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Showing posts with label secularism. Show all posts
Showing posts with label secularism. Show all posts

Friday, 30 May 2025

Church Times - Art review: Mainie Jellett and Evie Hone. The Art of Friendship (National Gallery of Ireland, Dublin)

My latest exhibition review for Church Times is on “Mainie Jellett and Evie Hone. The Art of Friendship” at the National Gallery of Ireland:

'Jellett and Hone are significant as pioneering Irish modernists, as women artists undertaking that mission at that time, and as artists allowing their understanding of the ways in which faith and art intertwine to shape the work they produced. As a result, they are important counterpoints to the narrative that treats modernism as a primarily secular endeavour, and abstraction, through its lack of content, as a primary example of art that was principally for art’s sake alone.'

For more on Jellett and Hone see here, here, here, here, and here.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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Van Morrison - Into The Mystic.

Monday, 25 November 2024

Seen and Unseen: James MacMillan’s music of tranquility and discord

My latest article for Seen & Unseen is entitled 'James MacMillan’s music of tranquility and discord'. In the article I note that the composer’s music contends both the secular and sacred:

'In brief, he sees himself as standing in a modernist tradition that includes: Stravinsky, who “was as conservative in his religion as he was revolutionary in his musical imagination”; Schoenberg, “a mystic who reconverted to practising Judaism after the Holocaust”; John Cage, who explored “the spiritual connections between music and silence”; Olivier Messiaen, who “was famously Catholic” with “every note of his unique contribution to music” being “shaped by a deep religious conviction”; Jonathan Harvey, “who has allowed eastern mysticism and his own Anglicanism to adorn his searchingly original scores”; John Tavener, whose conversion to Orthodoxy “had a dramatic impact on his style and aesthetic”; and the “intriguing and disturbing religious shadings of musical modernity” to be found in the post-Shostakovich generation from eastern Europe - Henryk Górecki (Poland), Arvo Pärt (Estonia) Giya Kancheli (Georgia), Galina Ustvolskaya, Alfred Schnittke and Sofia Gubaidulina (Russia).'

My other writings on classical and choral music can be found here and here.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally

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James MacMillan - O Radiant Dawn.

Monday, 8 July 2024

Artlyst - Michael Petry Discusses 'In League With Devils' with Revd Jonathan Evens

My latest interview for Artlyst is with Michael Petry regarding his upcoming exhibition 'In League with Devils':

'I’m interested in how belief systems interact with each other, and the secular world, because they’re very much at odds, particularly when parts of those beliefs call for actions that would be illegal or immoral or unethical. Those are the things I try to eke out in these projects.

I’m saying, how can we look at this without fighting, without violence, can we actually have a dialogue? That dialogue engages the secular world, because the basis is within the secular world. I think when you live in a world where religion is so contested, it is important that people have these dialogues.'

Find out more about this exhibition in my July Art Diary for Artlyst - click here.

Interviews -

Monthly diary articles -
Articles/Reviews -


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Black Sabbath - After Forever.

Saturday, 7 October 2023

Epiphany: Telling an Alternative History of Modern Art

My latest article is for Epiphany, the magazine of Epiphanyart, an ecumenical society of Christian artists in Britain formed over 70 years ago and affiliated to the international movement Société Internationale des Artistes Chrétiens (SIAC) which supports national Christian arts events in many countries.

Epiphanyart aims: 1.To bring the work of Christian artists to the notice of churches and the public; 2. To provide opportunities for mutual support and encouragement to its members; 3. To provide a resource for exhibition organisers and others to contact and commission artists via its website; and 4. To serve as a focus for all forms of creativity.

This edition of Epiphany features: a review and reflections on the 'Disparate Threads' exhibition; Helen Armstrong on commissions at St Peter's Hove; poetry by Janet Wilkes; Vision for a National Christian Arts Festival; John Armstrong on Joy; and an obituary for Rosemary Roberts.

In my article I give an overview of the history of modern art flagging up the religious influences in order to counter the traditional narrative of modern art as a secular enterprise:

"... this story is not yet consistently or thoroughly told in the standard art histories of modern art, and that matters. From an art historical point of view, it matters because significant strands within the
story of modern art are absent from it and the story, as a whole, is diminished and incomplete.

From the perspective of emerging artists, it matters because, for those wishing to explore spirituality, their range of reference and role models is lessened. For practising artists, it has mattered because, for those wishing to explore spirituality, opportunities to exhibit and sell work have been constrained. For the Church and other faith communities, it matters because the traditional telling of the story, which excludes spirituality, privileges and promotes secularism.

The telling of stories matters because stories are what we live by or within. To see a change maintained in the way this story is told, we all need to be involved in its telling and to be those who tell the story in as great a breadth and depth as we each can manage."

In my first article for Epiphany, I gave an account of two war-time artists who made their way to Britain and ended up making an important contribution to the cultural life of the country through their art.

Join Epiphanyart to receive Epiphany magazine regularly.

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Ed Kowalczyk - Angels On A Razor.

Wednesday, 30 August 2023

A prayer for revival, restoration and return

Here's the sermon I shared this morning at St Andrew's Wickford:

The Christian movie “Jesus Revolution”, which was released earlier this year has surpassed the $50 million mark in cinemas and is now available on digital platforms and soon on Blu-ray. Released by Lionsgate, the movie telling the story of the 1970s Jesus People movement earned more than $51 million in box office receipts. That makes it the ninth highest-grossing faith-based film of all time. The film stars Kelsey Grammer (“Frasier”) Jonathan Roumie (“The Chosen”), and Joel Courtney (“Super 8”).

The story it tells is of the last major Revival to date in the Western world, which saw thousands converted to Christ, several new denominations started, and the beginnings of Jesus Rock, which has become the Contemporary Christian Music industry. The book on which the film is based is called ‘Jesus Revolution: How God Transformed an Unlikely Generation and How He Can Do It Again Today'.

Today’s Psalm is a prayer for revival, restoration and return (Psalm 126). Exile is a key theme in the Bible with important lessons for us to learn. Sam Wells has described the story of exile which is told in the Bible. He writes that:

‘There was a small nation on the eastern shore of the Mediterranean, which we call Israel. It was made up of twelve tribes, but the northern ten tribes were destroyed in the eighth century BC. Only two tribes remained, based around the city of Jerusalem and its glorious temple. But at the start of the sixth century BC, the remnant of Israel, known as Judah, was destroyed and its ruling class was transported five hundred miles away to Babylon.

In Babylon the exiles reflected profoundly on their history and identity. They wrote down stories of how they had once been in slavery in Egypt and how under Moses they’d been brought to freedom. They recalled accounts of how at Mount Sinai Moses had met the God who had brought Israel out of slavery, and had received a covenant that bound Israel to that God forever. They perceived that that liberating God had also, at the dawn of time, created the world out of nothing. They remembered that after the ways of the world had gone awry, that same God had called the great ancestor Abraham to be the father of the people Israel and to inhabit the promised land. They commemorated the way the covenant with Israel, inaugurated in Abraham and renewed in Moses, was tested during forty years in the wilderness but came to fruition when Joshua entered the promised land and by endeavour and miracle subdued that land (sometimes brutally) and made it Israel’s own.

In Babylon the exiles recorded that it was a long time before Israel had a settled pattern of leadership and government, but eventually Saul, and then David, and then Solomon became kings of a united people. After this high point, the kingdom split and departed frequently from the path of the covenant; it was this weakness and shortcoming that led eventually to the nation’s destruction and deportation to Babylon. This was the story Israel came to understand in exile. Yet after fifty years of exile, Israel returned to the promised land, rebuilt the temple and city walls, and resumed the life of the covenant.’

Psalm 126 describes that moment expressing themes of redemption and joy and gratitude to God. Jewish scholarship often pairs this psalm with Psalm 137, which commemorates the beginning of the Babylonian exile just as Psalm 126 describes the end of that exile. In a similar way, the Jesus Movement was an unexpected revival in the midst of the growth of secularism and at a time when the established churches viewed Sixties youth culture as a wholly negative development. The Holy Spirit often surprises us with the people and places and times in which it moves.

The key insight from the exile for Israel, however, was not that God restored the people at the end of exile but that God had been with them through exile. Wells writes, ‘Out of the exile came ancient Israel’s new insight that the God they thought was for them was actually something much better—a God who was with them.’

He applies this insight to our own day and time where we see a decline in the numbers of people attending church and a growth in secularisation. The people of God have tended to be closer to God in times of adversity than in periods of plenty, he says, so, ‘if we’re experiencing adversity in our church life right now, this is precisely the time we expect God to be close to us like never before’. He says that: ‘This conviction—this trust—is perhaps the hardest part of Christianity to believe. But it is the most wonderful to behold.’ When we see the Lord restoring the fortunes of Zion in that way, then we will be like those who dream. Then our mouth will be filled with laughter, and our tongue with shouts of joy; then will it be said among the nations, ‘The Lord has done great things for them.’ The Lord has done great things for us, and we rejoice. So, as we experience a degree of exile currently within society, let us learn the lesson of the Babylonian Exile and make our prayer that of the writer of Psalm 126.

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11: 59 - Psalm 126.

Sunday, 18 January 2015

The question of who defines Islam

Alistair Macdonald-Radcliff makes some perceptive points in the wake of the Charlie Hebdo killings in his comment piece for the Church Times:

'The real conflict is not between Islam and the West, but between Muslims themselves: it is an intra-Muslim fight for domination of the Islamic world, and for who defines Islam. The West is being sucked into this as a means of changing the balance. If Western nations can be provoked into more interventions in the Middle East, this can be used to urge all Muslims to make common cause with extremists against the infidel invaders.

If, on the other hand, the West holds aloof, it appears to be compromised morally by permitting humanitarian catastrophes; and new Islamist powerbases can arise in the vacuum of failed states, such as Libya and Syria. Either way, the Islamist's can play the West's role to their advantage.'

He continues that, 'Only Muslims themselves can resolve the question who defines Islam, and what being an authentic Muslim entails.' Therefore, 'those with religious authority in mainstream Islam must be enabled' to 'unite to invalidate the extremist interpretation' and 'be seen to do it definitively, for the wider good of all.'

Giles Fraser makes a similar point in his latest Comment is free piece for The Guardian. There he critiques the fateful decisions in France, based on their recent heritage of secularism, to pick 'a fight with Islam by banning the headscarf from schools in 2004 and the niqab from all public life back in 2010 – bans which closely echo the hostility of earlier generations to the veiling of nuns':

'But there is a huge difference between targeting grand bishops in Rome and a beleaguered, economically fragile Muslim community that has received a great many knocks at the hands of the French state and its colonial past. Rabelaisian derision aimed at the House of Saud or Abu Bakr al-Baghdadi is one thing. But aimed at the disaffected banlieues it is bullying and goading. You have to be suspicious that French secularism is not the neutral thing it purports to be when racists such as Le Pen start defending it so enthusiastically. And yet there is nothing the leaders of al-Qaida want more than the French state to be seen to declare war on its religious citizens once again. They know that many young, disaffected Arab immigrants on the sink estates outside Paris are itching for a fight. The French government must not give it to them. And that means re-thinking their precious laïcité.'

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The Neville Brothers - With God On Our Side.

Friday, 16 January 2015

Business is a religion ... secularism is a religion ...

Tim Lott makes some helpful comments about the nature of belief and faith (acknowledging that each of us, whether religious or not, are in reality 'believers') in his latest piece for The Guardian. Interestingly, he needs to refer to the New Testament and use language drawn from the Christian tradition in order to do so:

'We live in a world of unprecedented change and complexity, and this makes us more desperate than ever to cling to what we think we know. We need to believe that our purposes, those goals in which we invest meaning, are valid. On this definition, business is a religion, career is a religion, family is a religion, nation is a religion, secularism is a religion, and religion is a religion. There is no getting away from it. However, our values cannot be independently verified – other than by the reassuring support of the like-minded ...

The alternative to belief (“lief”, incidentally, comes from the root meaning “to wish”) is faith. Not religious faith, but faith that does not become brittle with its own projections of hatred against “the other”, which includes the apostates in our midst who do not share our view. Faith that we are all human souls struggling to keep our heads above water in floods of confusion. Faith in reason, faith in the idea of truth, however elusive the actuality. And faith, as any reading of the New Testament makes plain, is always hedged by doubt.

Doubt is nothing to fear – the doubt that all our ideas and precious beliefs are straws in the wind. There is meaning in meaninglessness, in the “cloud of unknowing” that we all live inside. There are real facts – there is love, there is our own consciousness, there is this day, this moment, the feeling of human connection.'

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George Michael - Faith.

Monday, 14 April 2014

The whole world is in cataclysmic disillusionment

"The whole world is in cataclysmic disillusionment. There's a sense of grieving going on for the loss of clarity over what's acceptable and what's not. People don't trust in the concept of goodness, or in the authorities defining it for us. Religion in general has been dismantled in western Europe. All systems – socialist or capitalist – are crashing."

Brendon Gleeson

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Villagers - Nothing Arrived.

Tuesday, 31 December 2013

The Image of Christ in Modern Art

For some time I have been arguing that, as Daniel A. Siedell suggested in God in the Gallery, "an alternative history and theory of the development of modern art" is needed, "revealing that Christianity has always been present with modern art, nourishing as well as haunting it, and that modern art cannot be understood without understanding its religious and spiritual components and aspirations." In my Airbrushed from Art History series of posts I have highlighted some of the artists and movements (together with the books that tell their stories) that should feature in that alternative history when it comes to be written.

Richard Harries has recently published The Image of Christ in Modern Art which is a contribution towards the piecing together of this alternative history. The book is based on a series of lectures given through Gresham College and suffers from insufficient editing of the lecture format resulting in much cross-referencing to earlier sections, something which works against the cohesion of its essentially chronological format.

As Rowan Williams wrote in his review of this book, "The art of our age is by no means as secular as some think." Similarly, Harries puts the argument for a comprehensive alternative history of the kind noted above clearly and succintly:

"Interest in contemporary art with a spiritual dimension or religious theme is keener today that it has been since Victorian times. Cathedrals hold exhibitions and commission works, and indeed so do some parish churches. Some of the biggest names in the art world often draw on or refer to a religious theme or seem, to the viewer, to have a spiritual dimension to their work.

It might once have been thought that the advent of modernism before World War I had put an end to art with any explicit religious reference. That has proved not to be the case."

Possibly for this very reason he is also clear about the limited scope (despite the comprehensive claim of its title) of The Image of Christ in Modern Art. He writes in the book's Introduction:

"Apart from one very brief reference to Barnett Newman, there is no art from America. There is also no art from outside Europe included, though I am aware of a rich field to be surveyed, for in every culture where the Christian faith has gained a place there have been artists who have wanted to express their faith through art. Christ for All People: Celebrating a World of Christian Art indicates some of this richness and variety, as does Beyond Belief: Modern Art and the Religious Imagination. There is Christian art from Africa, China and South East Asia. There has been some particularly interesting work from India from people such as Jyoti Sahi, reproduced in Faces of Vision, and Solomon Raj. The focus of this book however, though it begins with the German expressionists, is primarily on Great Britain, especially the post-World War II period."


"The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ‘the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art. Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent."
 
The Image of Christ in Modern Art is, therefore, a valuable addition to books, such as Art, Modernity & Faith, Beyond Belief, Christian ArtGod in the Gallery and On the Strange Place of Religion in Contemporary Art, which, to some extent, survey aspects of an alternative history of modern art revealing "that Christianity has always been present with modern art." 

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Lone Justice - I Found Love.

Saturday, 26 October 2013

The Rest Is Noise: Politics and Spirituality

After Stalin’s death in 1953, life behind the Iron Curtain slowly began to change – and by the 1970s the Soviet Union under Brezhnev was beginning to modernise. Symbols of the West such as jeans and rock music became popular in Soviet Russia, signalling anew era of cautious thawing of Cold War relations. In the West, the 1970s and ’80s were fast-paced decades – first a recession then economic boom years, where advertising and communications technology rapidly accelerated the pace of modern life.

To counter this materialism, some composers offered a return to spiritual values, and others resorted to overtly political music.

Much of this religious music came from the Soviet Union and its satellite states, where religious belief had been marginalised under the official state atheism. More surprising were the commercial possibilities in this sacred music. The simple, consonant songs of lamentation in Henryk Górecki’s Third Symphony unexpectedly sold over a million copies when it was released to commemorate victims of the Holocaust.

No composer exemplified this turn to the sacred more than Estonian composer Arvo Pärt, whose work conveys an intense and profound spirituality. Hans Werner Henze gave voice to oppressed peoples and political radicals such as Cornelius Cardew who tried to sweep aside the bourgeois norms of the musical establishment.

Politics and Spirituality events at the Southbank Centre include:
  • Author Karen Armstrong looks back at the global religious landscape of the 1970s and '80s. This period saw increasing secularism in the West and a return to the spiritual in the Communist bloc.
  • Author Alain de Botton investigates how spirituality fitted into an increasingly consumerist world.
  • Layla Alexander-Garrett, who worked as Andrei Tarkovsky’s translator on set, discusses the work and vision of the great Russian filmmaker with chair Gareth Evans, writer and film curator’
  • Composer and presenter John Browne leads a fun and informal workshop on Sofia Gubaidulina's Offertorium on Sunday.
  • Gubaidulina's String Quartets Nos.3 & 4 performed by the Ligeti String Quartet.
  • Extracts from Cornelius Cardew's Paragraph 5 of The Great Learning by the Guildhall School of Music & Drama and James Weeks.
  • Excerpts from Hans Werner Henze's Voices by musicians from the Royal College of Music.
  • Film screenings including Solaris, Tarkovsky's psychological space-race drama and Dekalog.
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Sofia Gubaidulina - Offertorium.

Thursday, 3 October 2013

Dealing with faith and with secularism is difficult but necessary now

Interesting to note that Michael Symmons Roberts' Drysalter which has just won the 2013 Forward Prize for Best Collection is being praised by the Forward judges for its powerful spirituality.

“We need to be able to talk of matters of faith and the soul, and how the soul intersects with the heart. What Symmons Roberts does is difficult but necessary now – it addresses a fissure in the human psyche: how we deal with faith and with secularism, how we find a life .. It is an outstanding winner,” said Jeanette Winterson, chairman of the 2013 Forward judges. She praised Symmons Roberts, an atheist who converted to Catholicism at university, for challenging the “fundamentalism” of militant atheists like Richard Dawkins.

The press release from the Forward Arts Foundation specifically notes that Symmons Roberts was a thorough-going atheist as a teenager, who chose to study Theology and Philosophy at Oxford University in order to “talk believers out of their faith”. The ploy backfired. "As university went on I got deeply into philosophy — and the philosophy completely undermined my atheism, by making me realize that there was no overarching objectivity, no Dawkinsian bedrock of common sense if you strip everything away.”

Symmons Roberts has publicly asked the question of whether it is possible to write religious poetry that communicates widely in an increasingly secular language, noting that "T. S. Eliot warned against a religious poetry that “leaves out what men and women consider their major passions, and thereby confesses to an ignorance of them”, but argued instead for “the whole subject of poetry” to be treated in “a religious spirit”. Symmons Roberts pointed then to the work of John Berryman as being one affirmative answer to that question. The response of the Forward judges to Drysalter indicates that his own work also genuinely answers that same question in the affirmative.

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Michael Symmons Roberts - The Vows.

Wednesday, 14 August 2013

Debate: Has fiction lost its faith? (2)

Cosmos the in Lost has been engaging with the debate initiated by Paul Elie’s New York Times Op-Ed piece, “Has Fiction Lost Its Faith?”

He begins by summarising Elie's argument and even supplements it with the following quote from Czesław Miłosz:

 “The fact of Europe’s dechristianization is indubitable and depressing. It can also be translated into numbers of victims. If a half-Christian Europe could not prevent the First World War and its massacres in the trenches, then two totalitarianisms, which exterminated millions in concentration camps, were the product of leaders who were entirely godless. However, the ties between religion and society are too complicated to draw up a clear boundary between Christian and post-Christian countries. A fish rots from the head down, and what we call the erosion of the religious imagination began with the philosophers of the 18th century, only to progress through the whole of the next century, receiving its lasting expression, above all, in literature and art…”

His response, however, is to compile some Top 10 lists of contemporary poets and novelists who write from within a theological imagination and he suggests that this task won't be as tough as tough as Elie makes it out to be. Rather, "the toughest task will be keeping the lists down to only ten authors each!"

His first list can be found here and the next will follow tomorrow. You can then make up your own as to the extent to which he is right or wrong about Elie's argument. My initial response to the debate can be found here and a recent article by Michael Arditti, summarised here, is also relevant.

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Extreme - Stop The World.

Wednesday, 12 December 2012

Census figures: Pluralism is here to stay

Yesterday the Office for National Statistics released data for religious populations from the 2011 Census. Angus Ritchie, the Director of the Contextual Theology Centre has posted a very helpful comment on these statistics. 

In his response Angus suggests that:

"In the midst of the debate which these figures will provoke, it is worth getting some perspective. The majority of English and Welsh people identify themselves as Christian, at a time when wider social pressures give less and less encouragement to such identification. There is no room for complacency – and no point in denying that this number has declined substantially in the last decade. But these figures tell of a striking persistence of religious belief and practice. The public square continues to be a place where people of faith and people of no faith coexist in large numbers – with people of faith forming the substantial majority ...

Whatever else we make of the Census figures, this much is clear: pluralism is here to stay, with a growing array of religious and secular worldviews commanding significant allegiance. Whatever challenges this presents to the churches, it is hardly the world the ‘New Atheists’ have been campaigning for. The task for us all is to negotiate and build a truly common life – bearing witness with confidence and generosity to that which we believe most deeply."

The Contextual Theology Centre’s Presence and Engagement Network (PEN) is holding an event in Southwark on Making Sense of the Census on the afternoon of Monday 18th February – before the PEN 2013 Lecture, to be given by the Dean of St Paul’s, the Very Revd David Ison.

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Bruce Springsteen - Land Of Hope And Dreams.

Friday, 18 May 2012

Taste of Religion at Pinsent Masons

What follows is the talk on Christianity that I gave today at the Taste of Religion event for Pinsent Masons which marked the launch of their multi-faith group. I was asked, in 5 - 10 minutes, to give a summary of the Christian faith and speak both about how Christianity influences Christians in the workplace and how Christianity fits within the workplace. The other speakers at this event organised by the Employers Network for Equality and Inclusion included representatives of the Hindu, Islamic, Jewish and Sikh faiths.
I said: 
Christianity began, Christians believe, when God became a human being through the birth of Jesus Christ as a baby in Bethlehem. What Christians celebrate at Christmas is God becoming flesh and blood and moving into our neighbourhood.
What we call the Incarnation means that, in Jesus, God has become part of the ordinary, everyday business of human life.  Through Jesus’ life, including his work as a carpenter in Nazareth, God experiences, shares and understands human life from the inside. Through Jesus’ death and resurrection, God provides a way out from our being enmeshed in the selfishness and greed which characterises so much of human life and the societies we create.
As we enter into relationship with him, Christians believe that his Spirit begins to refashion us so that the loving, self-sacrificing characteristics of Jesus start to show up in our lives. As human beings we often continue to resist that change, so the evidence of it in our lives is always partial and this is why the confession of sins and the receiving of forgiveness is so central to Christian worship. Through our services we re-enact the story of Jesus’ death and resurrection and our services – particularly Holy Communion, also known as the Eucharist of Lord’s Supper – are significant times and spaces in which this reshaping and re-orienting of our lives for service takes place.
All this means that everyday life, including work, has real significance for Christians as God has been revealed in everyday living and continues to be found there. Many strands of Christian spirituality foster the expectation that God will be encountered in and through daily life, including our working lives, and encourage prayer and reflection which is prompted by, responds to and meditates on daily tasks and experiences.
One of the things that many Christians in the workplace will wish to do is to pray. There is no required pattern of prayer within Christianity, so for many their praying will be private and personal but, for others, the provision of prayer or quiet rooms will be welcomed; while others will take the opportunity provided by such spaces to meet with other Christians in order to pray together. Workplaces benefit in many ways by accommodating the religious practices of people of faith and to have a group of Christians praying regularly for the company and its employees, whatever you think of prayer itself, sounds to me to be something to be encouraged.
We are currently in a time of significant change for the Christian church in the UK as secularism and the multi-faith composition of the UK gradually change the place that the Christian church has held in this country. A process of moving towards equality across the faiths is underway and, while a necessary and positive development, for the Christian church this involves letting go of the privileged place we have enjoyed within the UK for many years. For some Christians, this process of change is perceived as an attack on Christianity itself and this perception fuels some of the cases and issues which have arisen in recent years under the Religion & Belief regulations.
In many of these cases, more could have been done at an earlier stage to accommodate the specific request being made by the Christian member of staff, whether that was, for example, the wearing of a cross or the displaying of a palm cross in a company vehicle. The key response to any faith-related request by an employee is to fully explore the extent to which that request can be accommodated within your workplace. That involves taking on board the specific expression of faith being requested by that individual. It doesn’t really matter whether Christianity has a requirement that followers wear a cross or not – and, in practice, there are very few hard and fast requirements that hold true across all the Christian denominations – what matters is that your employee wishes to wear a cross and you, then, have to explore whether or not that can be accommodated or whether, for example, uniform or health & safety policies might impact on that request.

Overall, because some Christian festivals are officially sanctioned by governments as days when people are not required to work, Christians do not face the same issues as those of other faiths in negotiating time off work to celebrate their religious festivals. However, this has also changed to some extent in more recent years as a result of flexible working patterns and Sunday opening, meaning that, as with those of other faiths, employers should sympathetically consider holiday requests from Christian employees in order to celebrate festivals or attend ceremonies where it is reasonable and practical for the employee to be away from work, and they have sufficient holiday entitlement in hand.
Every year the media features stories of Christian festivals, often Christmas, being 'banned' or constrained in some fashion, and often on the basis that their celebration offends those of other faiths. This is simply not the case. The Christian Muslim Forum, for example, has tried to address by issuing a statement in 2006 which helpfully states:
“As Muslims and Christians together we are wholeheartedly committed to the recognition of Christian festivals. Christmas is a celebration of the birth of Jesus and we wish this significant part of the Christian heritage of this country to remain an acknowledged part of national life. We believe that the only beneficiaries of a declining Christian presence in public life are those committed to a totally non-religious standpoint. We value the presence of clear institutional markers within society of the reality and mystery of God in public life, rather than its absence.”

So, please, do not be taken in by arguments that other faiths are offended by the celebration of Christian festivals or the display of Christian symbols, as that is simply not the case. 
Finally, because Christians are praying that the loving, self-sacrificing characteristics of Jesus are manifest in their lives, it is also likely that issues of corporate social responsibility, diversity and equality, ethics, relationality and values will be important issues for Christians in the workplace. Research has shown that people of faith often experience tensions between "the spiritual side of their values and their work" so the more scope there is within the organisation for discussion of its values and the way in which these impact on its business practices, the more likely it is that synergies can be found between the spiritual values of employees and the values of the organisation. Once again, research indicates that where such synergies can be found employees will be more motivated in their work and their personal investment in the organisation.

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