Tag Archives: art

Chapter 57: artisans and craftsmen

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… if anyone becomes proud of his skill and the profit he brings the community, he should be taken from his craft and work at ordinary labor.

Who am I?

As June 2015 approaches and I come to the end of my official curacy, marked by a final assessment panel and an interview with my bishop, I am finding it hard not to think about the reports that will be gathered about me and my suitability to minister. On the bishops desk will be a minimum of 9 reports assessing my progress over the last three years, my competences, my character and every aspect of who I am. It is a pretty daunting thing if you think about it too much!

I have also been undertaking some intense ‘soul searching’ and reflection for the last few months guided by a counsellor. This has helped me to understand a little more as to what makes me behave and think like I do. I am acutely aware of the complexity by which God works through my own free will and psychological and genetic tendencies to reform me. When is something to be named as ‘God-given’ and when is it not?

I find it hard to accept that all talents and skills are to be ascribed to the spiritual realm. There are things that I’m good at which are there because I have worked very hard at learning and perfecting them. When I was an atheist I would get frustrated with religious people saying God gave them that ‘gift’ when it could be taught without involving God at all. I’m not saying that God can’t use those skills that one learns and does courses in but that we shouldn’t ascribe all skills to God for there are some skills which do not honour him nor would he want us to use. Take learning how to torture someone. It may seem facetious to say this but there are some people who are very good at taking other human beings to the edge of their life but holding them on the brink to force them to speak on the desired issue. This is a skill which not everyone can do. We wouldn’t dream of saying,

They’re really good at that it must be a god-given gift.

What is the distinction? Is it in the purpose of the activity? If someone learns a skill without knowing God and uses it to actively deny God is that still God-given? Is everything we are and do because of God? If this is true then why does he change us? In saying that all skills and talents are God-given, to me, denies the wonder and power of God’s redemption.

There are things that I have picked up through my experiences that are not healthy. I respond badly in certain situations which are not edifying and I am not proud of and I wouldn’t dream of turning round to the people I hurt and say,

This is the way God made me so you can’t complain.

It would be nice to say that because it takes all the pressure for me to change off and to blame God for making me ‘this way’. The truth is God didn’t make us ‘this way’. We were made by flesh and blood and we’ve been shaped by an imperfect world filled with imperfect people. Some parts of me are messed up and need reforming and that’s also true of you.

When St. Paul talks about spiritual gifts he is both vague and specific. The lists of gifts are not, in my mind, exhaustive, nor are we meant to be focussing on the list of gifts but rather the point of these passages (1 Corinthians 12, Romans 12 and, some would argue, Ephesians 4 but I have my questions on that!) is to highlight God the giver of grace through his Holy Spirit. God equips us for the tasks he calls us to. In my view and my experience, God never equips us for no reason. God calls first and equips after. This order makes more sense for God wants us to serve and behave dependent on him not on ourselves. Naming and blessing all our capabilities on behalf of God is not the same as truly experiencing the transformation of God via his Spirit.

That’s why, in The Rule of St. Benedict, I think it is clear that the ‘artisan’ is described as having a ‘skill’ and not a ‘gift’. But, you may protest, what about Bezalel!

The Lord spoke to Moses: “See, I have called by name Bezalel son of Uri son of Hur, of the tribe of Judah: and I have filled him with divine spirit, with ability, intelligence, and knowledge in every kind of craft, to devise artistic designs, to work in gold, silver, and bronze, in cutting stones for setting, and in carving wood, in every kind of craft.” (Exodus 31:1-5)

My reading of Exodus 31 is that Bezalel is given ‘skill’ for a specific task. The call comes first the skill second. God helps Bezalel to learn the necessary skills with the other aspects of the gift, ‘wisdom, understanding and knowledge/intelligence’ (from the original Hebrew).

Now, I’m not saying that these skills are not important and can’t be used by God; quite the opposite! It is a testament and a witness to the redemption of God and how God works that he does use those things we learnt before we received his gift of grace. The distinction I am wanting to make is between that which God has given to us and how God uses us. The former is perfect for it comes from God and the latter is imperfect but redeemable if we choose to obey God’s will. Does this distinction need to be made? I would argue it does for we can easily slide into blessing everything we do as ‘God-given’ and controlled by God without considering the important aspect of our own fallenness and brokenness.

When it comes to questions of my identity I struggle to communicate such a concept because of the confusing assumptions of both myself and the hearer. When I sit before the panel assessing my vocation and competences and I talk with my bishop, I will struggle to communicate seemingly simple questions about discernment. This is not about what God is calling me to specifically but about how he has equipped me. What of my personality is God-given? What part of who I am is from God?

What it comes down to is I can only be sure of this: I am in Christ being renewed for his glory all the rest is debatable.

Reflection

The most significant challenge in this chapter of the Rule is the guidance,

…if anyone becomes proud of his skill and the profit he brings the community, he should be taken from his craft and work at ordinary labor.

As I face the panel I will be sensitive to my own pride and, as with most days of my life, pray that God will humble me, that he will remind me of my identity in him and to speak only of that.

We are so keen to establish our self esteem because we all are confused about who we are at the deepest level. We feel we should know ourselves but the truth is we don’t and that’s scary. Thomas Merton suggests,

The reason we hate one another and fear one another is that we secretly or openly hate and fear our own selves. And we hate ourselves because the depths of our being are a chaos of frustration and spiritual misery. Lonely and helpless, we cannot be at peace with others because we are not at peace with ourselves, and we cannot be at peace with ourselves because we are not at peace with God. (Thomas Merton, The Living Bread (London: Burns and Oates, 1976) p.9)

In his extended commentary on identity in ‘New Seeds of Contemplation’ he says,

In great saints you find that perfect humility and perfect integrity coincide. (Thomas Merton, New Seeds of Contemplation (New York: New Directions, 1972) p.99)

Humility, Merton asserts,

…consists in being precisely the person you actually are before God, and since no two people are alike, if you have the humility to be yourself you will not be like anyone else in the whole universe. (ibid.)

For Merton the practical things of everyday life should not be items of conflict,

The saints do not get excited about the things that people eat and drink, wear on their bodies, or hang on the walls of their houses. To make conformity or non conformity with others in these accidents a matter of life and death is to fill your interior life with confusion and noise. (ibid.) (my emphasis)

My personality and my preferences are ‘accidents’ not to be seen as static like some perfect idol but rather to be sacrificed before God to used and changed as he wills. My skills and competences, likewise.

Genes, parenting, and spiritual forces do condition who we are. But for believers whose spirits have been regenerated by the Holy Spirit these conditioning factors cannot determine who we are unless we choose to allow them to do so. (Gregory Boyd, God of the Possible: a biblical introduction to the open view of God (Grand Rapids: Baker Books, 2000) p.147)

In order to know who we are we must know who God is and discover who we are before him.

But under the steady bombardment of meaningless propaganda that is always directed against us, we surrender our privilege to think and hope and make decisions for ourselves… And we will never find God if we are not ourselves mature persons. To find God one must first be free.(Thomas Merton, The Living Bread (London: Burns and Oates, 1976) p.11)

Freedom comes when we follow Christ into his death and live in his resurrection and new creation. Death of our ego, death of our personality, death of everything we think defines us which is not Christ. In uniformly being in Christ we find we are uniquely ourselves.
Abba Father, you call us to life in you through participating in the death and new life of your son Jesus Christ. We humbly approach you and ask that you take every aspect of our life and use it for your glory. We ask you keep our eyes fixed on you and to continue the work of discipleship.

Come, Lord Jesus.

Chapter 17: the number of psalms said in the Day Office

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If the monastic community is numerous, the Hours shall be sung with antiphons; if small, without.

What is the place of artistic expressions within a community?

I have been on a community weekend away with Burning Fences where I was privileged to be able to organise/lead the input. I was acutely aware that, we, as a community, are experiencing some of the natural friction to life in relationship. There are multiple desires and visions to balance and contend with, there is the encouragement to bring brokenness and struggles into the public sphere in order to be known more deeply. All of this brings a highly volatile space and one that has, simultaneously both great potential for liberation and great risk of suffering and pain. We are not the first nor are we alone to experience some of this; it is the natural risk of relationship which commitment demands you fully enter and grasp.

I introduce this week’s reflection like this merely to highlight how this beloved community, who I consider to be the place from which I speak, the people with whom I speak and the situation to which I speak, is continually leading me into an deeper understanding of what a monastic apostolic community looks like. It also is proving to be the practical out workings of my reflections on the Rule of St. Benedict and I find that both inspiring and encouraging.

The other reason I begin by discussing Burning Fences is because, on the weekend away, we used Open Space Technology to hold conversations about that which is important to us as a collective. One of those discussions was on the place of creativity in community and explored (for the parts I was there for) the specific part of Burning Fences’ life; artistic expression/performance.

All of Burning Fences appreciate art in it’s many forms but not all of those who gather are able to contribute or, feel that they would like to. For some, Burning Fences is a place where they can explore new artistic endeavours, to try out and collaborate, but for others they don’t feel they are ‘creative’ in this way. Although I would not use that word for what they are expressing, choosing rather to use the word ‘artistic’, I do agree that there are some who are more competent and able to perform/present art in our group while others question what they have to offer to feel a part of Burning Fences.

On the Friday evening of our weekend away we held a ‘community circle’. This ‘community circle’ is a combination of haflat samar, story circles (traditionally held in the old celtic church) and Caedmon Evening (currently practiced by the Northumbria Community). The framework of the evening is everyone is invited to bring something to share as an expression of any kind. This contribution can be a simple joke, an epic poem, a song, a quote, anything that they think will inspire or facilitate reflection. I, as host, began by reading a story to frame the evening. I read a rewriting of Bede’s account of Caedmon who, loved listening in on such evenings but never felt able to contribute until, one night, he found himself dreaming about God giving him the gift of song. When he awoke he was able to sing beautifully. After this story, the group then participate in a collective act of art/liturgy. In this context liturgy acts as a binding together and bringing people together and encourages the group to express a shared desire or identity.

After this shared act the space is open for anyone to speak into it. People are encouraged to listen and respond how they feel is appropriate. The order of presentation is completely self-governed and each person places their contribution where they feel it fits best. By the end of the evening everyone had contributed something and it had flowed beautifully. There were some performances which may have been judged ‘better’ than others but in the light of day I could not tell you which was which because in that space of community it was not the objective quality that was important but the way in which we (and our offering) interacted with others. (You can read a poem which I wrote during our ‘community circle’ here.)

So what is the place of artistic expressions within a community?

For many communities the use of music and song is central to their community gatherings. Rituals and liturgical frameworks use music and rhythm. A community at its most basic is a social group whose members share a commonality of some kind. In order to maintain a cohesion to any community there needs to be an expression of that shared commonality, be they beliefs, locality, ideas or any other identifiers. This most profound way of doing this is through the evocative and emotive use of music. Artistic expression, therefore, takes an important part of many communities.

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The place of art

What I find interesting about this chapter in the Rule of St. Benedict is the directions for when a community is small.

If the monastic community is numerous, the Hours shall be sung with antiphons; if small, without.

This is music to my ears (excuse the pun). I do not have a strong singing voice and I am very self conscious. I love to listen to singing and particularly choral harmonies but I struggle to participate. I join in singing if there is enough noise to drown me out and I am confident no one can hear my unstable voice. If I am leading a small group and I would love to worship in that context then I must rely on others’ abilities to lead in sung worship or otherwise we don’t get to enjoy that experience. Even when there is someone else leading the singing I struggle to join in and end up mute hoping no one notices that I am singing and feeling concerned that I am distancing myself from the group.

One phrase that stands out from the discussion on the place of creativity in community, particularly a group like Burning Fences, was that,

Artistic expression is affirmed/valued but not enforced.

We, as a community, appreciate artistic expression and will encourage anyone, whatever level of competency they have, to contribute but we do not enforce it as a necessary part of membership. This does mean that the more experienced artists are more prominent when it comes to the times for artistic expression but that does not equate to being more valued within the community. We appreciate that offering because, for some, we cannot make it but we want to enjoy it as a gathering activity but that does not mean that those members who can are in some way more important. If there is no offering in this way then you adapt, for the act must primarily be a communal expression and only then must we consider the practicalities of how we make it happen.

Artistic expression is appreciated but it is not a marker of your place in the community.

Reflection

Community should be a space where people feel safe and free to let down forced personas and be vulnerable. This makes community a difficult place because there is a high risk of it getting very messy very quickly and this kind of life should not be entered into lightly. It does require a level of commitment from a number of people or it will never achieve the level of trust and intimacy required for this vulnerability to be life-giving. It is only in a safe, trusting, committed community where people are free to explore new expressions of themselves and embrace the risk of failure in working out relationships and connection. This can be done through artistic expressions and, indeed, it is a special kind of expression, but it is not the only way.

We at Burning Fences, appreciate and affirm the musical and poetic expressions of beauty and we enjoy them together, even though not every member can directly contribute. We, the more experienced/confident artists are only able to express our shared commonality by listening and knowing all members. Membership is not measured by the artistic contributions one makes but by the depth of relationships you participate in.

Creative God in Trinity, you make us to know and enjoy beauty with others. We thank you for the ability of some to create beautiful music and song, images and poetry. We thank you for others who create beautiful relationships with equal skill. We thank you for others who support the beauty of life in their skills to construct order and stability in practical ways. We thank you for all of this as expressions of your immeasurable creativity in all things.

Come, Lord Jesus.

Eternal Opus

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He made no attempt to record his work,
He left no mark in wood or stone,
No canvas or parchment marked by His hand.
Happy to risk anonymity, myth,
Trusting the eternal work to temporary beings.

Each word we write,
Each image we paint,
Marks of our existence
On this passing world.
If we are to live
Past the death so strong,
We must leave memorials
For generations yet to come.

But He has not finished,
His work not done.
He continues to plant,
Paint and sing.
His masterpiece is growing,
And will last forever.
His great opus
Offered for all to see.

Written for the annual Burning Fences weekend away held at Rivendale, Pickering, from Friday 25th – Sunday 27th April 2014 to compliment a reading of Jean Giono’s ‘The Man Who Planted Trees‘.

Contemplating the Surprise

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At the start of this year I began a practice of writing for twenty minutes a day to enable me to improve in the art form. Last night, as I sat down to begin this disciplined work I could think of a hundred and one different things I could be doing; the major one was sleeping. The temptation to miss a day remains a constant issue but the voices are getting quieter. They take the form, usually, of a simple question,

What harm will it do if you miss just one day?

Then a suggestion,

It’s not like you have anything particular to write…

It is that sentence which drives me to my desk, take up my pen and get to work. It’s the fact I don’t have any ideas to write or some pre-conceived concepts to wrestle out and process which inspires me to begin. You see, I have been involved in the arts for long enough to know what really makes us participate in creativity is the possibility to experience Surprise.

Surprise is the gold creatives and artists look for. It’s those moments when, despite having a thought or inspiration, however much the process is structured or one plans the product prior to the start of the work, an artist surprises themselves with the creation. In that moment there’s an awareness that we humans may not be alone in the process. We could break that particular encounter with surprise down into constituent parts like the ‘enlightened’ people we are but I know that such an exercise, stemming from 17th century science, has killed the arts. The research into creativity has led us no closer to a tangible explanation of that experience of ‘inspiration’.

inspiration-300x200All artists are seeking that surprise because it is a divine moment; a meeting with a force unnameable, holy. It is un-manufacturable and many have tried to force it only to be left high and dry. The reason it can’t be rushed or made to happen is because if you’re focussing on creating a surprise it will no longer be a surprise.

So the artist sits or stands or moves to the material and attempts, not necessarily to ‘empty themselves’ completely but to empty enough to focus on the process of the creative act. It is an emptying enough to create a void into which the creative force can fill or take over. What a mystery the creative process is! How it is done, etc. no one can fully explain. Why sometimes it ‘works’ and other times one is left wanting, who can say?

The artist, unique from other creative people, is the one who returns to the material as a matter of discipline, to rick being disappointed for the nth number of times. Chuck Close wrote this,

The advice I like to give young artists, or really anybody who’ll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.

This truth reminds me of the work of monks or nuns at prayer; they don’t wait around for an alignment of the stars to tell them when to pray, they turn up and start. They have more encounters with the Divine not because they are better at discerning or predicting the movements of God but because they turn up more often. They know how impossible it is to forecast the Almighty but He is always experienced Here and Now and never There and Then. When something is so ungraspable one has to give oneself more opportunities to catch it and so one enters the arena and waits but here’s the real secret; it’s not just a sitting and waiting but, while waiting, one gets to work and, after a time… surprise.

Fleeing to No-Man’s Land

bf_logo_brownI have had the privilege of being welcomed into a community over the last year which has had an ongoing and deeply transformative impact on me and my vocation as an ordained priest. The community are mainly in their twenties and would, at a cursory glance, be classified as ‘arty’ intellectual types, although this is not entirely true; not that they are not either of those things but that which unites this group isn’t those two general categories. It is only in the last month or so that I have begun to grasp the ‘charism’, the ‘je ne sais qua’, of Burning Fences.

I have come to realise that this gathering on a Wednesday night is a place between. What I mean by that is, it is a space which exists in no-man’s land between many human cultures, traditions, institutions and philosophies. Many are ‘de-churched’, meaning they have opted out of the church system. This does not automatically mean they have no faith in Jesus, but they are definite in their questions of institutional religion. Others are ‘de-society-ed’, meaning they have opted out of social institutions including politics, economic models and/or cultural pressures.

Whilst some are exiting church due to lack of a tangible truth to the statements trotted off each week, others are dismissive of social powers for the same reason. Capitalism: failed. Democracy: broken. Hierarchy: oppressive. Education system: stifling. In our community these things, at best, do nothing for us, at worst are an abuse. Church has hurt many of us and society has not done much better. We are all ‘de-something’, ‘post-something else’ and ‘anti-the other’ but…

We find joy.

a3257979419_10Before I stumbled through the doors one cold December night, this community had been meeting, singing and telling stories for a year or more. They had produced a CD of songs which they had developed entitled ‘Of Anthem and Ashes’. The images that were resonating with them then and remain reverberating through our times together are phoenix like resurrections; songs sung in the rubble, new plants breaking through concrete. These images have always resonated with me and it’s why I know I am a ‘fence burner’.

What’s unique, in my experience, with Burning Fences is we are not just angry rebels without a cause. I felt, at first, our position was always, first and foremost, against but now I appreciate that our primary position is for; it’s for joy, hope, faith, creative and transformative actions of love. We are for justice. We are for freedom. We are for foolishness. We stand up for singing and fairytales and we stand proclaiming the truth that we find in them; a truth higher than the ones incarcerated in creedal dogmas and policies from committees.

What unites us is not the borders we’ve crossed to get to Burning Fences, its the central tenants which have drawn us closer. It is not that we are all ‘de-churched’ or ‘post-capitalism’ or ‘anti-establishment’ it’s that we are dreamers singing songs from ages past with the fresh melody of our eternal youth.

We struggle to define ourselves, not because we cannot tell you what we do or why we do it (although we may amble around some wording) it’s because we don’t believe in definitions. Definitions limit and control; they create an object that is to be studied and understood. We, I think, want to rather express. Expressions manifest and present; they allow the subject to be encountered, however fleetingly. Groups and communities always get to a point where they organize. It’s at this point where a small death occurs. That which was new, organic, growing, evolving becomes marked and measured. It’s a necessary part of all groups some would say, but, I wonder, is it as necessary as we think?

Organization contains mechanistic tendencies, structures which are intentionally built to ensure all parties are protected and held. Organization does an important job of mediating between subjectivity of members and individuals can devolve responsibilities to the processes and structures put in place. The alternative, I want to tentatively suggest, is the organism.

Organisms are natural and, in some respects, self-evolving and responsive to environment. Organisms exist in constant fragility and transient ways and yet can endure much. The church has traditionally been associated with organic images; a body, a family, a vine, a tree. Ferdinand Tönnies articulates a possible contrast between these two models which he describes as ‘organic communities’ and ‘associative societies’,

…one can distinguish between ideal types of organic and associative social structures. A person is born into an organic social structure, or grows into it; by contrast, a person freely joins an associative social structure. The former is a ‘living organism’ whose parts depend on the whole organism and are determined by it; the latter is ‘a mechanical aggregate and artifact’ composed of individual parts. The former is thus enduring, the latter transient. In short, organic social structures are communities of being, while associative social structures are alliances for a specific purpose. (Miroslav Volf, ‘After Our Likeness: The Church as the Image of the Trinity’ (Michigan: William B. Eerdmans Publishing Co., 1998) p. 179)

concrete2The times when Church is most frustrating, for me, is in the ‘necessary organization’. What  irks me is the lack of convincing Biblical precedent. The Temple system failed and yet here we are in the 21st century rebuilding it. I get it, organic is messy and uncontrollable, unpredictable but it’s how the world functions. We human beings are devastating when we control and tinker with the organic creation. We’ve tried to organize the world and what we discover is we’re trapped in boxes which do not fit nor encourage us to flourish in the ways in which we should.

Take growth as one example:

Organizations grow but only when there is intentional distribution of resources in that area. Resources are limited and so constant supervision and analysis is required in order to maintain a healthy growth and balance with the repercussions growth brings (increase need for supporting the numbers and the work.) Growth is a task which is done. The temptation is also to continue to grow; to grow beyond the organisation’s means. When is the right time to stop growing? There is no reason to stop.

Organisms grow naturally; plants, animals, people. We do not need constant monitoring and an understanding of how it works we just do it. Yes, in order to remain alive we need protection from certain things but that’s not changing growth that just ensure an environment within which to grow. The purpose and identity of organisms can change and adapt, it’s inherent within the classification. It will be what it will be. Growth is not an intentional task its a natural process. Once it has reached a maturity the growth will inevitably slow down and settle into an identity (which still has freedom to develop) but even mature organisms continue to grow cells and reproduce.

Death is indeed part of the natural cycle of things but, like organisms there’s a continuity of energy from one thing to another and there is reproduction to ensure species continues. With the Christian tradition and narrative death is not to be feared. Despite us all passing through death, at the end we will all rise and live in resurrection glory (but that’s for another time.)plant-growing-through-crack-in-concrete

Burning Fences is an organism. It is one that understands itself as an evolving entity but not vacuuous of identity. Growth is occurring in different ways without us spending resources and monitoring to ensure that it continues because growth is a by-product of being. We have flirted over the last few months with basic organization but I am increasingly convinced that what this ‘Fresh Expression’ is doing, along with many others, is challenging the organizational model of church and society and telling the story of the church as organic. We are not the concrete instituition holding Man together and discovering we’re suffocating him instead. We are the plant life that persists in growing between the rubble of those falling idols.

As an ordained priest I do not want to be a manager. I do not want to be a systems analyst. I want to be one part of a network, a rhizome, of organic life that is fertile, naturally beautiful and expressing newness in the face of decay. I want to welcome the tired, weary, breathless, thirsty people as they run from the crumbling world into no-man’s land and host the party of endurance beyond death and decay. To feed them with nourishing bread and breathe new life into them. I want to tell the story of the world through the lens of a Creator who redeems and endures; coming and leading a people into the wilderness to find miraculous bread falling from the sky.

Burn those fences. Break down the walls and flock to the well where the water never dries up and to a table where the bread falls from heaven.

Creativity is My Faith

They say absence makes the heart grow fonder… If this is the case then you must all be terribly fond of me!
I’ve been on our annual UK tour visiting different people, catching up and falling in love again with friends, family and places. This year we had three legs of our tour; York (Riding Lights Summer Theatre School), Tunbridge Wells and the Kent coastline. All of these excursions took up time and focus and I couldn’t find much space to take myself way to write and be creative on my own.

I managed to keep one deadline, enforced from an external source, whilst at Riding Lights Summer Theatre School. I want to briefly reflect further on my experience of ‘creativity’. (Read ‘Creativity in Community’ post)

I tried, whilst in Folkestone last week, to get some writing done for my ‘god of the gods’ book. As I sat down to write out some of my theories on what it means to be ‘christian’, I clammed up. I got writer’s block.

I have experienced writer’s block before but this time was different. Before, the sensation was one of not having anything to say. The mind goes blank and you have no original thought to express. You are acutely aware that your mind is currently just ticking along with nothing of any great worth going on. This is difficult, particularly when there is a pressure to produce or be creative, either from an internal or external source.

This time, however, there was a different sensation, one where I had lots of things to say but no way of expressing them. I could, if asked, talk on the topic for a long time and draw all the sources I needed to express what was going on in my head. Instead, I just sat there,

“Where do I begin? How do I say…?”

I tried writing everything out in mind map. I tried speaking ideas into a dictaphone. I tried asking questions in a philosophical argument structuring way. I thought about how I write blogs, sermons and other creative writing exercises and then it occurred to me…

I had forgotten how to do it.

It seemed that, having stopped being creative, I actually stopped being able to be creative.

Creativity, for me, is participation in the life of God. Is everyone creative? No. Is that because they can’t be? No. It’s because they choose not to be. I don’t mean this in a condemnatory manner. Creativity is available to us all, i.e. the life of God is available to us all and some choose to participate and others don’t.

Creativity can borrow language of faith here. If you choose not to participate in a relationship with God you will discover that you can’t relate to God. You will find it difficult to understand any possibility of having a relationship with God. This then becomes your barrier to having that relationship with God which was available to you before. You then begin to say “I can’t have a relationship with God” as if it was a question of logic. I would say that anyone can have a relationship with God but some don’t want to and choose not to. So instead of saying “I can’t” (which I believe to be a fallacy) one can only say “I don’t want to/ choose not to.”

No one can say “I can’t be creative.” The perception is too timeless for it to be correct. You may not be able to be creative now but you can be creative because you are human and creativity is a possibility for all. You choose not to be creative and so it is difficult for you to see you being creative, you have forgotten how to be creative.

Trying to stay on track before I spurt out all my dissertation research…

Creativity, like a relationship with God, is made possible via a choice. This choice opens up both a growth in a competency as you allow the ‘creative power’ to move you and a transformation in self perception as you allow the process of creativity to impact your view of yourself from ‘non-creative’ to ‘creative’. We are correct when we say “I am not creative” but the understanding of what that term means is wrong. Ontologically we are not creative; we are but dust. We are able to participate in creative acts, however, and so, in the world’s eyes’, we can ‘be creative’.

What I experienced was a forgetting of how to be creative. I could have started to believe I was incapable of being creative. This would have led to a death to that which excites me and brings a sense of life to me. Creativity is, at its most profound, the participation in life. Not existence but life. Life as the quickening of the heart, the discovery of purpose, the eyes opening to dazzling beauty. The truth is many have forgotten how to participate in life and they believe this is not available to them. I believe they have just forgotten.

As a Christian I see participation in creativity as the same thing as my participation in God. For Creativity gives me life and the product of that creative process seems to give life to others. The fruits of creativity inspire others to participate in creativity. Many feel they cannot move beyond the desire to participate because they ‘can’t’.

You can and you must.

In The Minster (part III)

So what’s the point of cathedrals?

The more time I spend looking at Cathedrals, their communication and mission activity, the more I am convinced that they play the most significant part of our evangelism. It is interesting to me that these archaic, monuments to the past hold the potential key to our future.

I have worked closely with Durham Cathedral and now York Minster and have asked the question “How do we create in the heritage tourists a desire for faith tourism?” Millions of people visit our Cathedrals each year as historical monuments; they enter into a building used for worship, without us awkwardly befriending them and trying to time our invitation to come along. They come, almost, at their own volition and ask questions of the space, experience whatever is there. This is an enormous opportunity if only we could translate and interpret the space effectively.

As part of my placement in the Minster I have explored the ‘York Minster Revealed’ project being undertaken by Lottery Heritage Funding and the Dean and Chapter of the Minster. The idea is to invest millions of pounds into this heritage site to encourage more visitors to the Minster and, therefore, to the city itself. This may come across, to some, as selling out but I believe is a great mission opportunity and, I have to say, reading the Interpretation Plan, is clearly aimed at guiding people to experience the living, growing, life affirming faith and the God for whom the whole space is offered to in praise and worship each day.

Back in Durham, I am privileged to be a part of a team of ordinands who inhabit the Cathedral space there once a month. Our aim is to frame the space so that people can explore and encounter God there. We try and minimise the heritage signage, taking out donation boxes, stripping back to the walls and to the history of prayer soaked into the building. The atmosphere of the place is different for a number of reasons from the day time trade of tour buses and historical interest groups to the silent, meditative pilgrims encountering God in powerful ways in the evening. None of these reasons seem to sum up exactly what that difference is but the attitude in which people explore the space helps them to worship and pray for themselves.

Here in York, they have really simplified, as much as possible, and kept signage out of the space. Part of the Interpretation Plan is to use digital media such as Augmented Reality and QR Codes to inform people without layering it, physically, onto the building. This will help to keep the building as place of worship for the regular congregation. This will allow people to experience the space separated from the noise of the factual past and free them to experience the prayer and spiritual past and present.

In a conversation with the team who look after the heritage side of the Minster’s work it is clear that their aim is to use the building to tell the story not just of the past but the continuing life of the Minster as a community of worshippers.

I don’t care why they come but I do care that they leave knowing why they came.

An interesting idea which, I’m sure is shared by many missional leaders in parishes across the country. How do we use our heritage and history not to keep people thinking we’re past it but that we are present and we have an exciting future?

The undeniable truth is that Cathedrals get visitors! Parish churches struggle. Why? Well, Cathedrals dominate the skyline for one but they also have a clear story. I visit numerous heritage sites and love them. I judge them, not on their size but on the stories they tell. Warkworth Castle in Northumbria has no roof, very little walls and no guides but it tells a great story and has tried to tell it in interesting ways. Our parish Churches have stories or links to stories. We need to become more competent and confident to tell the story of the spaces we use for worship.

Take the parish church in Croxdale, County Durham. I did a placement there and visited the church of St Bartholomew’s. Still an active church but there’s an atmosphere about the place that is dark and cold. This has no relation to the community that worships there. The space is silenced by a whole number of things. During my time there I learnt that there was a community artist working in the hall next door. She rented that space from the church to use as a workshop and teaching space. I requested a meeting with her and suggested using the church as a gallery for local artists (who are currently struggling to find places to exhibit their work). This needs fleshing out but the potential to resurrect such a dark space into one of life and art and inspiration would lead, surely, to a reinvigorated life of faith.

Cathedrals don’t need to advertise more to get people into their worship buildings but they can work harder at translating the space from a heritage site to a place of encounter with the living God. The data informs us that people stay for services in York Minster and these events greatly change the whole experience of their visit. The realisation, surely, that this is not a static, dying building but one that grows and lives! Add into the visit Twitterfalls to help people communicate for the Cathedral unplanned, new, exciting discoveries as they happen to other visitors and suddenly the tourists become the guides and, who knows, the evangelists telling anyone connected to the Twitter conversation that they have encountered God in the Quire, Nave, Crypt, where-ever!

The thing I’ll take away from my time here in York is a sense of my passion and love of Cathedral mission. This is not an old building which needs to be sold but the greatest resource for communicating an historical faith alive and well in the heart of all our cities. Jonathan Draper and his team of ‘interpreters’ are passionate people naturally connected to millions of people each year all of whom are potential witnesses to the powerful love of God!

Let’s dig down deep and root ourselves in our past so that we see growth in the present and be a towering strength of hope in the future!

An Idea! (part II)

We’ll start by beginning to gather the five questions we finished with and making some possible links between them.

I think the first question, ‘who are ‘artists’?’, is a key question.

At the heart of this is who is creative? What makes some people creative and others not? The research that showed that the same act of recalling our episodic memory is similar to the act of imagining future episodes and creating a construct in our ‘mind’s eye’ show some correlation between the act of remembrance and creativity. In remembering an incident or episode we are involved in a creative act. Our brains are being creative. As human beings, therefore, in any act of remembering, recalling past events, we are being creative. I would suggest we are all, naturally, creative. There is, of course, some extreme cases of damage to this part of our brain where people can’t remember but, on the whole, we are creative.

In Genesis we read that God made us in His image. What this means is a massive concept but I want to draw on the creativity of God. I believe God created everything, He constructed it in His mind (if He had one) and constructed it in reality… wow the complexity is frightening! As humans we have been given the faculty, from God, to do likewise. His first command to us is to go forth and multiply…create. Now, creation of a child does not take any brain activity. When most people approach sex they don’t imagine the future child! God, however, seems to give humanity a special task of managing and subduing creation, this is a creative act. God asks us to be creative with His world to adapt it and grow it. The term ‘bara’ used in the creation narrative is the verb ‘to create’ and it is only used with God as the subject. Only God can ‘create’. As humans we are able to re-create. The research seems to suggest that we have an innate creativity in all of us.

For some this is easier than for others but I don’t think we can divide up humanity into those who are creative and those who aren’t. All of us are creative and all of us are able to be part of a creative act.
This may answer the second question, ‘how is the act of remembrance connected with creativity?’, and goes on to connect with this understanding of exile as ‘fertile ground’.

When we go into exile we are forced to participate in an act of collective recollection. This is an act of creativity. A group of people are forced to be creative and, therefore, participate in an act of humanity ‘made in the image of God’ and, therefore, are imitating God.

This may then answer the question, ‘Why does God seem to turn up in the time of exile?’ God turns up in exile when we start to, by recalling and being creative, etc., act in a way that is God-like.

This all has massive implications in the original question, ‘how does the church connect with ‘displacement deniers’?’.

I have for some time felt called to ‘artists’ and in particular theatre artists. This category has been extended as my understanding seems to be that all people are creative and therefore artists. This is un-helpful for me. My definition needs to be addressed. Artists must be restricted to describe a person who engages in art, a certain type of creative act. Everyone is able to engage with art but some choose not to and others do. Artists (those who choose to engage with art) tend to be more spiritually aware than those who do not choose to engage with art. Is art, therefore, key to spiritual awareness?

I’d like to suggest that it is and if we take this on board, with the body of evidence given previously, then to engage those people who deny their spiritual side we need to engage them in artistic endeavour for a
period of time.

Why is it some people don’t like art? There must be a hundred and one reasons why some people don’t but I’d like to be naive and suggest there is a fear or confusion as to how one engages in art. I need to look into this area!

What if the way we, as the church, connect with ‘displacement deniers’ is to put them into exile? Put them into a place where they are forced to recall the past, ache for home, emotionally engage with episodic recollection? Exile is the place where stories are told. Story-telling the basic creative act; it’s the act where we consciously recall episodes. When we do this we are also able then to imagine future constructions and be ‘creative’ and produce art; painting, theatre, music, etc. It is in this act of creativity that in some mysterious way God appears and/or we become aware of our spiritual life.

In my placement I’m excited by what we are discovering together about how we are creative, the correlation between nostalgia, exile and community… Thank you God for beginning this journey and thank you for bringing me such creative people to explore with.

London Calling (part IV)


Starting my second week in Earls Court, I was full of expectation and excitement about what’s going on with this community and what I’m learning and discovering about myself and ministry. To start with, I’m being continually challenged and reminded of how big God is and how easily we limit Him to the work we’re involved in but so often this week I’ve been made aware of what God is doing all over London in different people’s lives and sometimes those things have nothing to do with the intentional and active work of the Church. God is already out working in people’s lives; all we have to do is go and get involved and help people to see Jesus as Lord!

Anyway… enough of that.

One of the main activities I’m involved in is an ‘Art Cafe’ which was set up by a passionate vicar in training (V.I.T.) already serving in Earls Court. His original idea behind it was making the church a space where Christians could invite their friends to engage in art and ask questions about faith. This was something I was very interested in but I saw a greater opportunity. This would be a great chance to reach out to artists who may not necessarily be invited or interested in a general event like this. V.I.T. and I have been creating a space where Christian artists (a painter, an urban photographer, an singer/songwriter and the homeless community) can display their work and present it as worship so people can see and, hopefully, find God in it.

The discussion we’ve been having throughout this week has been around who do we aim this event at? Do we need to have a specific audience in mind when it comes to events like this? If we specifically invite artists we need to aim to give them top quality art and discussions on the issues surrounding spirituality and art.

V.I.T.’s original desired audience was anyone who wants to come, interested in art or not. This broad target audience is great and all should be invited because God wants all to know Him and meet Him but does this mean we need to keep the content vague? Does this mean we should not explore deep issues and complex thoughts and ideas in order to not alienate people? If we are to have deep, meaningful and profound conversations with those who are deeply involved in the arts scene then we need to cause them to ask questions and to engage with the topic afresh on a deeper level. It’s like inviting a renowned scientist to come and engage in a conversation about physics and sitting them in a room with a small child and explaining why an apple falls to the ground with picture books. V.I.T. and I deeply want to engage in conversation, open and honest dialogue, with artists to explore the spiritual side of art with them in genuine and truthful way but we don’t want to go too deep that we lose the other side of the audience. Do we put aside the artist focussed event for another time and do it to the best of our ability or do we try and mix the two audiences?

This connects, also, with my experience in this multi-national area. As an English speaking (attempting to be) academic communicating to 25 different nationalities all of whom vary from non Christian visitors to lifelong disciples, I’m finding it difficult to find the right level at which to pitch a sermon/talk on discipleship. How do you engage in a discussion with people on several different levels at once without short changing one group and losing another?

In both these instances it is matter of who is it for? If the Art Cafe was solely aimed at ‘artists’ then the art part of the content can be deep and presume knowledge in this area and we could offer something genuinely challenging and thought provoking for them. The Art Cafe is not aimed solely at ‘artists’ and therefore we cannot speak as in depth about art or faith due to the non Christian visitors. The video prepared for the event (see ‘London Calling (A Little Interruption)’ post) presumes a certain knowledge of art and understanding of the language used but it was commented on that the audience will be various nationalities, stages of faith and involvement in the arts world. This means that something that, hopefully, will inspire conversation amongst some people needs to be diluted to engage more people. Would it then lose some of its impact?

But I want to engage with all people not just artists and I want to inspire conversation in all people. The vicar, quite rightly, suggests,

I think in an evangelistic setting it is entirely appropriate to preach as if no-one there knows anything (Nicky Gumbel’s old maxim – never underestimate intelligence, or overestimate knowledge) and you are explaining faith to a total non-Christian (albeit a seeker). Even if there are only two non-Christians there out of an audience of 100. Cos the aim is outreach.

The same is true of the art content for artists. It is right in this context to not overestimate knowledge of the art world or underestimate the intelligence of the public.

So it comes down to a question; should we presume no knowledge of the art world? If we do are we shying away from a great opportunity to discuss faith with artists in a challenging way?

Through these questions we’ve arrived at some final decisions for this event; The video will be there for those who want to engage on a deep level along with some of my introductory thoughts. The introductory thoughts will try and presume intelligence but not knowledge of arts. The theatre piece, which I will perform, has been tested in front of a ‘non arty’ and ‘arty’ crowd and both have loved it. The artist and the musician, along with the brief talk by the vicar will be accessible to all and hopefully will further feed those who want to discuss further the topics raised.

The event is going to be great and there’s going to be plenty of opportunity to ask questions and there’ll be a group of people ready to engage with the any issue on any level. The Art Cafe will be open from 3pm to 9pm on Thursday 16th and Friday 17th September in St Luke’s Church, Redcliffe Gardens, and there will be a short presentation by an artist, musician and me discussing the relationship between art, faith and our work. The presentation will start at 7pm. Come along on the day for coffee, tea and/or cake, or the evening for the presentation and live music. If you are aware of anyone who’s interested in art and faith/spirituality why not invite them too!