This event was held on Sunday 2 October 2022 at granton:hub 12.15 – 2.15pm
It took the form of a floor-seated circle of participants, a ritual to contain our grief, a structure within which to allow feelings to flow at a manageable rate.
With respect and compassion, we facilitated a sharing circle and a safe space to bring grief and memories with a view to Re:live (both the past and in the future). It was held in the same room as the Death Café (the evening before) and the Re:living Art Exhibition.
After the circle, we went outside to burn the messages which visitors and participants had written and put in Bibo Kerley’s Kummer Kasten / Agony Box. We also added paper art that we had made during the Circle.
There was a Closing Ritual for this session and for the whole weekend.
Bea is an artist and educator whose practice explores ideas around death and loss, faith and ritual. She has taught and managed courses at Arts University Bournemouth, UAL (Camberwell, London College of Communication and Central Saint Martins), at EBAC in Brazil and Artslink in China. She is a Trustee for Lewisham Education Arts Network (LEAN) and a member of the Artist’s Group, Throes of Grief.
Tamsin is a community artist (No Birds Land, Trinity Tunnel; The Wall, Western Breakwater), complementary therapy practitioner, session leader, and author of Death and Loss in Shiatsu Practice (published by Singing Dragon Press).
30 Sep – 2 Oct 2022 granton:hub, (Madelvic House), Granton Park Avenue, Edinburgh EH15 1HS
The Re:living Weekend is a response to our human need to talk, walk, remember, and make art about the ever-present experiences of death, grief and loss in our lives. Whether we are grieving for a close friend, pet or family member; concerned about the loss of bird, insect or plant habitats and other changes to our climate; affected by war; or managing on-going / one-off life events around relationship, work and/or home loss, coming together with others to focus, share, or simply be with our feelings is supportive.
Or contact firstname.lastname@example.org. All events are free although donations (to cover costs) are welcome.
Re:living Art Exhibition
1st October 11am-4pm; 2nd October 2022 10am-12noon and 2.30-4.30pm at the Granton Hub (Madelvic House), Granton Park Avenue, Edinburgh EH15 1HS.
Showing the mixed media work of selected artists from Granton, Edinburgh and around the UK, this pop-up exhibition addresses themes of death, grief, loss, and re:living. This varied exhibition includes painting and drawing, artists books, sculpture, film and poetry.
We welcome everyone, whatever age, ability, status or gender. The walk- and workshop will be conducted in English. Please note that the walkshop will be fully accessible, however the Granton Hub is not fully accessible. We do have a portable ramp to allow wheelchair and powerchair users to get into the building, which you will have access to, and once in the building there is level access but no there is no wheelchair accessible toilet.
Walkshop: Friday 30 SeptemberMeet at Madelvic House for a 2pm departure. We will return there by 4pm.Book here
Participants will be taken on a prescribed route around the area immediate to the Granton Hub.
Participants will be invited to bring an object (or image) that speaks to them of absence and/or loss, to help channel thoughts and memories. This will be something small enough to hold in the hand, or put into a bag or back pack while walking. During the walk, we will be facilitating creative activities, so the object shouldn’t inhibit creativity.
During the Walkshop, participants will be invited to walk, sometimes in silence, and to respond to the environment and to their personal experience and thoughts about death, loss and grief through drawing, writing, recording, performance etc. There will be times to stop and draw, to record sounds, to photograph, to write or to perform.
Memory Art Workshop:Friday 30 September 4.30-6.30pm. Book here
The Memory Art Workshop will take place at Granton Hub after the Walkshop, and will begin with group reflection and discussion about experiences and feelings from the Walkshop.
During the Workshop, participants will be asked to witness and listen to each other, and are encouraged to share and talk about the drawings / photographs / sounds / writing that they made during the Walkshop. This is not a critique, and we do not expect participants to have any previous art and design experience or qualification.
Following this discussion, you will be invited to draw / write / record / photograph in response to your own and/or others work and shared experiences. Transformation is a key element in this Workshop – making new multi-layered works that materialise grief through transformation of images, words, sounds etc. Participants will create new works using simple techniques, that will be layered to form new composite works that will be exhibited at Granton Hub on Saturday 1st and Sunday 2nd October.
All materials will be provided.
Please note that there will be a half hour break inside between the Walkshop and Workshop for refreshments (provided, though contributions gratefully received).
Saturday 1 October 6.30-8pm at granton:hub Book here
Death Café is a group meeting in person in Edinburgh where people can come to talk about death. Book via Eventbrite
Talking about death is not something that we can all do with our families and friends, and yet it is something which is so often on our minds.
At the Death Café, there is an emphasis on listening and sharing, and the focus is that life is finite and we want to talk about that. We all have interests and concerns about bereavement, loss, grief or dying, especially at this time when we are dealing with the Coronavirus and fears of war.
Bea Denton (London) is an artist and educator whose practice explores ideas around death and loss, faith and ritual. She has taught and managed courses at Arts University Bournemouth, UAL (Camberwell, London College of Communication and Central Saint Martins), at EBAC in Brazil and Artslink in China. She is a Trustee for Lewisham Education Arts Network (LEAN) and a member of the Artist’s Group, Throes of Grief.
Tamsin Grainger (Granton) is a community artist (No Birds Land, Trinity Tunnel; The Wall, Western Breakwater), complementary therapy practitioner, session leader, and author of Death and Loss in Shiatsu Practice (published by Singing Dragon Press).
1st October 11am – 4pm; 2nd October 2022 10am and 12noon and 2.30-4.30pm at the Granton Hub (Madelvic House), Granton Park Avenue, Edinburgh EH15 1HS.
We are inviting artist submissions for the Re:living Exhibition that address themes of Death, Grief, Loss, and Re:living. There is no prescribed media for submitted work, and can include art/design/craft.
All work submitted should be suitable for this Granton pop-up Community Centre setting. You can see details of the room here https://grantonhub.org/ including the Sphinx Room which size is 8.75m x 4.7m. The ceiling is 3.3m high.
Please send a digital image / brief description of the submitted artwork (no more than 3 items per person) with related web address (including contact details and social media), suggested selling price, and short bio (50 words max). Publicity photos/short video of you and your work will be required if selected.
A 20% commission will be taken by Granton Hub on all individual works sold, and fees payable for the work sold will be made by bank transfer within 2 weeks of the close of the exhibition.
Your work should be no bigger than A2 size (or thereabouts) and will be either wall, table (a basic refectory type table), or floor-mounted (note: there is a carpet, so no water, earth, sand etc unless completely contained). If wall-based, work should be framed and include mirror plates or D rings.
Please include the running time (in minutes) for video and audio works, and a short description of the piece. If video or audio work is selected, artists will need to supply playback equipment and ensure that it is PAT tested, with proof of compliance PRIOR to the exhibition opening.
We have a screen and moveable seating available for public showings. Artists will need to bring their own plinth(s) if needed.
If your work is selected, it must be delivered directly to the venue on Friday 30 September at 1pm or 6.30pm, and collected on Sunday 2nd October between 4.30 and 6.30pm. Please note that this is a group exhibition of mixed media work in a non-formal gallery setting (blue carpet, walls painted either pale green or white), and will be exhibited between on Saturday 1st and Sunday 2nd October only. You are encouraged to attend and engage with the public during these times.
It is your responsibility to insure your work and neither we, nor the Granton Hub, can take any liability for its loss or damage.
It will be assumed that the organisers will be able to take photos during the event which can be used on social media and websites. Credits will be included where feasible.
We regret that Madelvic House is not fully accessible. We do have a portable ramp to allow wheelchair and powerchair users to get into the building, which you will have access to, and once in the building there is level access, but no there is no wheelchair accessible toilet.
Deadline for submissions: 9th September 2022
We will make our decision by: 16th September 2022
Final photos and other information will be required by: 23rd September 2022
Address for submissions: email@example.com
I walked this route in 2022 and it is a varied one – urban and rural, located both inland and along the coast. I did so as part of a bigger project, Separation and Unity, in which I walked the landscapes of Scotland and Catalonia finding similarity and difference in their volcanic history and oak woods. I am interested in the human need for both togetherness and sharing, and, at the same time, recognition of individuality.
** Please do walk the first day of the St Margaret’s Way with us on 20th August 2022, from Palmerston Place to South Queensferry (or some of the way as you like). We will be starting at 10am – please tell us you are coming Facebook event.
The only Scottish pilgrimage named after a woman, the St Margaret’s Way, is representative of so many women’s stories – there are no waymarkers on the ground and apparently no detailed information online about it.
[These women were] “strong, creative, independent-minded
women who achieved a visibility in their society that led to recognition of sanctity.
And yet Margaret (c1045-1093) was a Queen. More, she was a highly influential, practical, intelligent and determined woman, who was later sainted, and is almost always described as pious. Someone who was dedicated to serving others, and mother to a queen and three kings (she birthed eight children in total), she was also a Hungarian refugee who must have understood what it was like to arrive on foreign shores after a long boat journey. Devoutly religious (Catholic), she was a pilgrim who launched a ferry service to take walkers across the Firth of Forth, before there were bridges, so they could continue to St Andrews.
She was not in charge of her life, you might say [because she was a queen and because of the age in which she lived]…. but she rose above that to become her own woman who would establish monasteries, infrastructure and so on. She would journey from being a potential pawn in power games to becoming a power in her own right, a power for good, a power for the poor…..
Reading the backstories of female saints, you will find a common theme; how they were wanted by men and often had to go to great lengths to make it clear that they had other feelings and plans for themselves. Margaret was no exception (we are told in the Anglo-Saxon Chronicles): “Then King Malcolm began to desire Edgar’s sister Margaret for his wife, but he and his men all argued against it for a long time, and she herself also refused, and said that she would not have him or anyone, if the divine mercy would grant that she should please the mighty Lord in virginity, with a bodily heart in pure continence in this brief life. The king urged her brother pressingly until he said yes – and indeed he dared not do otherwise, because they had come into the king’s power….though it was against her will” (translation A Clerk of Oxford blogspot ) [It goes on to say that God wanted it this way as she was to go on to “lay aside the sinful customs which that nation previously followed” including influencing the king himself, so it is clear that this was not an altogether unbiased account.]
I am not a religious person, so my interest in Margaret is in her standing as a woman in Medieval society; the kindness she is said to have shown to everyone, including prisoners of war; what is recorded about her relationship with her husband (we are told that he was illiterate and that she read to him); and the role she plays in the history of walking pilgrimage.
a pathway of meditation and devotion
Margaret was exceptionally well read and raised in an environment of enlightened devotion and charity…throughout her life she balanced her charitable and family work with a desire for seclusion and contemplation. Margaret strongly supported devotion to the Celtic saints while also connecting Scotland with the Europe wide development of monasticism.
The version of the St Margaret’s Way which I walked is 100kms / 62 miles in length. Here are the stages:
Centre of Edinburgh to South Queensferry between 17km/10.5m-22/13.5 6 hrs
South Queensferry across the old road bridge to Burntisland 20km/12.5-22/13.5 7hrs
Burntisland to East Wemyss
East Wemyss to Earlsferry
Earlsferry to Cameron Reservoir
Cameron Reservoir to St Andrews
There are a number of maps available and I had difficulty downloading The Way of St Andrews one, so I used the Long Distance Walkers Association (LDWA) which is out of date just now, though soon to be updated.
Before you leave Edinburgh, you may like to visit St Margaret’s Chapel at the Castle, the city’s oldest building (early 12th c), built by her youngest son, David. It is looked after by a Guild, all run by women called Margaret.
Strangely, Follow the Camino describes walking the St Margaret’s Way as being in “the footsteps of Scotland’s patron saint, St. Andrew”, and Fiona Diack, too, in Spotted by Locals, notes that it “dates back to the 10th century as a way to honour St Andrew, the patron saint of Scotland”.
Ian Bradley, in Fife’s Pilgrim Way, cites High Lockhart as devising the route in 2011 (p26), and Donald Smith (author, scholar and instigator of the Storytelling Centre in Edinburgh) as having devised the St Margaret’s Journey, offering “two routes from North Queensferry to St Andrew’s one using the Fife Coastal Path [the one I took] and the other broadly taking the same course as Cameron Black’s St Andrew’s Way.” (p27/28) which I am unfamiliar with.
Note: The link on this page (Ways and Trails.co.uk) is out of date.
Cameron Black’s St Andrew’s Way moves through Dunfermline where you can visit St Margaret’s cave; the Roman Catholic Memorial church which bears her name and to where a relic of the saint was returned in 1998, 900 years after her death; and the Benedictine Abbey founded by Margaret. Dunfermline Abbey and the ruins around it are all that remain of that Benedictine Abbey founded by her in the eleventh century. The foundations are under the present nave (or `Old Church`). Outside the east gable is where you can see her shrine, itself a place of pilgrimage since medieval times.
‘that âme d’élite’, the ‘exquisite St Margaret’,
Baker, Derek. “‘A Nursery of Saints’: St Margaret of Scotland Reconsidered.” Studies in Church History Subsidia 1 (1978): 119-141. citing Knowles, MO p 242.
St Andrews was a very popular place to visit. From the south the pilgrims would have came via South Queensferry (where I walked), and then got the boat to Fife. From the south east, pilgrims arrived mainly from the continent at North Berwick, where they took the ferry to the opposite coast arriving at Earlsferry (the end of my fourth day). From there they continued northwards, cutting off the East Neuk (the site of the continuation of the Fife Coastal Path) and heading directly to the final city.
They travelled the last 15 miles on foot to St Andrews along a track the width of “a donkey with two panniers
This web page has some fun information about St Margaret. Uncover Travel
More information about St Margaret
Early primary texts about St Margaret: the Anglo-Saxon Chronicle‘s account of her marriage. Extracts from the Life of Margaret written for her daughter, by a monk, Turgot, Prior of Durham, between 1100-1107 who knew Margaret and her family well. He wrote that she, “showed herself to be a pearl”, and indeed she is known as The Pearl of Scotland.
Gerda Stevenson reminds us, however, that it was she who was credited with persuading the king, her husband, to ban the use of Scots in favour of English.
I yearned / for the old tongue my mother learned me on her lap, / words that once rose up from deep inside me; / but they’re lost, the well is dry – it’s like a fatal thirst / that can’t be quenched; and I know now why / my mother called her Margaret the Accursed.
from Quines by Gerda Stevenson (2018:34)
Whether you like to walk for the pleasure of the activity the beauty of the landscape or for religious reasons, please do walk the first day of the St Margaret’s Way with us on 20th August 2022, from Palmerston Place to South Queensferry (or some of the way as you prefer). We will be starting at 10am – please tell us you are coming Facebook event or you can email me on firstname.lastname@example.org
Have you already walked the St Margaret’s Way? Please do leave a comment below if you have; I’d love to hear from you.
Part of the Separation and Unity Project, Cataluña, July 2022
This wall hanging, ‘Festivities and Delegates’ represents an act of unity, the bringing together of many of those who attended the Walking Art and Relational Geographies International Encounters conference in Cataluna in July 2022. Planned for several years, but thwarted by the pandemic, delegates were at last able to travel from Australia, South Africa, Brazil, America and Europe to the conference in Girona, Olot, and Vic to share walking art and community projects via presentations and walkshops over a period of a week.
This work was inspired by the 18th /19th century ‘Saints and Festivities for the months of April to November’ in the Museu Montserrat. I climbed up there after attending the conference. The ornate Russian ‘menologion’ is a calendar featuring rows of saints, above which are their names and the dates of the days on which they are honoured, in cyrillic script.
A menologion (menologium, menology, menologue, menologia) was sometimes a liturgical ‘office’, an ecclesiastical, Eastern Orthodox service book or martyrology; a long list of saints and the details of their lives arranged according to the months of the year.
It is not dissimilar to the secular mural at the National Portrait Gallery in Edinburgh depicting key figures and events in the history of Scotland. The Separation and Unity Project is interested in the movements towards and away from independence by Scottish and Catalonian peoples, at what urges us to separate from, or join with each other.
I am also referencing Buddhist and Hindu mandalas, and other celebratory depictions used to inspire their followers and remind them of the true path. Mandalas come in many shapes and sizes, often using geometric arrangements. They can represent the whole universe, and be used as a way to separate from everyday existence and focus on what is important for greater knowledge. The Vajrabhairava mandala, for example, is a silk tapestry woven with gilded paper depicting lavish elements like crowns and jewelry.
The human mind is like “A microcosm representing various divine powers at work in the universe”
John Ankerberg and John Weldon (343:1996) via Wikipedia (see below)
Process and production of Festivities and Delegates
I took digital photos and video stills from my phone documentation of the conference and the social time we spent together, and manipulated the images using free Layout software. In some cases I used social media images. Instead of the elaborate calligraphy that you can see on the Russian ‘Festivities…, I wrote free-hand with my finger or with a biro.
Details: 160cm long and 70cm wide, mixed media – sewed from scraps of upholstery fabric which came from free sample books. Ribbons, tapes and sundry, shiny objects such as bells, earings which have lost their pairs, and sequins. Iron-on paper was used to transfer the photographs onto the fabric.
It incorporates a number of small brass and other metal bells, with reflective totems. These were/are often used to ward off evil spirits, to bring ones attention into the moment, to reflect the devil’s face back to him, and, contrastingly, even to represent the sound of the Buddha’s ‘voice’ spouting wisdom. The protective aspect would also traditionally have been as much from the ‘monkey mind’ and other natural inner temptations, as from what might be attacking us from the outside. Tantric mandalas would have been an aspect of separation and protection from the outer Samsaric world.
Quote: from their ‘Encylopedia of New Age Beliefs: The New Age Movement’, (p. 343, ISBN 9781565071605 archived from the original on 2016-06-03, retrieved 2015-11-15)