Explainer
Advent
Creed
4 min read

Beyond waiting: Advent’s acknowledgements and expectations

Advent has changed since childhood, takes stock of the darkness and expect the light.

Alianore Smith is a theologian, communicator and author. She works for a global charity based in London.

Five candles sit in a row against a dark background, only one is lit.
Robert Thiemann on Unsplash.

Growing up, I wasn’t a particularly big fan of Advent. 

I think this possibly had something to do with the fact that I was never allowed a chocolate Advent calendar. Every year, my brother and I would petition my parents for one – even suggesting a Fairtrade Advent calendar, even offering to share it (which would be a Christmas miracle in and of itself), in the hope that this would swing the odds in our favour. But no such luck. Every year, we were told in no uncertain terms: ‘Advent is a time of waiting’. 

… Can you tell both my parents are vicars? 

So no chocolate for us. 

I felt this particularly acutely in my first year at university. My flatmates and I decided to open our Advent calendars together on December 1st. Everyone else got chocolate – dairy milk, crunchie, even a Twix. I, however, got a hearty piece of Scripture, detailing two of the key Advent themes: ‘the people walking in darkness have seen a great light.’ 

After all, man shall not live by advent chocolate alone. 

I am delighted to report, however, that since my mother-in-law heard this story for the first time, she now takes great delight in sending me a chocolate advent calendar every single year. My Lindt one for 2023 arrived last week. 

Man shall not live by advent chocolate alone… but it certainly helps. 

Of course, the older I’ve become, and the greater my understanding of church tradition, the more I’ve understood what my mother was getting at: Advent is a time of waiting.  

In the church’s calendar, Advent is a season of expectation and preparation, as people prepare to celebrate Jesus’ birth whilst also looking ahead to his final return as judge at the end of time. 

Traditionally, Advent has been split into four (or if you’re very serious about Advent – seven!) weeks, each with a different theme: Death, Judgement, Heaven, and Hell. 

‘Advent is a time of waiting’ doesn’t seem so bad when you know what the alternatives are. 

In more modern times, however, the church has generally moved away from the four themes of death, judgement, heaven and hell, and instead embraced slightly cuddlier abstract nouns: hope, peace, joy and love.  

Much nicer. 

But my new favourite way of thinking about Advent takes a middle ground between these two and comes from theologian Fleming Rutledge. She says this: ‘Advent begins in the dark’. 

Advent begins in the dark. 

Which seems, quite frankly, ridiculous, when Christmas lights are being turned on in late November, and sparkly baubles are for sale everywhere you look. But traditionally, she’s right: Advent does begin in the dark. Remember what my Advent calendar told me, all those years ago in my uni flat: ‘The people walking in darkness have seen a great light’. 

Advent is a season of acknowledging the reality of the world and waiting with expectation for something better – which for Christians means Jesus’ birth and his triumphant return in glory. And if we’re going to acknowledge the reality of the world, we’re going to find some serious darkness. 

You don’t need me to list them – they’re right in front of us: Israel and Gaza, poverty even in the most affluent of countries, the abuse of children, the exploitation by ruthless gangs of people desperate to build a better life. It’s everywhere in our newspapers, neighbourhoods, families, and our very selves. Darkness is, more often than not, the reality in which we live.  

But we’re not very good, I find, at dwelling in the darkness when the option of skipping forward to Christmas is all around us. When you’re playing Whamageddon’ in every shop you go to, and your social media is filled with other people’s beautifully twinkling Christmas trees, it’s hard to sit with the darkness. 

It might mean a slightly different Advent, perhaps with a little less chocolate and a little more reflection, but it leads to something even more glorious.

But, in the words of Fleming Rutledge once again: “Advent is designed to show that the meaning of Christmas is diminished to the vanishing point if we are not willing to take a fearless inventory of the darkness.” 

Take a ‘fearless inventory of the darkness’. 

How are we supposed to take a ‘fearless inventory of the darkness’ when the darkness is so very… big? So very dark? 

How can we be fearless in the face of darkness? 

The answer, surprisingly, lies once again in the meaning of Advent: we are waiting for Jesus. The one who Christians call ‘the light of the world’ invites us to acknowledge the reality of the darkness, and understand that ‘the light shines in the darkness and the darkness has not overcome it’. And we are waiting in the knowledge and the certainty that he will show up. The people walking in darkness have seen a great light.  

In Advent, the church journeys from darkness to light. We consider the world around us; we look back to the incarnation – to Jesus’ birth as a baby – and we find ourselves, as we take that ‘fearless inventory of the darkness’, longing ever more fervently for the light of the world to step in. 

It might mean a slightly different Advent, perhaps with a little less chocolate and a little more reflection, but it leads to something even more glorious. After all, how much more dazzling is a candle lit in a pitch-black room than one lit in broad daylight?  

Advent is about waiting. Advent begins in the dark. 

But it points us towards something greater – it acknowledges that deep yearning within all of us as we are faced with the darkness of the world. That deep yearning for light, for hope, for peace, for joy. And it promises that such a thing is on the way.  

Review
Belief
Creed
Music
Wildness
5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.
A rock star prowls the stage while behind hundred of faces tined red star.
Cave and the congregation.
Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.  

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was… 

Kind of.  

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.  

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not. 

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.  

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.  

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.  

So, I’ll suggest it again – the Wild God tour is a religious experience.  

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.  

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes, 

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’ 

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?  

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.  

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. 

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’. 

 It’s specific. It’s religious.  

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.  

Can something be sweary and sacred? Can art be bursting with rage and religion? 

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.  

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.  

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.