Historical Clashes: A Historian's Review of Colour & Light 2026

TW/ Reference to death & suicide

By Jacob Smith (BA(Hons) Curating & Art History)

11th February 2026

Colour and Light has become a staple in my winter calendar since moving to York back in 2022. Each year, I have enjoyed making time to take a trip into the city and embrace a bit of York culture; however, every year, I have found myself leaving with the same feeling of being underwhelmed by the experience.

The 2026 show, presented by York BID and its associates, attempts the ambitious task of portraying thirteen varied histories from across Yorkshire. From the Filey Brigg Dragon to a World War II 'mouser', the show highlights both local legends and major historical milestones. Yet, throughout this whistle-stop tour of Northern folklore, there is a significant loss of narrative nuance. Although the projections were a work of art in their own right, the speed at which each story went past left much to be desired, leaving both my partner and me feeling more disappointed than anything.

York and Yorkshire have a rich history full of notable individuals and fascinating events, yet this year’s Colour and Light fell short of fully embodying any of them. With the 2026 edition moving from the city centre to the historic Eye of York, I had high hopes that this history-led experience would make the most of the site’s unique gravitas. However, the result felt like a disjointed assembly of folktales rather than a curated narrative.

The Eye of York, formerly the heart of York Castle, was once one of the most important sites in Europe. It was here that Edward I moved the throne of England, along with the government, the Exchequer, and the Chancery, for six years during the wars with Scotland between 1298 and 1304. For centuries, all elections for the entirety of Yorkshire took place here, including the 1807 campaign that bolstered William Wilberforce’s anti-slavery cause.

The Eye also holds a darker legacy. Countless prisoners were held in the surrounding cells, including the highwayman Dick Turpin, before being led to their deaths either on the nearby Knavesmire or at the gallows of the castle itself. Perhaps the most poignant of York’s stories took place in the keep of the castle (Clifford's Tower), where, in 1190, approximately 150 members of the Jewish community were massacred, dying by suicide or at the hands of an anti-Semitic mob, as the wooden keep was burnt to the ground.

It is with these heavy, site-specific histories in mind that I question the roster of the 2026 experience. During the nine-minute show, we are presented with dragons, witches, and fairies from across the county, yet there is little to no reference to the profound events that occurred right under our feet. To prioritise folklore over the site's own visceral heritage feels like a significant missed opportunity.

Overlooking the site’s history, what stands today are some masterpieces of architecture. Clifford’s Tower is a Norman fort which has stood the test of time, and York Castle Museum is a prime example of Georgian grandeur. These Grade I listed buildings are a living piece of York’s history and iconic in their own right; however, the projection failed to treat them as such.

In previous years, we have seen how Colour and Light attempted to emphasise the architectural wonders of York Minster and bring the York Art Gallery to life. However, while efforts were made to highlight the architectural features of the symmetrical Georgian Prisons (built 1705–1785) and the simplistic grace of the weathered Clifford’s Tower, these moments were limited. They felt out of touch when seen alongside the disjointed narratives.

The beauty of Colour and Light is that it is projected onto a monument, which distinguishes it from a typical light show. The buildings are what give the show its uniqueness, but without real utilisation of the structures themselves, the projection may as well be presented in any darkened gallery across the world. I would have loved it if the beautiful architecture of the buildings had been incorporated as a prominent feature of the artwork, rather than the shapes being utilised simply as a canvas for the majority of the show.

Beyond the narrative confusion of the 2026 show, several technical barriers hindered our experience. The primary issue was the runtime's frantic pace. Each of the thirteen stories was allotted, at most, a thirty-second window to transition, introduce a title, enact a visual representation, and fade out. This compressed timing was frequently interrupted by seemingly random colourful patterns, which felt like lost opportunities for further storytelling. In any curated experience, 'dwell time' is essential for comprehension; here, thirty seconds was simply not enough to linger on or understand the meaning behind the tales, particularly for the lesser-known folklore that lacks the immediate recognition of a figure like Guy Fawkes.

The speed of the transitions made following an already confusing narrative even harder, leaving neither my partner nor me really knowing what was happening. This was only emphasised by the poor readability of the title text for each story. As a viewer with neurodivergencies and dyslexia, I found that the shifting backdrops and the somewhat fuzzy projection made following even a simple title sequence almost impossible; as soon as I managed to focus on a word, it vanished before I had the chance to process it.

While this was not a total barrier for me, as I could still enjoy the vibrancy of the colours irrespective of their meaning, it raises a serious question about universal design. For a visitor with a more life-altering disability, such as significant sight loss, the show would likely be entirely inaccessible. Without a voiceover or an audio guide to anchor the experience, the history is lost to anyone who cannot keep pace with the frantic visual output.

Similar issues arise when you consider the show’s placement. Nestled between a major road, a sprawling car park, and several well-lit surrounding buildings, the performance’s visual quality seemed lost to light pollution. This became an issue for me when the projection transitioned from Clifford’s Tower to the Castle Museum, and, as I shifted my gaze, I was momentarily shocked by the intense glare of the numerous car park floodlights beaming down on the viewers. Unlike previous years, when the location's darkness made the projections feel more immersive, these external light sources and the passing headlights of traffic served as constant distractions, pulling the viewer’s focus away from the art and back toward the urban bustle.

Although the Colour and Light experience has changed minimally in how much it has impressed me over the years, I am happy that it has been brought back for another run in 2026, and I applaud the companies involved for creating a spectacle which has brought so many people out onto the streets to experience a small slice of history and art in their home. As winter turns into spring, the beauty of the lights shows us that the darkness is fading and new prospects are on the horizon. As such, I hope that in future years, Colour and Light can learn from its mistakes and continue to grow, developing its skills and narratives to provide a cultural experience, free of charge, to the people of York.

References: 

Graham, Helen. 2019. "The Castle and Eye of York: A Very Quick Account of 2000 Years of Change." My Castle Gateway. Last modified June 27, 2019. 

https://mycastlegateway.org/2019/06/27/the-castle-and-eye-of-york-a-very-quick-account-of-2000-years-of-change/

History of York. n.d. "King Edward I and York." York Museums Trust. Accessed February 11, 2026. 

https://www.historyofyork.org.uk/themes/medieval/king-edward-i-and-york

History of York. n.d. "The 1190 Massacre." York Museums Trust. Accessed February 11, 2026. 

https://www.historyofyork.org.uk/themes/norman/the-1190-massacre

The York BID. 2026. "Colour & Light 2026: Yorkshire Folk Tales and Histories." The York BID. Accessed February 11, 2026. 

https://www.theyorkbid.com/colour-and-light/