Explainer
Advent
4 min read

Beyond waiting: Advent’s acknowledgements and expectations

We can take stock of the darkness and expect the light.

Alianore  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.  

Article
Advent
Attention
Christmas culture
Culture
4 min read

The Visitation and Wicked taught me about welcoming

See, behold, recognise, welcome.

Jessica is a researcher, writer, and singer-songwriter. She is studying at Trinity College Dublin, and is an ordinand with the Church of Ireland.

A Renaissance painting of Elizabeth greeting the Virgin birth show two woman reaching out to hug, while others look on.
Pontormo's Visitation, 1528.
Pontormo, Public domain, via Wikimedia Commons.

It is a gift when we encounter something — a walk, conversation, work of art — that gives insight into a story we’ve long held dear (or often, long wrestled with). Last week in a cinema in Limerick, a moment in the film Wicked did just that. 

For the last year or so, I have been thinking about an event in the Gospel of Luke traditionally called the Visitation. This is the moment when Mary, the mother of Jesus, after realizing she was pregnant, traveled from Galilee to the hill country in Judea where her cousin Elizabeth lived. Elizabeth was also pregnant with a son, who would be John the Baptist. When these two women see each other, the word ‘greet’ is used several times in quick succession: a moving ethos occurs of this very human act of greeting — seeing, beholding, recognizing, welcoming. In a moment of abundant overflow, they vocalize praises from the deep heart; Elizabeth calls out to Mary, and Mary responds back.  

This Visitation moment has captured hearts and minds through the centuries. One of my favourite examples is the sixteenth-century painting by Pontormo, and a 1995 work of video art by Bill Viola, which brings this painting to life. In both of these pieces, we see the kind of beholding that the Visitation involves. We see warmth enveloping warmth. We see the brightness of recognition. We see tender enfolding and embrace. We see welcome. I have come to believe that this greeting we humans long for.  

They see, greet, and welcome each other in an overflowing moment of beholding and recognition.

So, last week in the cinema. I am a big fan of Wicked and from the start of the film was thrilled with the cinematic version. But at the start of the scene when Elphaba (played luminously by Cynthia Erivo) walks onto the dance floor of the local disco, the film shifted. It was as if the whole movie slowed into something different: a kind of halved-open, shadow-light play of the heart. 

Elphaba, realizing how the hat she had put on was all too wrong, instead of running, leans into this electrifying space of vulnerability and exposure. As silence pounds, she lifts her hand to her forehead and bizarrely wriggles her fingers. Steps of a strange dance follow. Others look on, mortified and disgusted. Galinda (played incandescently by Ariana Grande) watches, her face stamped with distress. She had given Elphaba that hat, as a trick. Then, she decides and acts: she joins Elphaba on the dance floor and tries to follow the steps. 

Narratively, the moment is the hinge to their friendship, securing them together in scenes that follow. But, before the narrative arc moves on, it dips down and stretches out. The lens rests closely on the two faces, separately, and we are drawn into the slopes of Elphaba’s face and the shine in Galinda’s eyes — and in the way they are drawn into the reality of the other’s face.  

They see, greet, and welcome each other in an overflowing moment of beholding and recognition. Such seeing shapes both. Such seeing brings them to be part of something whole. Sitting there in the cinema, my breath caught: I felt I was watching an iteration of that moment in Judea’s hill country from long ago, when two women also greeted each other. 

Serendipitously, because we are in Year C of the Anglican Church’s Lectionary — as in, we are in the third set of scheduled readings from the Bible — this year’s fourth Sunday of Advent reading presents the Visitation. This Sunday, as we tip from Advent season (a stretch of time marked by waiting) into Christmas (celebrating the birth of Christ and God-made-flesh, God-with-us), the long-suffering waiting of Advent funnels through this stunning moment of recognition. As the nativity narrative unfolds around them, Mary and Elizabeth enact this mutual, abundant recognition, and we have the chance to behold them beholding each other, so that our own sensibilities for seeing and being seen are given a glimpse into how this kind of wholeness-making can happen.  

I think too their praises give us an even deeper glimpse into what makes this wholeness real. They rejoice in the God who comes to us, and is-with-us, who heals us so that we too can participate in this kind of greeting — with God, with ourselves, and with one another. And that healing is so needed; as Mary’s words ring out unfettered, she praises God for empowering the lowly, those caught in dreadful structures of power. The ethos of deep greeting can happen no other way. 

A dear thing happened right after that Wicked dance moment. In the dark theatre, I looked over to my friend, three kids between us, with a smile — and without missing a beat, she raised her hand to her forehead and wriggled her fingers. Her daughter and I followed suit. We were all wriggling our hands at our foreheads, communicating a new, just-seen signal for the abiding welcome that friendship means.  

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief