Article
Ageing
Care
Change
Death & life
6 min read

A Tolkien poem helps a nurse understand the ravages of dementia

'Not all who wander are lost.'

Helen is a registered nurse and freelance writer, writing for audiences ranging from the general public to practitioners and scientists.

An elderly woman wearing headphone looks up and to the side with a big smile.
Playlist for Life

Not all who wander are lost.

Often written on a care home wall, on an inspirational poster, these words are usually set against a forest background, or compass, for added effect. They have also been used as the title of a conference paper discussing so-called smart trackers for people with dementia, whilst, Not all who wander need be lost is the title of a concise guide to navigating the heartbreaking challenges when a loved one is diagnosed with Alzheimer’s disease or other dementia.

As a care home nurse for more than ten years, I have seen residents wander - not lost but “walking with purpose”, as it is sometimes known in the caring community. “Nobody gets up and walks without a reason,” says Suzanne Mumford, Care UK's Head of Nursing, Care and Dementia; perhaps they are easing pain, or boredom, or looking for something that they can’t describe. I remember residents exploring, enquiring into self-made mysteries solvable only by themselves, examining everything from door handles to another resident’s buttons, even escaping with surprising speed. Walking with them, often in silence, can bring a sense of relief, comfort and companionship.  

What I didn’t know was that this is a quotation from a poem by JRR Tolkien, published in The Fellowship of the Ring seventy years ago. The actual line is - “Not all those who wander are lost”. 

All that is gold does not glitter, 
Not all those who wander are lost; 
The old that is strong does not wither, 
Deep roots are not reached by the frost. 
 
From the ashes a fire shall be woken, 
A light from the shadows shall spring; 
Renewed shall be blade that was broken, 
The crownless again shall be king.” 

We first hear this poem in Chapter Ten of Book One, as Frodo reads it in the postscript of a letter from Gandalf. As I read it, the imagery of being lost, withered, frost-bitten, in darkness, burned and broken, speaks something, in poetic picture language, of the ravages of dementia, the harrowing losses, the valley of tears. It brings to mind residents unaware of familiar objects or surroundings, looking straight through loved ones without a flicker of recognition, losing also language, continence, mobility and the ability to swallow. 

The TV presenter Fiona Philips recalled an agonising decline in her mother as she succumbed to Alzheimer’s, describing how, in the final stages, her mother “spent whole chunks of time just sitting and staring ahead, only able to give out a series of sounds”. Fiona herself now lives with dementia. “'It’s devastated my family and it’s the biggest health and social care challenge we face as a country,” she says. 

I once interviewed retired doctor Jennifer Bute, who lives with dementia. She talked of time travel (perceiving herself as living in a time from her past); disorientation to place and person; frightening hallucinations when old memories are seemingly ‘unlocked’; and ‘emotional unzipping’ when agitation and anxiety increase, often in the late afternoon or evening in something poorly understood as a symptom, known as ‘sundowning’. 

Yet there is something more to this poem – each of the pains has a promise – not all who wander are lost; the old that is strong does not wither; and, most poignantly, deep roots are not touched by the frost. In dementia, it is true that deep roots are untouched, that an enduring aspect of a person’s identity never truly withers, though it may be mostly unseen. Something remains. Oliver Sacks the famous neurologist emphasised that, even in the late stages of Alzheimer’s, the person is still ‘alive inside’ (the inspiring documentary with this title is recommended). In stunning real-life stories, he has shown how music appears to ‘call back the self’, awakening moods, memories and thoughts that had seemingly been lost. He refers to music’s extraordinary ‘neural robustness’ and describes one man, unable to tie his tie or find his way to the stage, yet able to perform a perfect piano solo. In one life-affirming, must-watch, tear-jerking video, gospel music was shown to enliven, calm, focus and engage a man simply known as Henry.    

Watch Henry

Singing can “provide islands of arousal and awareness like nothing else can”, according to Alicia Clair, Professor of Music Therapy. I’ve seen singing bring the person into the present for a passing moment, illuminating a face that seemed far away. One otherwise-silent lady completed the chorus of ‘Daisy, Daisy’ before descending into dementia again. Others have laughed, clapped, danced, embraced and even shed a silent tear during music therapy sessions, when music elicits memory. Doll therapy meanwhile has sometimes restored and revealed a sense of nurture, purpose, care and pride, with residents feeding their new friend before accepting their own food, folding its clothes and taking care of it cradled in their arms. Though it divides opinion, a doll can preserve dignity if it de-escalates agitation or engagement in physical or verbal abuse; a sense of dignity also comes from the person being able momentarily to give care rather than receive it. 

“From the ashes a fire shall be woken, A light from the shadows shall spring; Renewed shall be blade that was broken,” continues Tolkien's poem, and, though not the original intention, these powerful images of renewal and restoration paint a picture of something known as “paradoxical lucidity”, or unexpected cognitive lucidity and communication in some patients with severe dementia, especially around the time of death (though sometimes long before).  

Anecdotes are recorded of “unexpected, spontaneous, meaningful, and relevant communication or connectedness in a patient who is assumed to have permanently lost the capacity for coherent verbal or behavioral interaction due to a progressive and pathophysiologic dementing process”.  Some scientists are seeing them as a paradigm shift in the understanding and perhaps even treatment of dementia. I will never forget when a woman in the late stages of dementia, with little spoken language, was brought back to the nursing home weeks after hospital admission; she had been perilously ill. With bright eyes, she took my arm and, as if the mist had cleared for a moment, spoke warmest words of thanks to me for helping her on the day she collapsed. In another fleeting and irreproducible moment, a lady wished me happy birthday, before continuing her silent walk around the home. Witnessing such an event is ethically and emotionally transformative. 

The concept of remaining ‘alive inside’ even when abilities, language and memory are eroded by dementia is taken to the next level in Christianity, which teaches that life continues even after death itself. The Bible speaks of new life beyond the grave; the fire shall be woken, a light shall spring. And there will be a crown (and the gold will glitter). The Crown of Life is referred to, being bestowed upon "those who persevere under trials." Dementia is one of life’s severest trials; a cross to bear. In the 1912 hymn “The Old Rugged Cross”, another cross is spoken of, being the cross of Christ at his crucifixion. Clinging to that cross, living out a Christian life, the hymnwriter wrote of “exchanging the cross for a crown” at life’s end. After ashes, hope awaits the Christian. 

 

Playlist for Life is a charity encouraging people to create playlists for people living with dementia. 

Article
Christmas culture
Culture
Development
Music
6 min read

Band Aid: that song, that question

What’s so funny about generosity, kindness and compassion?

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Pop stars sing together while recording a charity single.
Recording the original Band Aid track.

Sometimes a three-minute pop song really can change lives. I should know because 40 years ago a Radio One DJ played a song that changed my life.  

I was 12 years old, growing up in relative comfort in Brighton, when I heard the song “Do They Know It’s Christmas?” by Band Aid play for the first time on the radio. I remember being moved by the lyrics:

"There's a world outside your window, and it's a world of dread and fear, where the only water flowing is the bitter sting of tears." 

As I reflected on the song, I was overwhelmed by the great inequalities in the world. I had food on the table every day, while people in other parts of the world were struggling to survive without even the most basic of necessities.  I had felt so desperate watching Michael Buerk’s TV reports of children suffering in the devastating “biblical” famine in Ethiopia: suddenly, with this song, I was struck by the realisation that perhaps there was something I could do to make a difference, after all.  

As a child, I did what Bob Geldof encouraged me to do: I bought the single, wore the T-shirt, and contributed some of my pocket-money. But it didn’t stop there. As Band Aid turned into Live Aid - a global concert featuring my then favourite band, U2 - I felt that the direction of my life was shifting also. I began to ask questions about what I wanted to do with my life and where I could be most effective in tackling global injustice and inequality.   

I still find myself asking the same questions today, as well as an additional one – has my life over the past 40 years made the difference I wanted it to make? This is exactly the challenge being put to Band Aid. As the world remembers the fortieth anniversary of “Do They Know It’s Christmas?” with the re-release of the single, could it have fresh impact on a new generation, and was it even effective the first time around?  

There are important lessons to learn from Band Aid about whether such initiatives are the intended impact, but often the critiques quickly become excuses not to get involved.  I’d like to look at three of those critiques to see if there is any truth in them – and if they can provoke us into doing more, not less, for the cause of global security in general, and international child welfare in particular.  

I might not agree with everything about the song, but I certainly believe in the power of guitars over guns. I’d rather see meaningful music influence our world than military force any day.

The first is that the way Africa is portrayed is more harmful than helpful.  

While well-intentioned, the depiction of Africa in the Band Aid song, and to be honest, in most charity fundraisers for causes within Africa, has served to perpetuate harmful stereotypes. They paint an oversimplified, monolithic image of Africa as a place of unrelenting despair and degradation, with images of starving children that are supposed to stick in our minds – and do.  

Hans Rosling, in his book Factfulness, surveyed global perceptions of Africa and found that most people vastly overestimate the level of poverty. Because media and charity campaigns rarely show the thriving urban centres, technological advancements, or educated professionals that also define Africa, we are given a one-dimensional narrative that actually dehumanizes African people and perpetuates an “us vs. them” mindset where the West are depicted as saviours to helpless African victims.  

The truth is far more nuanced. Yes, poverty and tragedy exist, but Africa is also home to modern skyscrapers in cities like Lagos, bustling malls in Nairobi, and world-class stadiums in South Africa. Despite underestimating the development of Africa, we should also be careful of measuring success on how many modernised metropoles we can find there. I have been to villages in Uganda, some far off the beaten track, which, while appearing relatively impoverished on the surface, are deeply rich in culture and community. They are aspirational in many ways, where children grow up in the security that extended family can offer.   

To portray an entire continent solely through images of suffering is neither accurate nor fair. We – I include myself – still have so much to learn, both about Africa and from the African people.  

Then there’s that question. Do they know it’s Christmas? Yes, they do. 

The question at the heart of the song—whether Africans know it’s Christmas—has always been problematic.  Across Africa, there are over 730 million Christians, many of whom practice their faith with vibrant passion. Not only do they know it’s Christmas, but in many cases, their faith is lived out more actively than by their fellow Christians in Western nations. 

Christians across Africa are often at the forefront of societal change, leading in politics, science, and development. From presidents to Nobel Prize winners, their work is rooted in faith and a commitment to their communities. Suggesting otherwise is not only inaccurate but also dismissive of their contributions. 

The question needs to be turned back on ourselves: do we know it’s Christmas? Have we added so much tinsel, glitter, sentimentality and consumerism to Christmas that we have lost sight of the incarnation at the heart of the Christmas story – God, seeing a broken world, sent his Son to walk alongside humanity and offer hope and redemption? Jesus crossed the greatest of cultural boundaries to become one of us and live with us, before paying the ultimate price and dying for us. If we really knew this sort of Christmas, what would this mean for the rest of our lives? 

Finally, there’s the problem with the white saviour complex. 

Recent critiques, including Ed Sheeran’s reflections on his involvement in charity work, have highlighted the dangers of the “white saviour complex.” This isn’t just about race—it’s about the mindset that Westerners so often have – that we bring the solutions because those in developing nations lack the knowledge, experience, or ability to help themselves. 

Sheeran himself faced backlash for trying to assist street children during a Comic Relief project, inadvertently causing harm despite good intentions. Imposing solutions from the outside often overlooks the complexities of local contexts and risks reinforcing imbalances of power. Sometimes our good intentions lead to bad interventions. Sometimes they exacerbate problems that were historically caused by the Western nations in the first place - colonialism, resource exploitation, and the arbitrary drawing of borders, for example.   

This cannot be an excuse to do nothing. This is a vital lesson in collaborating better with our African counterparts before we dare to suggest ways forward. “Nothing about us without us” is a principle many modern charities embrace so that solutions are co-designed with the communities they aim to help, ensuring that aid empowers rather than dehumanizes.  

The generosity at the heart of the Band Aid initiative, the desire to show kindness and compassion – and inspire kindness and compassion in others, was an incredible message of hope. It changed my life 40 years ago. Perhaps, as I continue my reflections, it will change my life again. I might not agree with everything about the song, but I certainly believe in the power of guitars over guns. I’d rather see meaningful music influence our world than military force any day. I don’t mind whether movements for positive change are instigated by musicians or politicians.  

Most importantly for me, wherever there is conflict, I pray that the real meaning of Christmas will be discovered.  

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