No smoke without pyre

Unlike most countries, cigarettes are sold in singles in India and most shops that sell them have electric lighters attached to the wall for their customers to use. An anti-smoking campaigner fitted the lighters with a device which plays the Indian death chant every time someone lights a cigarette. “Raam Naam Satya Hai” is chanted when a dead body is carried to the funeral pyre. Most smokers observed in this experiment couldn’t bring themselves to light up.

Source

Afterburner

After washing his eyes reddened by a heavy dose of marijuana, Sadhu Premdas steps into the Bagmati river, looking for some half-burnt logs of wood to light a fire at his place.

Belonging to the Aghori sect of sages, Premdas does not accept fresh firewood distributed by the Pashupati authority: he loves a fire made from logs already used for cremating a body.

Another Baba from Benaras, India, Devananda Das, who arrived in Kathmandu four days ago, has also been collecting logs partially burnt with a body. Under the auspicious setting of the temple at this time of the year, every morning of these Aghori sages begins with the collection of charred logs thrown into the Bagmati after putting out a funeral pyre at Aryaghat.

“We only use logs burnt in the pyre,” Devananda said, basking in the warmth of burning logs on a warm Sunday. “I get divine satisfaction at the warmth emanating from logs already used to cremate bodies.” According to him, Aghoris consider it pious to apply ashes of wood already used in cremation. The Aghori Sadhus, according to Premdas, are “the master of spirits” and using such wood strengthens their control over the spirits.

“People may hate us for our behaviour, but we don’t care,” he says, arranging dreadlocks above his left ear. “This is how we are.” 

Source.

More fascinating info on the Aghori sect here

Celebrants talk business

Posted by Richard Rawlinson

Two topics that have inspired lively debate here recently are ritual and business. Comments about the latter reveal many civil funeral celebrants feel their service is undervalued in monetary terms. The going rate, between £120 and £180 a funeral, is deemed inadequate as a business model. This fee, which is unregulated but loosely set to be competitive when compared with clergy fees, makes professional life challenging. It’s a case of market forces squeezing profit margins.

Many in other sectors will sympathise with this scenario. Farmers are often forced to sell their produce to supermarkets at a price that scarcely covers their costs just so the supermarkets can undercut their retail rivals when selling it on to us, the bargain-hungry consumer. Farmers in turn have appealed to the state for subsidies, and diversified in order to make ends meet. Some have cut out the middle man by opening farm shops, charging a premium because their produce is local, fresh, exclusive and any other added value benefits they can attribute to it.

The state of the civil funeral celebrant’s bank balance might also be usefully compared to that of self-employed people in creative fields: the young actor whose sporadic castings don’t equate to a salary and so works in a restaurant as well; the painter who reluctantly sheds his principles to take on more lucrative, commercial work. In the media, I also come across distinct types of freelance journalist: those who churn out copy conveyor belt-style in order to make a living; those who carefully craft just a couple of features a month for personal satisfaction but who are supported financially by partner or private income; those who are so in demand they can command a substantial sum for a weekly column that takes up little of their time.

If regulation or state subsidy are not on the cards, and laissez faire economic forces have perceived injustices, what can celebrants do to improve their lot? If they want to commit themselves full-time to their career vocation, they need to charge more. One commentator in a recent thread estimated it would ‘have to be at least £250, which would mean £25k a year before tax at two funerals a week’.

This might be unfeasible without ongoing marketing drives that convince both public and funeral directors, who are positioned to influence the public in their broader funeral arrangements, of the value of good celebrants: how they spend time with families collaborating on a bespoke service, the enduring, positive results of which justify the premium cost.

The caveat to such marketing is the service can be detailed or simple depending on individual taste. Personalisation is itself a luxury but it can be ether embellished or plain, just as a party planner can organise a champagne reception or barbecue; an interior designer, a bling or rustic home.

Opinion-forming marketing campaigns, like party political campaigns before general elections, either win favour on merit or by digs at the competition or establishment status quo. ‘The clergy are usually phone-only merchants,’ said one commentator. ‘Funeral directors don’t think out of the box and we don’t get a fraction of their fee, or even the cash paid to florists and memorial masons’, said another. These gripes are natural and fine in private, but are perhaps best avoided in broader debate. While civil servants such as nurses win public sympathy when they demand recognition, it’s harder for many other worthy professions to do likewise. Resting actor? On your bike. Overworked priest on subsistence pay who serves the communities of three parish churches instead just one? Little sympathy here, I suspect.

Finally, perhaps ritual, or at least a more formulaic structure, can make funeral planning less time-consuming, and without necessarily taking away valued personalisation. But is there demand for a doubling of funerals even if time on each was saved? Ritualised structure might be a step too far for some, akin to the aforementioned conveyor belt journalist, the sell-out artist, or indeed the clergy with their liturgy. As one commentator said: ‘There’s rather more to a non-religious celebrant’s job than reading a set text from a book and inserting a name here and there’.

Quote of the day

Posted by Vale

“I still use a manual typewriter (a 1953 Underwood portable, in a robin’s-egg blue) because the soft pip-pip-pip of the typing of keys on a computer keyboard doesn’t quite fit with my sense of what writing sounds like. I need the hard metal clack, and I need those keys to sometimes catch so I can reach in and untangle them, turning my fingertips inky. Without slapping the return or turning the cylinder to release the paper with a sharp whip, without all that minor havoc, I feel I’ve paid no respect to the dead. What good is an obituary if it can be written so peaceably, so undisturbingly, in the dark of night?” –From “The Coffins of Little Hope” by Timothy Schaffert

Thanks to Obituary Forum

Post mortem photography

Posted by Vale

We had quite a debate recently when we published some recent post mortem photgraphs.

They were respectful, intriguing and, some of them, quite lovely in their own way. But they made us – and some of you – uneasy. Did the photographer have permission to publish? Was it right to expose the dead – so vulnerable in their invulnerability – to public gaze in this way?

We weren’t always so squeamish. Back in the days when photography was still a new art, the idea of photographing the dead was seized on as something that, like embalming, preserved ‘the body for the gaze of the observer’. The quotation is from an interesting essay by an American, Don Meinwald, about Death and Photography in 19th Century America.

The photographs were for private consumption rather than public sharing and Meinwald links them to the Ars Moriendi tradition of funeral portraits. Photographs of children were especially treasured:

These photographs served less as a reminder of mortality than as a keepsake to remember the deceased. This was especially common with infants and young children; Victorian era childhood mortality rates were extremely high, and a post-mortem photograph might be the only image of the child the family ever had. The later invention of the carte de visite, which allowed multiple prints to be made from a single negative, meant that copies of the image could be mailed to relatives.

The quotation comes from a portal site over on Squidoo with lots of links. Fascinating. Macarbre. Unbearably poignant.

Drive thru’ funeral

 

Posted by Vale

They’ve been operating in Los Angeles (where else?) since 1974.

Lately though they’ve become especially popular with local gangs – many of whom are killed in drive by shootings and who feel safer behind the bullet proof glass.

Found on the web here.

What makes a good funeral?

Posted by Vale

Would a traditional religious ceremony with six lacklustre hymns, a perfunctory celebrant and no mention of the person in the coffin count as one? I expect most of us would say no – but, sometimes, I wonder.

We often talk about the grand and the personal, the expressive and moving as though that sort of funeral represented some sort of ideal. They can certainly be wonderful events and, if they are what you want, there is no doubt that they can provide that sense of release and transformation that both fulfils and allows people to move on in their grieving.

But what strikes me most about grief is its malleability. It will accommodate itself to every human tradition and style. Buried like the Muslim within 24 hours? Grief accommodates this. Held for weeks while the house is made ready as they do in Ghana? Grief accommodates this, as it does for burning, sky towers or ship burials.

So what makes a good funeral? There is no common factor that I can see, other than the conviction amongst the mourners that they are doing what is right – by society and by the person they have lost. If they have confidence there then grief will accommodate whatever arrangements need to be made.

In that sense, if a family goes away feeling that a ceremony was what someone wanted and, above all, was the right thing to do, even the most threadbare won’t have been without some comfort.

So, what makes a ‘good funeral’?  Is it, in fact, a sense of duty fulfilled and not, as we sometimes seem to suggest here, the theatre or therapy of the memorable event? Discuss…

 

Scattering the ashes

Posted by Vale

“And when did you last see your father?
Was it when they burned the coffin? Put the lid on?
When he exhaled his last breath?
When he sat up and said something?
When he last recognized you?
When he last smiled?

When did you last see your father?
The last time he was healthy, active?
The last time he had an argument about something?

Those weeks in which we tried to say goodbye
were like a series of depletion’s.
Each day I thought
‘he can’t get less like himself than this.’
Yet each day he did.
So I’ve been trying to recall
the last time I actually saw him.
The last time he was unmistakeably… there.
In the fullness of being,
I dunno… him.”

The closing words of the film – And when did you last see your father? – spoken by Colin Firth.

The film can be found here.

The original book by Blake Morrison here.

No opportunity wasted

Posted by Vale

Someone dies and another sees an opportunity: death is an opening in more ways than one. Now, it seems, the cyber criminals have got in on the act. When Whitney Houston was discovered in her bath at the weekend all the nodes and synapses of the internet flickered into life and, as the Malware Blog reports, Cybercriminals were quick to take advantage. The site found a fake video spreading on Facebook:

Wall posts with the subject “I Cried watching this video. RIP Whitney Houston” come with link to the supposed video. Clicking it leads them to a Facebook page that contains a link to the video. However, clicking this link only leads to several redirections until users are lead to the usual survey scam site.

Apparently the same trick was tried when Amy Winehouse died. I can’t for the life of me make out the commercial benefit, but there must be some. Don’t you hate this way that death can generate this sort of conscience-less entrepreneurialism? No, wait a minute…

Thoughts of a funeral-goer

Posted by Lyra Mollington

The lovely Mr Cowling and his little friend Vale have kindly invited me to contribute to the splendid GFG. As a lady of a certain age, I have attended more than my fair share of funerals, becoming something of a connoisseur.

I have also attended more than my fair share of dreadful funerals. On one occasion we were regaled with threats of hell and damnation by an intense and possibly psychopathic lady vicar. She clearly warmed to her theme as she saw our horrified faces. We were her ideal audience – unable to escape.

The humanists are only slightly better – why do they have to mention religion so much? Yes, we get it – you can have a funeral without God. And yes, you mean no disrespect to those of a religious faith. Get a grip for heaven’s sake! We’re not going to fall apart because you’re unable to wax lyrical about Life Everlasting. However, I do miss a good hymn. As long as it’s not All Things Bright & Beautiful! Unless the organist is playing it in the key of C, at my age I have no hope of reaching the top notes. But even that is better than Wind Beneath My Wings. Does no-one listen to the lyrics?

Anyway, it got me thinking. What if my children chose something like that for my funeral. Plan ahead – that’s the key. So whilst we were tucking into our crispy duck in restaurant in China Town, I tentatively raised the subject of my demise. It went something like this:

Me: I’ve been thinking about my funeral.

Daughter: (imagine high-pitched disapproval) Mum! We’re eating!

Me: Well we don’t often get the chance to talk like this. I just wanted…

Son: (fingers in ears) Not listening. Not listening.

Me: I’ll write it all down then.

Daughter: Fine – but it’s not legally binding you know.

Son: (starting to chuckle) Yeah, but don’t worry – we’ve got lots of ideas.

Later that evening we saw Bill Bailey’s Work In Progress and everyone howled with laughter when he sang the first few notes of “I Will Always Love You…”

Now that’s another song I don’t want at my funeral. Does no-one listen to the lyrics?

Ed’s note: the first two lines are: ‘If I should stay, / I would only be in your way.’ A very good point you make, Ms Mollington.