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. 

Modern grief 1 — Why teddy bears?

Posted by Charles

In a decorous piece of invective in last Friday’s Daily Telegraph, Damian Thompson analyses the way people express grief today, and why:

A few weeks after the murders of the schoolgirls Holly Wells and Jessica Chapman in 2002, I stood in Soham parish church with the vicar, the Rev Tim Alban Jones. He had made an excellent impression in the media by asking the public to pray for the girls’ families while discouraging maudlin displays of “grief ”. But he’d only been partly successful. A corner of his church was piled to the ceiling with cardboard boxes full of soft toys – in memory of the dead girls.

The vicar pointed them out to me with a baffled expression. “Why do people send teddy bears?” he asked.

…  …  …  …

As a nation we have developed an odd relationship with grief. It’s not just that we are fascinated by tragedies; we are deeply moved by our own reaction to them.

This is where those teddy bears come into the picture. The soft toys weren’t intended as comfort for the families of two horribly murdered girls. Their purpose was to provide emotional satisfaction for the people who sent them – a “personal” tribute to Holly and Jessica by members of the public who, a decade later, probably have difficulty remembering their names.

When Diana, Princess of Wales died, some critics were appalled by the “mourning sickness” symbolised by the mountains of flowers. That’s harsh, given that the public felt that they knew Diana. But there’s no getting away from it: some of those bouquets gave off the same aroma of narcissism as the teddies.

Although the vicarious grief over Diana was unusually intense, it was a classic demonstration of post-religious spirituality. The same goes for the outpouring of sympathy for Fabrice Muamba, a footballer few people had heard of before he collapsed.

Modern Westerners, including Christians, no longer believe in the supernatural in the taken-for-granted fashion of our ancestors. Confronted by major life events, we find solace in our own compassion. Visit a modern church, and you’re likely to find a smug congregation celebrating itself: a very secular impulse. And why did Ken Livingstone blub this week? Because he’d seen a film about his own benevolence – probably the closest he has ever come to a religious experience.

Source

Ashroom

A fancy gaff? No, a tomb. The tomb of Maharajah Ranjit Singh, aka The Lion of the Punjab.

His ashes repose in the middle, on the spot where he was cremated, in a marble urn shaped like a lotus. 

There are eleven other urns, those of his four wives and seven other women who threw themselves on his funeral pyre. 

Modern life

 

 

hi could anyone help me I have made my second memorial and all the themes are gone there is only 3 with butterflies when I made my sisters there was loads to choose from help please Xx

 

Appeal on a chat forum at online memorial site GoneTooSoon

 

 

 

 

Jesa

We’ve talked quite a lot recently about remembrancing and ways we can do that, either through restoration of lost customs, plagiarising others’ customs, or innovation. As we discussed ways of commemorating our antecedents, Jonathan urged us to mind, also, our descendants. 

Today we reproduce in their entirety, because they’re so interesting, the reflections of a Korean woman, Kim Ji-myung, on the ancestral rituals she was brought up to observe. It’s quite long, but you’ll take this at a happy canter. 

During Korea’s Joseon Kingdom (1392-1910), women of decent families would spend most of their adult lives in the service of others ― entertaining guests and overseeing ancestral rituals called “jesa.” These two vocations were a housewife’s most visible roles, on top of cooking and caring for one’s husband and children. 

Even in modern Korea, these expectations stubbornly persist. This is especially true for us wives of first-born sons. To be honest, I’ve always felt some resentment for spending so many hours in late December and early January preparing for the New Year ancestral rituals. After all, the end of one year and the beginning of the next is a special time. Nevertheless, family tradition holds and I’ve long tempered my personal misgivings.

While the specific rituals depend on family tradition, most Koreans observe the same Confucian fundamentals. I think my reluctance is grounded in the fact that I don’t believe the old lore that on special holidays the spirits of our deceased ancestors descend to Earth to taste real food and wine.

Let’s face it, there’s something peculiar about leaving a room and observing a moment of silence so the deceased can eat in peace. Oh, and don’t forget to leave the house gate ajar so the spirits can enter! Taken literally, it’s almost funny to imagine the Korean Peninsula on the New Year and Chuseok (Korean Thanksgiving) holidays, where the starving spirits from other cultures may crowd the skies to find some food.

Despite my heavy dose of skepticism, I’ve always played my role as a respectful daughter-in-law. After all, traditions aren’t meant to be explained or to be agreed upon. As I’ve been told, subsequent generations should simply follow what’s been handed down. Of course, this is made more difficult in an era of boundless information and interconnectivity. Today, the entire globe is watching and learning from each other thanks to the Internet.

“The cultures that you think are the most stiff and buttoned-up, like Japan, China and Korea, are the cultures that openly sob,” said Lisa Takeuchi Cullen, the author of “Remember Me: A Lively Tour of the New American Way of Death.” In her book, Cullen describes a scene at her Japanese grandfather’s funeral. As they prepare to close the casket, all of her extended relatives surround it and begin to wail.

Reading her account, I was reminded of a similar scene during the recent funeral of the North Korean dictator Kim Jong-il. Watching those people cry, shout and wail so wildly, I wondered about their emotional or rational reasons for doing so.

When my grandmother passed away in a village in the 1970s, I witnessed what was probably the last generation to observe the full traditional funeral rites of a prominent local family. Over several days, as guests arrived from distances near and far, every aspect of the elaborate ceremony was meticulously overseen by professionals ― white mourning garment makers, wailers, caterers, receptionists, ritual conductors and, of course, the coroners. 

I still recall the sad melody of the dirge sung by the master of the pallbearers who led the bier from the village up a hill to the burial site. Hundreds of family members in white, friends and guests followed him. Along the way, the procession stopped at several points to conduct brief roadway rituals, where a table of food was offered to commemorate places of significance for the deceased.

As a young child, I was overwhelmed by the sad and grave spectacle. I was also shocked when my uncle, as master of ceremonies, coolly ordered everyone at one very emotional moment to cease crying. Who was this dispassionate outsider? Was the entire ceremony just a show?

Although elaborate funerary ceremonies of this scale are seldom practiced anymore in Korea, many conservative families faithfully observe ancestral rituals on important holidays and dates marking the deaths of family members. Indeed, many Koreans consider such activities to be their most important and meaningful duty as human beings.

That said times are certainly changing. I remember reading a funny news story about families who pay their respects at a ski resort condominium. This way, they could enjoy the New Year holiday while fulfilling their family duty. Conveniently, all of the traditional ceremonial foods were readily available at the resort supermarket. Stories like this make me wonder if in the future, observing ancient rites will be completely turned over to for-hire ritualists.

Given all this, perhaps I shouldn’t have been surprised when my son, at age nine, declared that he will not prepare food for his dead ancestors after his father and I die. He offered no explanation, and we dared not criticize him for it. After all, he was merely saying aloud what we have long felt.

Indeed, I suspect that our jesa family protocol will change even in my lifetime. Once my 96-year-old mother-in-law no longer oversees the ceremonies, I plan to make some changes. While the tradition will survive, I hope it does so in a more reasonable form. Once ultimate responsibility for this tradition falls fully to me, I’ll use the occasions as opportunities for valuable off-line family gatherings in this age of relentless online communication. 

After all, in addition to honoring our ancestors, bringing one’s living family members together is also part of jesa.

Source.

Memory tables

We’ve talked recently here about shrines and memorials and remembrancing. Here’s a very nice idea from Shirley, over at the Modern Mourner, in a blog post titled Why can’t memorials be more like weddings? 

It’s a memory table. You put choice things, invested with meaning, on it — arranged beautifully, of course. What would you put on yours?

Not enough time to do this at a British crematorium, of course — not unless you bustle. But at any sensible venue it’d look great. Or at the do afterwards, whatever that’s called. 

Thank you for this aesthetic inspiration, Shirley!

Find the Modern Mourner blog here

Humanising the ancestors

We get quite a few emails here at the GFG from makers of ashes urns. Most of these urns are ghastly and get no more than a thanks but no thanks. We are unfailingly courteous.

This morning was an exception. We received some stunning images from a Plymouth-based ceramist, Alan Braidford — in answer, it almost seemed, to Richard Rawlinson’s post earlier on today. Wonderful work, we’re sure you’ll agree. There are virtually no makers of funeral urns whose work has evolved beyond the container-of-some-sort stage, but Alan’s urns are anthropoid — they are sculpted figures of humans. What a difference that makes. Depending on size, perfect for a garden memorial or for a family altar to the ancestors. Okay, so we don’t do altars to ancestors. Ours is a developed culture which has lost touch with the value of ritual observances based in an idea of duty. For the sake of our own emotional health, we need to reinvent these observances, and Alan’s work points the way. Do you think they speak too much of grief?

Here is Alan talking about what he does:

My ceramic work is figurative and mostly stoneware. The work is on a domestic scale ranging between 30 to 150 cm in height.

Although my natural impulse is to make sculpture, I am very interested in making functional pieces, and with this in mind I have been developing a series of simplified sitting figures to be used as funeral urns. As this work will be fired to 1250c it will be frost proof, and thus can be placed outside in a garden setting. Ashes or memorabilia can be placed inside the urn through an opening, before the ceramic is fixed to a stone base.

The look of my work is influenced by an interest in ancient history – Celtic, Etruscan, Cycladic and Middle Eastern.

Coiling is the construction process most employed, although I am currently developing a press moulded process in order to reproduce one of the urn designs.  Slips,engobes and lava glazes are used to add surface texture.

Alan is also interested in working collaboratively with bereaved people in the matter of design. If you want to contact Alan, write to him at alanbraidford(at)btinternet(dot)com. His website is here