Last week, the planned dance performance Q61 Cemetery at a cemetery in Alkmaar caused a stir. After threats, it was cancelled. Still, we have to get used to theatre in the cemetery. Because it is changing. A reaction from a bereaved person and the cemetery manager.
It was big news. And it started with summary proceedings. Relative Leen Spaans objected to a dance performance at the place where his wife is buried. However, the judge ruled that the performance could go ahead. This sparked a kind of Project X Alkmaar via Facebook: protests were organised from all sides. The outcome is well-known. Although the choreographer involved, Ann Van den Broek, has another surprise performance brought to the Karavan festival.
The schism is this: bereaved families find it hard to bear the thought of commercial activities in a cemetery, cemeteries themselves want to consider and facilitate appropriate events. How do you come to terms? Not, argues R. van Looij, manager of the General Cemetery in Alkmaar, 'that is practically impossible to implement'. Indeed, acknowledges L. Spaans, and there is little you can do about it. So?
[Tweet "The cemetery becomes more of a memorial park"]Times are changing
We have to get used to cemeteries changing with society itself: the cemetery is becoming more of a memorial park. Like weddings, a funeral or burial is no longer that routine agony for many. Think of the pink limousine, or the coffin on the dot in the Amsterdam Arena. Or as choreographer Ann Van den Broek says: 'It would be nice if people started using a cemetery more as a park, just like they celebrate All Souls' Day in Mexico.' That fits in with cemetery director Anja Vink's picture of a plan submits to bury deceased in noise barrier along A10: 'Visitors want something exclusive and are averse to massiveness'.
R. van Looij also admits that in national consultations, the trend is emerging to get the cemetery out of the rut and more open to change. Theatre and dance can be part of a farewell in the cemetery. It is up to each administrator to allow this or not. In 2012, by the way, a similar issue. No licence was granted then. Now it is.
Permission
Getting permission in advance from all next of kin is tricky. After all, who are they all? The General Cemetery in Alkmaar alone has 7,000 graves. With relatives who may or may not be accessible. Getting it included in regulations that future events or activities may take place is also tricky. Because how do you describe that and what do you exclude? Already all kinds of activities take place, such as tours, open days and indeed All Souls' Day. (See also the week of the Cemetery which starts next Saturday).
It will therefore still be searching for a more practical solution than going to court. In any case, the Alkmaar cemetery is not ruling out new events and wants to look more at how to take into account feelings of those involved. Ann Van den Broek is looking at performances in other cemeteries. Whether people will look for a cemetery where no theatre takes place at all remains to be seen.
Response
For completeness, we are happy to post below the reaction of Leen Spaans himself. He responds in a personal capacity, as he also happens to be active in the dance world: as editor-in-chief.
'I had and have absolutely nothing against the performance in itself. My concern is with the site, now and in the future. The laws and regulations do not appear to protect citizens at all when it comes to cemetery stakeholders. As the owner of a basement tomb in which my wife is buried, I thought I was protected from commercial activities in the cemetery by virtue of a zoning plan, event plan and rules of order and cleanliness for the cemetery. However, a mayor can overrule all that. If the judge then bends along on the basis of a sympathetic content of a show, the mayor gets his way, it seems to me. But what will be applied for next week: a permit for a religious dance party, for a ritual meal, for a gothic festival?
Who do you all want to frustrate or satisfy. Administratively, as a city, you are treading in a minefield. The commotion among the common people, who don't have the talent to write, speak or money for a lawyer, is so raised in precarious matters like this. Is it all worth it to you? Then can't art be brought to a different stage. Do you really need to push the boundaries, confront?
I am already looking forward to Giselle in the autumn, the second act especially. Nicer cemetery dance I don't know by the way. But fortunately not in a real cemetery. I travelled to Shanghai last year for it, following the dancers of the Dutch National Ballet, to see it there too. I have a lot going for dance. Classical and modern. In that respect, I also wished Ann van den Broek all the best with her company. But I am fundamentally of the opinion that the government should stay away from my private domain.
The way we honour our dead, the way we mourn, should not be affected by a government licensing a performance, any performance, in such a sensitive place as the grave of your loved one. The government should not earn from my grief. Because with all the aches and pains, nowhere is it mentioned that the dancers and the municipality did not do this for free. A ticket cost €18.50. 500 visitors were expected. If then it was meant to be primarily therapeutic and comforting, why was there not a free gathering, with the character of a memorial, with a bowl to donate in afterwards if necessary. How much more careful, tasteful and pious that would not have been.
Enthusiasm and passion can easily spill out if there is not a cautious, wise driver behind the wheel. That was not present here. Nobody thought of any preliminary consultation with the cemetery stakeholders: not the dance group, not the festival organisers, not the cemetery manager, not the municipal administration. With timely consultations, so much grief and commotion could have been avoided here. I told Ann that I consider her and me both victims of a careless city administration. Of course, I reject any molestation and rioting that ensued in our city after the judge's ruling. That too saddened me.'
(Header photo: Bart Grietens)
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