Nothing on the booking form or accompanying correspondence gave any clue as to who my audience would be on Thursday morning last week. I just turned up at Kenwood House on the edge of Hampstead Heath ready to give my German memorial talk to the monthly Arts Society. As we stood in the frosty sunshine waiting for the house to open, the Chair mentioned almost in passing, “This is North London, so most of our members are Jewish.”
It’s Remembrance time. Red paper and enamel poppies are blooming on lapels all over the nation as people remember those who fought in conflict, and the huge sacrifices they made. Last night, the Festival of Remembrance at the Royal Albert Hall opened with a stunning rendition of “I vow to thee my country”. First, just three slow and quiet brass instruments; then violins joined in; then drums, voices, and finally the whole orchestra played, while flag- and oversized headwear-bearing members of the forces, marched into the hall in step with the music. We were only four minutes into the hundred-minute programme and the lump in my throat was already swollen and wobbling out of control. Gosh we do this so well.
A city in which the ruins of history survive to serve as warnings for the present and pointers to a different future…
German memorials honour the brave resistors of Nazism, unreservedly condemn the perpetrators, apologise to the victims and warn us all to remain vigilant so these things can never happen again.
A video installation outside the former Nazi headquarters
After my talks on Germany’s unique culture of ‘counter memorials’, I am often asked what I would do differently within our British culture of Remembrance. I am always reluctant to pass any kind of judgment on what is one of Britain’s most poignant occasions, for we are true experts in creating meaningful and visual spectacles of solemn ceremony, national pride and gratitude. But now, as the last witnesses of the two World Wars disappear, is it time to shift the emphasis of our remembrance culture from an almost exclusive focus on the fallen soldiers of those two wars to include a broader picture of the casualties and victims of war in general?
As I started writing this month’s blog this morning, the Queen was visiting Bergen-Belsen Concentration Camp for the first time, apparently at her request.
Much has been criticised or mocked about her State visit in the press: the timing – the eve of a summit where David Cameron is expected to begin new negotiations in relation to Britain’s EU membership; her apparently politically-biased speech in which she referred to a division in Europe being “dangerous” and that guarding against it “remains a common endeavour”; the Queen’s unenthusiastic reception of the German president’s gift of a portrait of her as a child on a blue horse with her father; even the reason for her going was apparently to put Angela Merkel, who is often referred to as Queen of Europe, back in her place…!
It’s 11am on 11.11.14 and that makes it time to write down my thoughts and reflections on what has been going on recently in terms of Remembrance.
Watching the Albert Hall Festival of Remembrance on Saturday night, I was struck once again by how well we British do pomp, symbolism and ceremony. It was truly powerful and with its combination of stirring music, potent narrative, and visual spectacle it has become an art form. Developed and refined over decades, it is designed to move you. And these days, I am quite sure, to make you cry.
Which is why I came away once again feeling slightly irritated by it. Irritated by the format that we are used to seeing in the films of Spielberg and other directors of sentimental, patriotic films, designed to manipulate your heart strings and tear ducts Nothing necessarily wrong with that, except that we seem to be living in a era where showing emotions, and watching other people showing their emotions in order to make us show our emotions, is not only de rigueur but essential to good viewing.