Learning to dance with death

Posted by Vale

I was reading the vision statement for the Dying Matters Coalition recently (as you do) and stubbed my toe on their ambition to address death, dying and bereavement in a way that:

’will involve a fundamental change in society in which dying, death and bereavement will be seen and accepted as the natural part of everybody’s life cycle’

It made me wonder if there are any model societies where – in the terms of the Dying Matters Coalition – they have got it right.

I had the same reaction to those Tory statements about ‘Broken Britain’. I always wanted to ask when they thought it broke and when it was last ‘whole’. (My sneaking suspicion is that it was at about the time that this verse – never sung now – of All Things bright and Beautiful was written: ‘The rich man in his castle/The poor man at his gate/God made them, high or lowly/And ordered their estate’. But that’s a whole other argument).

Has there ever been a society with a truly healthy attitude to death, dying and bereavement? It would be interesting to hear some suggestions: is it Mexico with its Day of the Dead? Or Ghana with its glorious coffins?

My own mind flew back to the middle ages in Europe. It was a culture steeped in death and dying and supported by the consolations of a universal and unchallenged faith, but I am not sure they managed to naturalise death even then. The Danse Macabre – so often a representation of death-in- life – is no celebration of bereavement and dying, it is much more a metaphor for death’s disruptive power and the universality of its challenge.

Nothing, it seems to me, has changed.

The Art of Portrait Sculpture

“Death Mask Sir Thomas Lawrence, 1769-1830”

Can be seen at Presence: The Art of Portrait Sculpture

With portraits by artists from Giacometti to Ron Mueck, Presence is a terrific gathering of people carved, cast, modelled in clay or turned to stone. The Observer’s Laura Cumming takes a look at some of the works on show

Presence: The Art of Portrait Sculpture is at the Holburne Museum, Bath, until 2 September

Tibetan Carved Skull

Evelyn noticed this masterpiece rolling round the web yesterday – on Imgur and Order of the Good Death

more pictures here 

Dead Dad

Brian Appleyard writes: Mueck exhibited only one piece at the Sensation show: Dead Dad, a hyper-realistic sculpture of the corpse of his father. The first shock was that it was little more than half life-size. The second shock was — well, I’ll come back to that. Some years later, Craig Raine, the poet and critic, recalled his reaction to Dead Dad. “And there, on the floor, 3ft long, is one indisputable, obvious masterpiece… a calmly brilliant sculpture which is the contemporary equivalent of, say, Holbein’s subtle portrait of Erasmus, with its engaged intelligence and wryly amused thin mouth.”

I enjoy Mueck’s work and this sculpture in particular, reflecting how death apparently diminishes those we love.

See Brian Appleyard’s whole article here

Posted by Evelyn

Habeas corpse

An email flies in from a consumer advocacy org in the US. It’s about a British funeral consumer, let’s call him Jim, who has asked them for help. Jim has been told by his funeral director that there will be no funeral until he pays most of the bill upfront. Jim can manage much of the bill now, and can pay the balance very soon, but his funeral director won’t budge and the funeral is just days away. So Jim appoints another, more reasonable, funeral director, who rings up FD1 and says he’s coming to collect the body. FD1 refuses to release it.

What, the consumer advocacy org wanted to know, is Jim’s legal position?

I responded with the standard spiel. The executor/administrator is the legal ‘possessor’ and ‘controller’ of the body and it is an offence for anyone except the coroner to withhold the body from that person. Further, there being no property in a corpse, it is illegal to arrest one for debt. What’s more, it is almost certainly lawful to exercise reasonable force to gain (or regain) lawful possession of the corpse.

This applies, of course, whether or not the consumer has entered into a contract with the funeral home. A dead person cannot be used as a bargaining chip, and the executor can take their dead person home whenever, within reason, and as often as they want. I’m almost certain that’s right. 

And then my mind wandered sideways. For a long time I have wondered what it is legal and what it is illegal to do to a dead body. What constitutes what Americans classify ‘abuse of a corpse’?

And I wondered also about something else that’s been bugging me for a while: what status does routine embalming confer upon a body?

Having more pressing, urgent and duller things to do, I went a-googling. This time, I put in my thumb and pulled out a plum. Actually, two plums.

Plum One

The law case that altered the legal maxim that ‘the only lawful possessor of a corpse is the earth’ was the Anthony-Noel Kelly case. He is an artist. In 1998 he exhibited casts of body parts which had been smuggled out to him by lab technician Niel Lyndsay from the Royal College of Surgeons. Both were arrested and charged with stealing human body parts.  At the trial, the defence submitted at the close of the prosecution case that (i) parts of bodies were not in law capable of being property and therefore could not be stolen, and (ii) that the specimens were not in the lawful possession of the college at the time they were taken because they had been retained beyond the period of two years before burial stipulated in the Anatomy Act 1832, and so did not belong to it. The trial judge rejected those submissions, ruling that there was an exception to the traditional common law rule that there was no property in a corpse, namely that once a human body or body part had undergone a process of skill by a person authorised to perform it, with the object of preserving it for the purpose of medical or scientific examination, or for the benefit of medical science, it became something quite different from an interred corpse and it thereby acquired a usefulness or value and it was capable of becoming property in the usual way, and could be stolen. The same applies to body parts “if they have acquired different attributes by virtue of the application of skill of dissection and preservation techniques for exhibition and teaching purposes“.

There we have it. “Preservation techniques for exhibition … purposes.” Does this apply to bodies embalmed for viewing? After all, they have undergone a process of skill.  If Jim’s detained dead person has been embalmed, can his dead person now be classed as property?

Plum Two

The second discovery comes from a case before the European Court of Human Rights in 2007. Briefly, two men were killed in a firefight with Turkish security forces. When things had died down, members of the security forces cut the ears off the corpses.  The applicants complained of violations under Article 3 of the Convention on Human Rights, which prohibits torture, and “inhuman or degrading treatment or punishment”. The court’s judgement was that it appeared that the deceased’s ears had been cut off after they had died. Article 3 had never been applied in the context of respect for a dead body. Human quality was extinguished on death and, therefore, the prohibition on ill-treatment was no longer applicable to corpses; notwithstanding the cruelty of the acts concerned in the instant case. It followed that there had been no violation of art 3 on that account.

I don’t want to speculate on the implications of that.

Information source here.

Alexander McQueen: a commentary on death and decay

Phoebe Hoare, who’s put some really good things our way, suggests it’s time we did something on Alexander McQueen, the fashion designer. She’s quite right. It’s not as if his work does not dwell and brood on death, dying, mortality and moral blackness.

Before becoming a student at Central St Martin’s, McQueen cut his teeth as a Savile Row tailor. There, he made suits for the nobility and gentry. He made a suit of clothes for the Prince of Wales and, on the back of the lining of one of the sleeves, wrote in biro:  ‘I am a c**t’.

He was fearless about flabbergasting people. He wanted people to leave his shows vomiting with shock and gagging for his clothes — and they did. His graduate show at Central St Martin’s was titled Jack the Ripper Stalks his Victims and featured a frock coat with human hair between the fabric and the lining.  Throughout his life he carried on giving his adoring public more of the same — Gothic horror and much else.

Zoe Blackler, writer and journalist, says of him: “In McQueen’s world, an exuberant dress of cut flowers becomes a commentary on death and decay. A sculpted dress of black-dyed duck feathers recalls a raven, another deathly image, while accessories evoke the sadomasochistic. And yet, even at their darkest, his creations are never less than beautiful. ‘I find beauty in the grotesque,’ he said. ‘I have to force people to look at things.’” [Source]

Of a jacket embroidered with an image of the crucified Christ, he said: “That’s how I see human life, in the same way. …You know, we can all be discarded quite easily. … You’re there, you’re gone.”

And so he was. He killed himself in 2010, nine days after the death of his mother.

Was he a genius? Not in the opinion of Toby Young:  “Not a “genius”, unless by that you mean a gift for self-presentation.” But many would disagree. Compare him with YBAs (Young British Artists) like Damian Hirst and that tent woman. He was streets ahead.

Or was he? You decide for yourself.There’s a good series of photos from the Metropolitan Museum of Art’s 2011 show Savage Beauty here.

There’s a good survey of his oeuvre here.

Absence makes the art grow fonder

Are you a graveyard rabbit? Are you a photographer? 

If your answer to both of the above is yes, you can enrich yourself to the tune of £1,000 by indulging your two favourite fads and entering MAB’s Dead Art? Then and Now competition, details of which follow: 

Last year was the second success of the Memorial Awareness Board’s (MAB) “Dead Art? Then and Now” photographic competition. MAB, the organisation that works to promote and raise awareness of memorialisation issues in the United Kingdom, have now launched the competition for a third  year and is sponsored by StoneGuard Memorial Stone Insurance. It encourages photographers of all abilities to submit their images of memorials with the themes “then” and “now” and the winner will receive £1000 from the sponsor.

This year there is an added twist to the rules. The public will be able to vote from the 10 short listed entries, on the MAB website, to choose the ultimate winner and runner up.

 MAB’s Campaign Director Mike Dewar says, “Memorials and cemeteries have long been a favourite subject for photographers. There certainly is no shortage of unusual and interesting memorials throughout UK burial grounds and this competition focuses on capturing and showcasing their unsung beauty”. 

MAB are calling photographers of all abilities. All entrants must submit two images one of then and one of now in order to be valid. The “Then” photograph should represent memorials as history, and the “Now” photos must be a modern headstone. Photographs can be either black and white or colour.  

Closing date for the judges to choose the short listed will be Monday July 2nd. It will then re open in August for the public vote.

To enter the competition and for full terms and conditions please visit: www.memorialawarenessboard.wordpress.com. You can also become a fan on Facebook.

MAB asked us to let you know about this competition and, of course, we are delighted to do so. 

Cherry blossoms

Posted by Vale

Blossom bursting from bare wood,
old hearts crack open
spring sunshine.

There is something unlooked for in the pleasures of spring: light, warmth and the flush of blossom; a sudden generosity beyond expectation.

Japan marks this annual marvel by holding blossom viewing parties. It’s part of a culture which reverences nature by going out and actively celebrating it – moon gazing, listening to mountain streams and viewing flowers.

Springtime brings the most intense experience. A wave of cherry blossom festivals sweeps the islands of Japan starting in the south and following the sun northwards over two or three months. Picnics under the trees can be raucous and lively (older people often prefer more sedate plum blossom viewings), but winter is over and the sap is rising.

Underneath the joy there is, of course, a poignancy. It’s not as simple as reminding us that – like our lives – the blossoms’ beauty is brief and all too quickly ended, it’s also the sense that there could be no better time to leave than when the world around you is at its most lovely. Back in the 12th Century Saigyo famously wrote:

I wish to die in spring
beneath the cherry blossoms
while the springtime moon is full

Of course the connection between the cherry blossom and time’s passing can be found much closer to home too. This from AE Housman’s A Shropshire Lad:

Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.

Now of my threescore years and ten,
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.

And since to look at things in bloom
Fifty springs are little room,
About the woodlands I will go
To see the cherry hung with snow.

How nice to imagine the time when you thought you had fifty blossom seasons more.

Thy fibres net the dreamless head

Old Yew, which graspest at the stones
That name the under-lying dead,
Thy fibres net the dreamless head,
Thy roots are wrapt about the bones.

The seasons bring the flower again,
And bring the firstling to the flock;
&; in the dusk of thee, the clock
Beats out the little lives of men.

O, not for thee the glow, the bloom,
Who changest not in any gale,
Nor branding summer suns avail
To touch thy thousand years of gloom:

And gazing on thee, sullen tree,
Sick for thy stubborn hardihood,
I seem to fail from out my blood
And grow incorporate into thee.

Alfred, Lord Tennyson — In Memoriam