion that there have always been ethnic minorities living on these isles. It is a nonsense and one which I will not even bother commenting upon further.

In the art gallery upstairs, there is a painting of a scene from Nottingham’s ancient Goose Fair. Of all the hundreds of characters in view, there a group  is ‘blacked-up’ as a minstrel. Whoever wrote the title card about the picture is evidently a woke sort for he or she, rather than commenting on the remarkable overall content chooses to focus on the minstrel and offers a bizarre apology when she stupidly claims that the  people were acting in an “offensive racist stereotype of black people” at the time and should, evidently, be condemned for this act of ‘blacking up’. Quite how or why the author thinks such a comment is necessary, is beyond my ken. Is she (and, I’d wager the author is a woman) of the view that the delicate sensibilities of the visitor need to be protected in some way?

Would it be reasonable for a white (caucasian) individual to be upset by a visit to, for instance, a Nigerian museum and be ‘offended’ by the absence of caucasians in any of the art work?

It is worth noting that the ‘gov’ of Nigeria actually has a policy in place that actually prevents such a circumstance arising:

To return the matter in hand, namely the drab feminised-politically-correct exhibitions currently on display at Nottingham ‘Castle’, It is all window-dressing and, without exception, the displays are entirely aimed at women – the main ones being the Nottingham Lace exhibit which contains dresses, table-cloths and commemorative items made from lace. The exhibit has been in place for over a year and, in my view, needs changing: it’s all fur coat and no knickers.

Next, there is the ‘pottery’ display. Again, aimed at women and children, it features all manner of crockery items and a number of alabaster features, not all of which have their origins cited.

The art gallery is similarly afflicted with woke nonsense, egregious examples of ‘modern art’ and portraits of nondescript local ‘everyday’ people, with a ridiculous over-representation of ‘ethnic minorities’, all of which suggests it is simply part of the afore-mentioned politically correct agenda.

Downstairs, there is more of the same, with a display entitled Kaleidoscopic Realms which, according to the ‘woke’ blurb, “presents an installation of artworks by eight contemporary artists revealing a colourful insight into intuitive mark-marking in its many forms, alongside films made about the artists and their practice.”

The empty – literally, non-sensical – rhetoric drips from the writing like diarrhoea from a cracked toilet bowl,

“Unfettered explorations of repetition, pattern, detail, and culture weave their way into the artwork. A clear sense of storytelling and play often features, whilst others just ooze the pure joy of mark-making and material investigations. Ceramics, embroidery, pen drawings, and large-scale painted canvases invite closer viewing, whilst an impressive installation of bold, wrapped sculptures entices you with its strong presence.”

Even the ‘Rebellion’ exhibit has a montage of cartoons and talking heads, much of which is filled with the chatter of women, as if they actually played a significant role in the purported torching of the Ducal Palace in 1831 and, interestingly, is so badly-lit that some of the maps and features literally cannot be seen or read with the naked eye.

And all the while, the Ducal palace (it is not in any shape the castle that it once was) sits atop the famous ‘Castle Rock’ which displays evidence of a cataclysm so profound and of such immense force that it melted the previous structure that stood there.

Indeed, the entire city of Nottingham is built on top of a former civilisation as evidenced by the hundreds of caves and tunnels that lie under the surface.

In short, the narratives that are pumped out by those in charge of Nottingham Castle are designed to pamper to the ‘woke’ brigade, where ‘racism’ and ‘women’s rights’ are given ‘pride’ of place at the expense of the real and ancient history.

Lies, deceptions and a multiplicity of false representations dominate throughout. That said, my two nippers do enjoy the children’s playground which has been constructed inside the old moat and, as you’d expect, the castle does provide a range of views across the city and the surrounding landscape.

---

Thank you to those readers and viewers who have so generously tipped me a few quid via the Buy Me a Coffee button.

I also publish my work on Substack, so if you frequent that platform, please consider subscribing.