Newes from the Dead

I had the pleasure of attending a lecture by Prof. Jane Taylor at the Thackray Medical Museum last Thursday, on the creative processes which led to the creation of her play, After Cardenio, which drew its initial inspiration from the title of s lost Shakespeare play. Taylor's play dramatizes the events surrounding the supposed resurrection of Jane Greene, who was hanged at Oxford in 1650, but, when taken to be prepared for dissection by anatomists, it was discovered she was breathing and she was revived. She was thereafter pardoned for her crime - infanticide - and lived for another 15 years, bearing several children. The events surrounding her attempted execution led to much debate about the nature of resurrection from numerous scholars and surgeons at the time,

 After Cardenio uses puppetry as a means to explore the sense of disconnection between the physical and the metaphysical - how we apply definite boundaries to the notion of 'brain death' as a legal means to draw a line where none can physically be drawn. Prof. Taylor has also written a novel about the first heart transplant in the 1960s, which took place in her home land of South Africa, which necessitated the legal definition of brain death to be established so that heart donors could be found. The puppet in the play represents Jane Greene, as does the visible puppeteer and the female actress who voices her. 

We were shown video excerpts from the play, as well as experiencing a short theatrical interval by the Puppet Parliament, a local group using the puppet from the play. 

The lecture being held at the Thackray struck a chord with me: I have long felt the continued display of Mary Bateman's remains at the museum was a continuation of an outmoded form of posthumous punishment and the idea of a resurrection on the dissection table was highly symbolic to her story, being as her 'life' as anatomical model began at that point. I wondered if Prof. Taylor was aware of this synchronicity and planned to ask her at the event, which I did, but prior to the lecture I checked in the gallery where Mary was displayed and she had disappeared. 

Some discussion with Prof. Taylor and the Thackray curators provided us with some information. Mary had been removed from display at the end of July, and Leeds University will be conducting research on her before they decide whether to display her again. That evening I read this post by Marisol Solchaga, whose work placement at the Thackray whilst undertaking an MA in museum studies led to the discrepancies in the manner of Mary's remains being displayed being investigated and ultimately her remains being removed from display. I had flagged up the fact that her display was at odds with the current guidelines for museum displays of human remains to the Thackray for several years now, so it is a great relief to see something finally being done to remedy the issue.

 It is interesting to note that a male relative of Mary came forward to voice their unease at her treatment, I would very much like to get in touch with that person to discuss the best possible outcome for her remains. Leeds university, I am told, has a good track record with the proper treatment of sensitive materials, I hope to discuss the matter with them shortly. The physical afterlife of Mary has perhaps gone on too long. 

It was  a poignant moment for me from Prof. Taylor's discussion of the play that she described a newborn infant as a thing 'of cloth and bone', who she supposes is a blank canvas for us to gaze upon and imprint with our own ideals. The empty vessel of her description is a contradiction of my own experiences with a newborn, whose wants and desires are complex and insistent from the moment of birth, and even before. Birth is as much a liminal area as death, the moment we consider life to start and end is continually being reconsidered and re imagined - we now read about the chimeric cells of lost fetuses and siblings being mingled with those of future babies, and becoming part of the mother's genetic material too. The pathetic figure of the dead infant from the play is absent but for small gestures from the actress and puppet, wrapping two brass tankards in a blanket and cradling it, which the puppet, a more worldly creature, cannot pretend is it's child and throws the bundle across the room. The cloth and bone of Prof. Taylor's description reminded me of the creature from Eraserhead, dehumanizing the tiny infant as a means to cope with it's precarious mortality. 

The innocence of Jane in her child's death is ambiguous, the precarious position that women held in 17th century England demanded they declare a pregnancy or be accused of concealing it and therefore endangering the baby. Stillbirth therefore could be considered murder, as it was in Jane's case until her 'resurrection by god' absolved her of guilt. 

After Cardenio is sadly not currently being performed, however there is a lecture by Prof. Taylor available online, and her talk at the Thackray was both fascinating and inspiring so I highly recommend watching this in the meantime, while hoping the play may be performed again in the near future. 

GT/BQ 2013 - Jane Taylor - After After Cardenio - 09 May 2013 from GIPCA@UCT on Vimeo.

203 Years

Today, on the 203rd anniversary of Mary Bateman's execution, Briony Yorke and I visited the Thackray Museum to play a song to Mary. The Yorkshire Witch, who is macabre entertainment for the visitors to the museum, received a short recital, on cello and voice of a Yorkshire dialect song.

Two days after Mothering Sunday, on the spring equinox, we play a dirge to the sad remains of a women who left behind four children to die on the gallows. Nothing is sacred - every emotion, every memory has a price. No forgiveness or peace for those who, through their misery, can bring financial gain.

Bateman Skin Book

from The Bookworm, an illustrated treasury of old time literature - 1891

Mary Bateman Artwork

I've been neglecting Mary of late, something I plan to make amends for. In the meantime I happened upon a portrait of the Yorkshire Witch herself by James Woodford, one of series of paintings relating to immortalised remains.

You can check out more of Woody's beautiful artwork here at his website. 

Mary Bateman in Northern Earth

Its been a tad quiet on the Mary Bateman front of late but I did write a small letter for Nothern Earth about my stance on the issue. This is published in NE 126, which looks to be an interesting issue!

Maria Marten most beautiful and fair. I promised I would marry her upon a certain day; Instead of that I was resolved to take her life away.

Whilst doing some research on Mary Bateman, I came across a similar case of reburial following the display of an executed criminal's remains. William Corder, who commited the infamous Red Barn murder which was documented in an extremely popular ballad, Maria Marten (Shirley Collins rendition is a favourite of mine...)

"She conceded that Corder, who confessed to the murder the night before he was hanged, was a villain.

"But at the end of the day he was a human being and had a right to be laid to rest," she said"

Partly this case makes me think I will be unsucessful in my attempts to get her buried, and partly it gives me hope that the issue is taken seriously enough to warrant an attempt. Mary Bateman's tongue, preserved and kept in the Bolling Hall museum, was destroyed in 1959 it was confirmed to me today by their social history advisor. If her tongue is considered too morbid an item to retain, her bones must surely be too. The indignity of her body being used as a publicity device for 'ghost hunts' and halloween parties seems to degrade the enormity of a mother's execution, an act which as a society we are supposed to have progressed beyond the need for.

Letter to Thackray - Mary Bateman

I wrote an email to the Thackray detailing my issues with the display of Mary Bateman's remains. It went as follows:



"I am writing in the regards to your current display of the remains of Mary Bateman, who you advertise as 'The Yorkshire Witch'. I find the display of an executed woman's remains, especially one who you identify as a witch, ill-fitting with the ethos of a progressive and scientific educational establishment. The incomplete skeleton seems to me to have little educational value beyond morbid shock value, genuine human skeletons that have been legitimately donated are not hard to come by and would be a far greater benefit to children and adults visiting the museum. The continued ill-treatment of her remains for the past 202 years seems to far exceed the nature of her crimes, however serious. This woman paid the ultimate price for her misdeeds during her life, she died pitifully and publicly. To continue to punish her now by displaying her in a disrespectful manner while other women and men who were also executed at the time were eventually buried and laid to rest begs the question, why is Mary Bateman still displayed? To me it seems obvious that her status as a witch seems to give cause to sensationalise her death and to monopolise on the barbaric treatment of her corpse post-mortem. I'm sure her body brings in good revenue for the museum, but I think the neglect of the moral issues of displaying a corpse for little other reason than her connection to a set of folk-beliefs is somewhat archaic. This woman is a part of our cultural heritage, she is a child of the city who's genetic material is still living, walking and breathing around us. From a scientific point of view, I think a display surrounding the continuing nature of DNA would be a far greater benefit, and of a far less morbid nature.

I think a burial for Mary Bateman is 202 years late, and the costs should be met by Leeds University, or whoever has profited the most from the display of her bones. However, I am quite willing to fund raise to help towards the costs."

I have no idea how much interest this small campaign has beyond myself and a few associates who have discussed it with me, but if anyone else wishes to write to them, you can email the museum at info@thackraymuseum.org

Mary Bateman

Image by Simon Bradley

The Yorkshire Witch is on display at the Thackray Medical Museum in Leeds. Her incomplete skeleton, held together by sinew and flakes of mummified flesh seems to me to serve little purpose as an educational tool for children, more a spectacle of the kind supposedly abandoned along with side show 'freaks' and public hangings. A woman, who was nursing a baby at her breast in the hours before her execution at York, who has paid a far greater price than just death; not only was her corpse pickled, displayed, flayed and sold as strips for charms but now she is dealt further indignity as a permanent exhibit, an item of morbid curiosity.

I feel haunted by viewing her remains, I see little benefit in viewing them, more so an uncomfortable understanding that her status as 'cunning woman' alone resulted in the series of post-mortem assaults. She lived on Timble Bridge, near Leed's Parish Church, under which flowed the beck I see daily. I think of her every time I see the beck, and have traversed through the underground culverts to view the now-subterranean bridge, where once she too must have daily seen the water pass by.

I wish to free the Yorkshire Witch. I hope that within the next two weeks I can implore Leeds University, who own her remains, to give Mary Bateman's bones a burial. The 202nd anniversary of her execution falls on Sunday 20th of March 2011, the vernal equinox. I will write a letter, and post up a petition in the next few days to send to both the museum and the university.