British Museum blog

A new world in a familiar setting


Philippa Edwards, Project Manager, British Museum

2012 is my fifth year working at the British Museum and also sees me working on my fifth forecourt Landscape project. During these five years I have not only learnt lots of about the habitats and plants of four different continents (Asia, Africa, Australia and now North America) but I have also honed my project management skills. I feel like I have set up enough meetings, taken enough minutes and updated enough schedules to last for another five years!

But when I see the first bit of soil turned and the West Lawn rapidly transforming into another far-off habitat it seems all worthwhile. I am currently watching a piece of North America be installed in front of me, with the boardwalk over the swamp taking pride of place, many of the woodland trees planted (which are going to look amazing in autumn/fall), and the prairie grasses will soon be rustling in the Bloomsbury breeze.

Boardwalk in the North American Landscape

Quite a few people have asked me over the years how we make the decision of which theme the next Landscape will feature, and in particular how we decided on North America this year. We always try to tie the Landscapes in with the public programmes of both Kew and the BM, and also look for ways to highlight the wonderful work Kew is doing around the globe. North America was a region not yet covered in our series of Landscapes, and this Landscape gives us the ability to showcase some of the spectacular and unique flora of this continent and highlight the relationships between British Museum and Kew objects, and Kew’s work addressing threats to North American habitats.

As the Museum forecourt continues to be transformed over the next few (soggy) days I will continue to hold meetings and circulate minutes, happy in the knowledge that every time I pop outside I will be one step closer to escaping to a whole new continent, without even leaving work…

North American Landscape: Kew at the British Museum is open from 10 May to 25 November 2012. Follow the build

In partnership with the Royal Botanic Gardens, Kew
Supported by the American Express Foundation

Filed under: North American Landscape: Kew at the British Museum

Reflections on my time on the Hajj exhibition


Nina Swaep, volunteer, British Museum

When I started working as a volunteer at the British Museum last September, the preparations for Hajj: journey to the heart of Islam were already in full swing. Luckily, that didn’t prevent ‘team Hajj’ from including me as one of their own. Today’s my last day and I’ve been looking back on my time at the Museum with much fondness!

Being a Dutch MA student in Museum Studies specialising in Islamic Art at the University of Amsterdam, I was absolutely convinced that participating in this project would be the ultimate work experience for me. In Amsterdam, I had already done research on museum objects that related to the pilgrimage to Mecca – one of which is now featured in the exhibition – and I was willing to learn everything there was to learn. I wouldn’t really mind if my job would consist of pouring coffee and copying files, as long as I could get a closer look at the process of exhibition-making…

So you can imagine I was more than happy to find out that my tasks were a lot more challenging and demanded academic and social skills. The curators took me up and patiently showed me how exhibition making works. I could join meetings with them and found out that it’s not just a few people working on projects like these, but an immense organisation that takes years to prepare the exhibition.

Come winter, my work was focussed on the Indonesian section if the exhibition which features objects from Dutch museum collections and, more specifically, the collection of the Dutch arabist Snouck Hurgronje. I had worked before on the Aceh Map (which is on display in the exhibition) when I was in Holland but I had the opportunity to do some more research while here at the British Museum. I found out that, compared to all the other images featured throughout the exhibition, it shows a rather different representation of the Ka’ba. For one it isn’t shown as a cube but as a rectangle, which seems strange because the cubical shape is one of the main characteristics of the Ka’ba. Also, one can see through it, so it is shown without a kiswa, the cloth that covers the Ka’ba. These finding confirmed the idea that the maker of the Aceh Map had never actually been to Mecca – he could never have seen the Ka’ba without its kiswa, since, as one can learn in the exhibition, it is never unveiled.

The most enriching experience I have had whilst working on the project was contrary to all my expectations. It didn’t have anything to do with the glamour of the opening night, nor with the rewarding feeling when the exhibition finally opened to the public. It was a lovely autumn day when I found myself sitting at my desk, being deeply emotionally moved by the short clips of Muslims talking about their own pilgrimage, which I had to edit. I think the feeling of being an individual person amidst the millions of fellow pilgrims, brothers and sisters, must be completely overwhelming and to me the exhibition succeeded in communicating this to its visitors. The exhibition is particularly successful because of the wonderful balance that has been achieved between showing intimacy and the bigger picture of the Hajj being a phenomenon influencing millions of people around the world. It works on multiple levels and is therefore very satisfying.

As my time at the British Museum comes to an end, I can say that this has indeed been the ultimate experience for me; meeting many wonderful people, learning so much. I think the meaning of the exhibition became very apparent to me. Although I cannot go on Hajj myself, like many Hajjis, the Hajj exhibition has certainly changed my life for the better…

Leave a comment or tweet using #hajjexhibition to let us know what you think about the exhibition

This post was updated on 9 March 2012 to clarify Nina Swaep’s role on the exhibition as a volunteer, not an intern as previously stated.

Hajj: journey to the heart of Islam is open from 26 January to 15 April 2012.
Find out more

In partnership with King Abdulaziz Public Library, Riyadh, Saudi Arabia.

HSBC Amanah has supported the exhibition’s international reach outside the Kingdom of Saudi Arabia.

Filed under: Exhibitions, Hajj: journey to the heart of Islam

A journey to the heart of Bloomsbury


Harvinder Bahra, Community Programmes Coordinator, British Museum

The Museum recently held a private viewing of the exhibition Hajj: journey to the heart of Islam specifically for members of the local community. It was a very special opportunity for all of the community groups, neighbourhood centres and local charities we work with in London to see the exhibition. And despite the wintery weather, our community partners arrived early and in droves, eager to be the first ones to see this exhibition and gain a glimpse into this hidden world!

Deep in conversation at the Hajj exhibition community private view

The event turned out to be the community team’s most popular exhibition private view to date. With over 800 members of the local community coming to the Museum to explore, discover and learn about this yearly phenomenon. Neighbourhood centres invited their local Muslim friends and colleagues to visit the exhibition together, using it as an opportunity to share experiences and get to know one another more closely. As one of our community contact explained:

‘When we’re volunteering we tend to focus on the work at hand, so these moments of being together without over-riding purposeful activity are a great pleasure and wonderful way for us to all learn more about one another and hence strengthen overall ties and relationships.’

The exhibition was extremely well received and seemed to provoke a mixture of personal reflection and contemplation among our guests – a sharing of personal experiences and new insights as well as discussions into the history of the pilgrimage for all faiths.

A curatorial introduction given by Project Curator Qaisra Khan for our community guests finished of the day that highlighted some of the key objects and themes of the exhibition, and gave invited guests the opportunity to delve even deeper into the exhibition and this incredible journey.

Have you seen the exhibition yet? What did you think?

Leave a comment or tweet using #hajjexhibition to let us know what you think about the exhibition

Hajj: journey to the heart of Islam is open from 26 January to 15 April 2012.
Find out more

In partnership with King Abdulaziz Public Library, Riyadh, Saudi Arabia.

HSBC Amanah has supported the exhibition’s international reach outside the Kingdom of Saudi Arabia.

Filed under: Exhibitions, Hajj: journey to the heart of Islam

Teddy time traveller


Faye Ellis, Digital Learning Programmes Manager, British Museum

I’ve liked Grayson Perry’s work for a long time, and was hugely excited when I heard that the British Museum would be staging an exhibition of his work. He’s a bit of a legend in my family – there are lots of Grayson Perry books lying around my parents’ house, and my Mum even dressed up as him once – complete with rosy cheeks and teddy bear. Knowing a bit about his work, I was also very aware that the content of the exhibition might be quite adult, and wasn’t too hopeful that we’d be able to do many Grayson-inspired family activities. However, much to my delight, it turned out that we’d be able to run an activity in the Samsung Digital Discovery Centre. If you’ve not been yet, the Samsung Centre is a digital education space for young people in the British Museum. We run free activities for families and 13-18s every weekend, and the Grayson Perry session would make up part of that programme.

A lot of the Museum’s activities for young people based on the exhibition have centred around Alan Measles, Perry’s childhood teddy bear, who is, on the surface, the ‘child-friendly face’ of the exhibition (but look closer and you’ll discover he’s a witty, cynical old bear with a strong tendency to swear). We wanted to stick with the theme of teddy bears, but do something a little different. We decided to run a session called Teddy time traveller, inspired by the idea of taking a childhood toy with you on a journey (as Grayson Perry did when he travelled around Bavaria in 2010) and blogging – something which Alan Measles does himself from time to time.

The session has three stages – firstly, families have their photograph taken in front of a green screen with their teddy bear (or one of our six standby bears, if they don’t have one of their own). I even donated my own childhood bear, the unimaginatively named Brown Ted, to take part:

My very own Brown Ted

Next, they use Photoshop (the children are amazingly quick to pick it up!) to insert themselves into an illustrated scene. Finally, they upload the picture to a WordPress blog, and write a short entry about their travels. It was important to me that the children found a ‘voice’ for their bear, and so I put some of the less adult Alan Measles quotes on the walls to inspire them! Although most children wrote the blogs from their own perspective, we did have a few writing as their toys.

Here’s part of a blog entry I particularly liked – especially because of the enormous handful of toys Dan took to Egypt with him:

I went to Egypt and I had lots of fun and a nosebleed. That’s the thing with time travel: nosebleeds. I liked it at Egypt. It was hot. I did some digging and found lots of beads and necklaces and jewellery and a model of a Pharoah. Monkey enjoyed it lots and Margot and Foofah enjoyed it. It was too hot for Monkey…

I wanted the scenes to be visually exciting, and so I asked the illustrator Rob Flowers to create backgrounds of ancient China, Greece, Rome, Egypt and Mexico. His work is bright, bold and funny, just like Grayson’s. Rob used pictures of objects from the Museum when creating the illustrations, and was very interested in where they came from and what they were used for. He was recently interviewed by Topman.co.uk in which he mentions the project and the Museum. Here’s my favourite of the four backgrounds – ancient Mexico:

The Aztec backdrop created by illustrator Rob Flowers

Grayson often mentions technology when giving talks or writing blogs, whether it’s to discuss his dislike of the way we use mobile phones or to write about his appreciation of the potential of technology in craft and design. He’s used technology in his work, including to create some wonderful digital tapestries. It was therefore interesting to create a workshop that entirely used technology, but to create an illusion – children travelling back in time, teddy bears writing blogs…it’s all part of delving deep inside your imagination (something Grayson does in spades) whether it’s through the use of technology or not.

The thing that pleased me most of all about the activity was the fact that children did actually bring their own teddies along – it meant that a lot of our standby teddies sat unused most of the time, but it was hugely encouraging to us that the children felt their bears were so important. One even brought her ‘second-favourite’ teddy because of the fear of losing her favourite one!

We’ll be running six Teddy time traveller sessions altogether – the last one will be on Saturday 4 February. Bring your children, nieces, nephews and all their friends – and don’t forget your teddies!

See all the families’ blogs at http://teddytimetraveller.wordpress.com, and keep up to date with all our free digital activities for families by checking the family events calendar.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

The journey begins


Qaisra Khan, exhibition project curator

The exhibition Hajj: journey to the heart of Islam is now installed inside the Reading Room of the Great Court. It’s the result of many, many months of work by not only the curators of the exhibition but also the project managers, conservators, museum assistants, the display, mounting, lighting designers, digital media design teams, graphic designers, construction teams, and art transportation companies! With everybody making sure all objects arrive safely and unpacking and putting them safely into their respective cases, this was truly a team effort. To get all of the objects displayed inside the exhibition space took over a month…and it’s finally ready!

British Museum object handlers mount a tile from Isnik in Turkey. The tile is on loan from the V&A Museum's collection.

Although as curators we had carefully selected each of the objects that feature in the exhibition, some of the objects travelled from far flung places and we had never seen them in the flesh before. Being close to these objects while they were being installed was a wonderful experience – they all surpassed our expectations! The scope of the exhibition, with 40 lenders from 13 different locations from around the world, is vast – and it has been an amazing achievement to get such wonderful objects together to represent the story of Hajj.

The magnificent Hajj banner from the Harvard Art Museum.

I was completely amazed, for example, by the wonderful Hajj banner from the Harvard Art Museum made out of beautiful scarlet red silk, which measures 369.5cm x 190.5cm. Dated 1683, it tells the story of the movement of Hajj caravans. This banner was carried from North Africa, which was part of the Ottoman Empire, by members of the Qadiriyya Sufi order on Hajj. It is a striking object which would have been seen by pilgrims from a great distance, decorated with floral patterns typical of the Ottoman era. The inscriptions in the North African style of script, known as Maghribi, clearly confirm its use on Hajj. In the 17th century this must have been a splendid beacon to guide pilgrims who were traversing great distances to reach the place of their dreams.

The exhibition opens to the public next Thursday 26 January and runs until 15 April 2012. I hope you can come along.

Leave a comment or tweet using #hajjexhibition to let us know what you think about the exhibition

Hajj: journey to the heart of Islam is open from 26 January to 15 April 2012.
Find out more

In partnership with King Abdulaziz Public Library, Riyadh, Saudi Arabia.

HSBC Amanah has supported the exhibition’s international reach outside the Kingdom of Saudi Arabia.

Filed under: Exhibitions, Hajj: journey to the heart of Islam

Reflections on Hajj


In November 2011, Altaf and Rashida went on Hajj.
Here, Altaf reflects on the experience.

The end of Hajj
After our third night at Mina, we travelled by coach back to Mecca where the adventure continued. The coach driver took a wrong turning and headed in the wrong direction for 20 minutes. He then did a three point turn on the motorway and then a few miles later ran out of diesel! So a short journey of 40 minutes turned into a three hour saga! Even though everyone was extremely tired, the group stayed in good spirits as this was the first and only real hiccup in the whole trip.

Once we finally arrived in Mecca we checked into a 5 star hotel for a well-deserved rest. The hotel felt so luxurious and clean after having roughed it for a week. The hotel was less than a five minute walk to the Ka’ba so we made frequent trips for prayer and tawaf. Tawaf was very difficult as the Ka’ba was packed full of worshipers. We did the circumambulation on the top floor which increased the distance of each circuit to almost double.

One evening I went to do a tawaaf and half way through I felt peckish so I went and got a cheese burger from Burger King, sat over looking the holy mosque containing the Ka’ba. It was 2am, the temperature was 27 degrees centigrade…it was surreal experience, two different worlds with me in the middle.

After Hajj

After Hajj was over, we went to Jeddah to spend some time with my older brother who lives there with his wife and son. We were eager to see them as it had been a long while and we had never met the baby.

What a contrast! One day being in the holiest Islamic site in the world, the next in an ultra-modern busy city with the latest technology and all the designer shops you can imagine. However the remembrance of Allah is never far away – life revolves around the prayer times. When we were in one of the traditional open souks we heard the call to prayer – the shops shut their doors and the market stalls just covered their goods with a sheet and went off for prayer. Ten minutes later it’s all back to normal.

Back in London

Having completed one of the pillars of Islam, I feel the need to protect the remaining four even more than I had before I went on Hajj. The experience has changed lots of things. I feel a lot more connected to the creator and have a stronger visual connection between the text of the Quran and the knowledge that I have completed an ancient rite.

I was really missing Saudi so I logged on to the Ka’ba web site and the area around the Ka’ba was virtually empty, just a few hundred people doing tawaf. It looked very different to what I had experienced with millions of people.

Doing the Hajj has reinforced my strength in my faith and helps me remember Allah more regularly.

Altaf and Rashida Abbas went on Hajj this year and blogged about the experience for the British Museum. Find out more about the exhibition Hajj: journey to the heart of Islam

Filed under: Exhibitions, Hajj: journey to the heart of Islam

Grayson Perry, a pot and me


Ian Jenkins, Senior curator, British Museum

I begin this post as a failure – that is to say – somebody (disarmingly described by him as ‘brilliant and funny’ but) unable to persuade my good friend Grayson Perry of the merits of Greek sculpture.

To underline this point, he has depicted me on a pictorial vessel in his current exhibition at the British Museum, The Tomb of the Unknown Craftsman. I am shown, wielding a blood-dripping sword, defending the legacy of ancient Greece in the form of a Greek temple. The reference here is the ongoing conversation I have with Grayson about his view of Greek art and sculpture.

Ian Jenkins in warrior mode on the vase 'Grumpy Old God', Grayson Perry, 2010

It’s a matter of principle with Grayson that he regards Greek art as posh people’s stuff and associates it with all that he despises in Establishment art history. Although I wield the sword, it’s Grayson who sees himself as the artisan warrior and The Tomb of the Unknown Craftsman is his personal commemoration of the lives of all those nameless craftsmen who created the majority of the objects in the British Museum.
A question I have for Grayson is what about the nameless Greek artisans who built the Greek temples and carved the many sculptures that we have in the Museum? Why are they to be excluded from his church of craftsmen?

I say this in the spirit of the good-natured dialogue Grayson and I have been having for approaching two years. In my capacity as a curator, I assisted him in various ways including delightful car journeys to the Museum store rooms at Blythe House – ironically in that part of west London we call Olympia – if not, in George’s café over delicious bacon sandwiches and milky coffee. I would find myself enthralled by Grayson’s effervescent personality, his natural intelligence and his remarkable tendency to speak in poetic aphorism. Sometimes the things he said seemed so profound as to leave me reeling and I could only reply ‘I’m going to have to think about that one Grayson.’

The striking thing about introducing Grayson to the collections was that while others might have selected the material they wanted to feature by a process of elimination based on the things that were put before them, he seemed always to have in his head a fully formed idea of what it was he wanted. As often as not he shook his head when shown what I thought would be appropriate, declaring the object to be not what he was looking for. And that, I think, is the essential difference between how a curator might approach an exhibition – laboriously sorting and collecting material – where Grayson had in his mind’s eye a ready formed idea of what he wanted and his adventure into the reserves of the Museum was a search for the desired objects.

The thing about Grayson is that he is universally regarded by all those who had the pleasure of working with him as a thoroughly nice bloke with natural intelligence and charisma and none of the pretensions of the celebrity artist that might be found in other personalities. I hope he found in us his extended family and in the British Museum, a new home. He became, and remains, one of us and in his own way became a curator.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

Stunt double trouble


Janet Larkin, Curator of the Enlightenment Gallery

I’ve had an exciting time these last few months managing the installation of the objects for Grayson Perry’s exhibition. As part of this, I have also been tasked with changing the stunt double teddy bears on the back of Grayson motorbike, which you can see on display just outside the exhibition entrance. I usually work in the Department of Coins and Medals and look after the Enlightenment Gallery, and so getting up close to this fantastic motorbike is a real change for me!

Hundreds of bears entered their CVs and photos for Grayson Perry’s competition to find a stunt double for Alan Measles, who is of course Grayson’s teddy bear and ‘god of his imaginary world’. Grayson shortlisted the candidates to find his top 12 and then the public voted for their three favourites. The final three reminded us of The Story of the Three Bears, there was “a Little, Small, Wee Bear” called Dr Schmoo, “a Middle-sized Bear” called Pinny, and “a Great, Huge Bear” called John Duggan.

Last week, early one morning before the Museum opened to the public, we tried John Duggan out for size by placing him in the shrine on the back of Grayson’s motorbike. Dressed up in his leathers and wearing a fantastically ornate eye patch, he really looked the part. However, John was slightly too tall for the shrine and so, very sadly, he won’t be able to take up his place as the stand-in for Alan Measles after all.

This is incredibly disappointing for John Duggan of course. He had so wanted to sit in the shrine and for all to come and see him. However, we know that he will take comfort in knowing that he has been an internet star with thousands of votes. He now even has his own Facebook page, so do go and make friends with him! He will certainly go on to have many more adventures I’m sure. Whilst he was here, and in true stunt teddy bear spirit, he did try out a few poses on the motorbike which we caught on camera and which he wanted you to see…

John Duggan prepares for a ride on Grayson Perry's motorbike

Displaying his fine balancing skills on the handlebars

Enjoying the scenery

Posing like a true stunt double

And so, we now need a stand-in for the stand-in! The next bear on the shortlist from the final stages of the competition will be contacted and asked to take John Duggan’s place. Keep an eye out (not literally, like John Duggan) on Twitter for the announcement of who that lucky bear will be.

You may have seen Pinny and Alan Measles on Harry Hill’s TV Burp. Pinny is thrilled to have been on television. Have you seen Pinny or Dr Schmoo on display yet? Dr Schmoo is proudly wearing his Grayson Perry badge, and I’ve even found him a cushion so that he can sit on that big throne much more comfortably.

Find out more about the Grayson Perry Late event.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

Making connections


Philippa Perry, Grayson’s wife, on looking for connections in
the exhibition Grayson Perry: The Tomb of the Unknown Craftsman

On the rare occasions when Grayson and I visit a shopping street together, his favourite place seems to be the charity shops. We go into one together and I look at everything and after about three minutes of finding nothing I long for fresh air and wait for him outside. He takes longer than me, he looks more carefully and comes out after a few more minutes with a rare book or a tweed jacket that somehow I managed to overlook. And when we take his finds back home it is as though we’ve always had them. They seem to have his handwriting on them.

Amulet with plaque, ‘Tsa Tsa’. Bronze and paper, Tibet, 1800–1899.
© The Trustees of the British Museum

When I saw his final selection from the British Museum this is what struck me. To me, it looked like the objects he chose could have been made by him – they had his personality already. It can be hard to know what he has made and what he has found until you look at the labels. For example, the tiny portable shrine he has chosen (Amulet with plaque, ‘Tsa Tsa’, Tibet 1800-99) reminds me of the one he made for the Tate gift shop in 2009 (Tate Modern Reliquary).

Grayson Perry (b. 1960), Tate Modern Reliquary. 2009.
© Grayson Perry, courtesy the Artist and Victoria Miro Gallery, London.

I asked him if ‘Tsa Tsa’ influenced his Tate gift shop reliquary, but no, he found it after he had made the pendant. Both these items are in the exhibition but they are not placed obviously side by side. I like this, it means that we look and let our minds make the connection; it is not done for us. This is not an exhibition to be rushed through. The more you look the more connections you can make.

Grayson won’t necessarily make connections obvious: his pot ‘Grumpy old God’ is based on the Greek vases in the Museum but he has not included one from the Museum’s collection. He asks us in a label not to look too closely for meaning. When he was selecting, he did it intuitively and he invites us to look at his selection in that way. But not looking for meaning does not mean not looking and noticing how things feels for us.

I am reminded of what Alain de Botton once said, which was something like don’t go to Cambrey and look at where Proust lived with your eyes, but stay at home and look around you with Proust’s eyes. If Grayson can pull out this stuff from the collection which seems so resonant of him, his style and his meanings…if objects in the Museum replicates the ages before Grayson made things – stuff that he went on to make before seeing it – then we know that not only Grayson’s psyche is to be found in the British Museum, but all our psyches. We just have to take the time to look and have confidence in our personal reactions to what we see.

And I really mustn’t rush outside when we visit charity shops but stay awhile to see if I too can find myself in an object there.

Find out more about the Grayson Perry Late event.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
Book tickets now

Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

Arafat, Muzdalifah and Mina


Earlier this month, Altaf and Rashida went on Hajj.
Here, they recount some of the stages of Hajj.

Arafat
Altaf Abbas

Arafat is a flat valley surrounded by mountains of rocky terrain – a dry and barren the place where Muslim’s believe mankind will be gathered on the day of judgement. After our first failed attempt to see the Mount of Mercy where the Prophet Mohammed had given his last sermon, I left my wife in the tent and went out again. I walked for about a mile, climbed through a hole in a chain link fence, crossed a wide empty motorway and then climbed up a short steep hill not knowing where I was going…and there in front of me was the most beautiful site. I was looking down on the Mount of Mercy where millions of pilgrims were standing and praying. It was awe-inspiring.

Everybody was facing towards the ka’ba and standing with raised hands praying and crying, it was deeply moving. Even though three million people were with us, it felt like I was alone in worship. I felt good after shedding a few tears.

Rashida Abbas
We arrived at Arafat on the morning of 5 November, it was very hot and no air conditioned tents this time. We had to pour chilled water on ourselves to keep cool. The whole afternoon was spent doing supplication and prayers. We went out to search for the Mount of Mercy but due to the heat had to turn back and take refuge in ‘The Tea Garden’ which was a large airy tent. Everyone was totally engrossed in prayer and oblivious to others around them. The focus was on prayer, a very spiritual afternoon which I enjoyed and felt benefited my soul with spiritual healing.

Muzdalifah
Altaf Abbas
After Magrib prayers (sunset) we boarded the coaches once to go to Muzdalifah to spend the night out in the open. Twenty of us decided to walk the seven kilometres to Muzdalifah and meet up with our group in the open air camp, which turned out to be an adventure. The walk started of very pleasant along with hundreds of thousands of other people along pedestrian walkway No.15, which is as wide as the M25 motorway. After four hours of walking, just before we entered Muzdalifa, people started setting up camp on the walkway which caused a bottle neck and our group of 20 got dispersed into the crowd of millions. I tried in vain to look for the group and our organised camp but to no avail, so I spent the night with thousands of total strangers on the pavement. I found a small spot next to some railings, put my prayer mat down and went to sleep using my slippers as a pillow. Although there were millions of people, coaches and buses going past, I slept for a couple of hours. It was the sweetest sleep I have ever had, there was a tranquillity that blanketed all the chaos around me. It is hard to explain in words but it felt like I was by myself – lost but had inner peace and was at ease.

Rashida Abbas
Muzdalifah was not what I expected. We slept on open ground in between the motorway and mountains. Coaches were arriving well into the night constantly bringing pilgrims. As the coaches arrived they would beep their horns to announce their arrival – thousands of coaches! It was a strange experience trying to sleep out in the open under these conditions. There were strangers sleeping next to us from all over the world. I managed to snatch a few hours of broken sleep whenever I could. Before long, the call to prayer was announced.Everybody woke up did ablution and stood for prayer in neat orderly rows facing the ka’ba. Which is amazing to see, the rows formed so swiftly and then total silence as the prayers started in Arabic. I don’t think you will see this anywhere else in the world. The supplication continued until sunrise about an hour later, Muslims deep in worship of one God. I walked back to Mina, our permanent camp, in the early morning sun which took about two hours. It was a calm atmosphere with pleasant weather and a gentle breeze, I really enjoyed it.

Mina
Altaf Abbas

The next three nights were spent in Mina, a temporary tented city. On the first day when the rest of the Muslim world was celebrating Eid (I did think about our children spending Eid with their Grandma and Aunt in London), we had four religious rituals to carry out:

1. Stoning of Jamaraat (symbolic devil)
2. Shaving the head
3. Sacrifice of animal, usually a goat or a lamb
4. Tawaf – to circumambulate the ka’ba

In the afternoon, we left on foot to go to the Jamaraat with our group. Even though I had heard about this ritual many times, it was different to what I expected. I had heard that this place gets really busy, however I was amazed to see a modern building resembling a multi-storey car park with wide ramped access, traffic lights, one way systems and electronic signage which made it very easy for us to perform the stoning. The ancient symbolic stoning of the devil represents the moment when the Prophet Abraham was being distracted by the devil when commanded by Allah to sacrifice his most beloved possession; his only child. We threw seven small pebbles the size of chick peas – which are collected from Mina – at three walls, each one 30 metres long and 6 metres high.

After the stoning we walked back to Mina. I had to shave my hair, have a shower and change out of my ihram and into clean normal clothes. I felt pure and cleansed.

The sacrifice of a goat was carried out remotely in a modern abattoir which has the meat cut, packed and shipped to third world countries to help feed the poor.

I’ll talk about the tawaf in my next post…

Altaf and Rashida Abbas went on Hajj this year and have been blogging about the experience for the British Museum. Find out more about the exhibition Hajj: journey to the heart of Islam

Filed under: Exhibitions, Hajj: journey to the heart of Islam

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