“You never change something by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.”
― R. Buckminster Fuller
An Solas Sí is Gaeilge or Irish and refers to the will-o’-the-wisp light of forests, marshes, and swamps.
- The = An (Pronounced Ahon (click here for sound)
- Light = Solas (Pronounced Sallus (click here for sound)
- Fairy = Sí (Pronounced Shee, as in Banshee (click here for sound)
This Fairy Light is spoken of in the faiths, folklore, and traditional legends of cultures around the world; the St. Louis Light in Saskatchewan, Paulding Light in the Upper Peninsula of Michigan, Maco light of North Carolina, The Spooklight in Southwestern Missouri, Marfa lights of Texas, Feu Follet of the Louisiana Swamps and Bayous, Boi-tatá of Brazil, La Bolefuego or La Candileja of Colombia and Venezuela, Min Min Lights of the Australian Outback, Luz Mala of Argentina and Uruguay, the Naga Fireballs on the Mekong in Thailand, the Hessdalen light in Norway.
Ancient myths, religions, folklore, and current urban legends ― all attribute these lights to elemental spirit forces, gods, fairies, elves, ghosts ― while evidentiary science tells us they are born of natural phenomena such as bioluminescence or chemiluminescence, this as a practical matter is less important than the tens of millions who over countless centuries have been lost forever, led astray from finding a safe course to harbour, the path home.
For storytellers of every tradition throughout the ages, the fairy light has been used as a narrative device illustrating how a comforting, deeply held belief, a hope, or goal can lead one on spellbound, only hopelessly lost unto misery, bitterness, ruin, death.
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Λn Solas Sí was chosen as a metaphor because our immersive, experiential performance environments are in large part intended to illuminate how many attributes of our world civilization are false lights leading us to destruction as individuals, cultures, as a species.
It also references the central, recurring vehicle of this performing arts troupe, that of technology indistinguishable from magic, with the first introduction to the public, a reinvention of shadowplay theatre, one that in all ways appears ancient, but invokes a sense of otherworld presence that that that even explanation in no way alters the perception.
This is just one of a great many instruments employed in our method of communication by demonstration, the better to pierce the veil of perception, bridge barriers to comprehension, and express what we have been, what happened to bring our civilization to this point, and what steps we must be willing to take if our world is to thrive.