Essay
Change
Community
Justice
8 min read

Blackpool: how to make somewhere home

From tents to a town-wide regeneration, Blackpool’s hopeful placemaking.

John is a Salvation Army officer and theologian,

An aerial view at dusk of a brightly lit pier and promenade of the seaside town of Blackpool
Blackpool's piers and promenade.

“Good morning! Would you like to come in?” 

I found myself in a local park. I’d had a couple of sips of my coffee, but it was still early in the morning on outreach in Blackpool with workers from the Council. The greeting from the man stepping out of his tent was a cheerful surprise. I was nervous as the task was to give the people sleeping in the small clearing behind the bushes a ‘heads up’. Enforcement action was planned, and a new Public Space Protection Order (PSPO)—another crude way to police the bodies of the unhoused who show up in places society doesn’t really want them—had been placed on the park. The Salvation Army and Council hoped to avoid, or at least lessen, any distress that a confrontation with enforcement agencies might bring about. However, sometimes the message can be confused with the messenger. Fortunately, my worries were unnecessary.  

“You can get through here. Don’t worry, you won’t get muddy. We’ve made a path!” 

He beckoned me and my colleagues to an opening. He had indeed made a path with some bark chippings. Giving us reassurance about the mud underfoot, he guided us to the space they had made home. The word ‘made’ is important here since they had shaped the space to become more habitable. This created the opportunity to welcome us and to show off what they had done. There was dignity in the orderliness of the space and an obvious pride in the landscaping. The message about enforcement was given with gentleness and received with grace. This grace, unexpected yet appreciated, was the day’s first lesson in humanity. My main lesson was realised only later, after we had bid each other farewell: that there is a deeply human and Christian call to transform spaces into meaningful places. 

Just as birds intricately weave branches into nests and beavers architecturally sculpt their dams, we humans engage in this process to shape our environments to fulfil our needs. 

Although living on the edges of society, those I met had carved out a small space to call home. They exerted control over it. What was previously space became place through personalisation, social interaction, and functionality. Human experience was layered there, changing the appropriate mode of analysis from geography to biography. Life was being lived. However, that place was to return to its previous anonymity. It would lose its distinctiveness, stripped of the layers of meaning it had for the short time it was inhabited. Although it may sound nostalgic, it's clear that for those living in them, the tents were more than a makeshift solution. They symbolised a deep need to create a home, even in the toughest conditions. Experiencing long-term homelessness, they saw the park as an improvement over the exposed town-centre shop doorways, fully aware, however, of the hurdles in finding a stable home. They looked at their time in the park not just as a stopgap but as a respite in the journey towards a better future, even though they knew it wouldn't be quick. Their plans clashed with the reality of enforcement agencies, whose actions focused on moving them on quickly. 

Their attempts to carve out a place of their own in the park are an expression of an impulse indelibly woven into the human condition: the need to make our environment our own. Just as birds intricately weave branches into nests and beavers architecturally sculpt their dams, we humans engage in this process to shape our environments to fulfil our needs. This instinctive behaviour is also an inherent drive to mould our surroundings to reflect our identity. These acts of placemaking not only alter our immediate environments to enhance our quality of life. They also influence the broader ecological and social landscapes in which we dwell. Indeed, a PSPO is part of that broader social landscape. So too was our outreach. The reciprocal relationship between humans, habitats, and other humans highlights how our endeavours to create 'home' extend beyond mere physical modifications. They are the very fabric of our communities and ecosystems. By transforming spaces into places imbued with meaning and purpose, we participate in an ongoing dialogue with the world that shapes both our development as individuals and the collective evolution of our surroundings. 

Stewardship goes beyond mere conservation, however, embedding a sense of responsibility to enhance communal welfare and well-being

It is a sentiment I know myself. Having frequently moved home in my youth, like many who search for a place to belong, I am acquainted with the need to craft home anew. As a child, it was putting up familiar football posters on my bedroom wall. As an adult, it is a reshuffling of the living room furniture, which my wife graciously accepts. Intriguingly, my grandmother, whom I know only through stories as she died before my birth, shared this ritual of rearranging her lounge. It is a compelling idea that such behaviours might form part of our genetic makeup, passed along generations, silently teaching us habits to create home. Perhaps this impulse is heightened by my dwelling not being my own but rather a provision by The Salvation Army to fulfil my commitment as a Salvation Army officer. This rearrangement ritual becomes a prayer in action, making space into place again. It is a home not owned by me but held in trust, reminding me that my role in the community is both temporal and purposeful, and my residence a testimony to service over possession. 

In Christian thought, there has always been a strong emphasis on caring for the environment, a practice often referred to as "stewardship." This concept is rooted in the belief that all people are caretakers of the Earth, entrusted to foster and preserve the natural and social environments in which they live. Stewardship goes beyond mere conservation, however, embedding a sense of responsibility to enhance communal welfare and well-being—what in Hebrew is called shalom. Shalom encompasses more than peace; it implies a holistic harmony that includes justice, well-being, and prosperity. In practice, this means Christians are encouraged not just to inhabit spaces but to actively improve them, ensuring they contribute positively to the community. This desire to contribute to the fulness of human experience expressed as shalom underscores the dual nature of Christian and, fundamentally, human existence: engaged, yet expectant; grounded, yet yearning for a true home. 

The mission of placemaking knows no bounds: from the local county to the national landscape, and even the global stage.

Placemaking is about transforming both individual spaces and entire communities, such as towns and cities in need of rejuvenation.  An example of such transformation is seen in Blackpool, a town with a rich history, now on the brink of significant change. The Blackpool Pride of Place Partnership, formed seven years ago, underscores this through its recent event at the Blackpool Tower Ballroom, launching the Town Prospectus for 2024. This event showcased the combined efforts of both the private and public sectors to achieve their shared goals. The latest prospectus highlighted the progress from mere ideas to tangible achievements. Much like the pride the unhoused man showed in his makeshift chip-wood path, it highlighted with rightful pride the transformation of concepts from the initial prospectus—once mere computer-generated images—into tangible buildings and projects now existing in reality. This larger-scale transformation reflects a universal need to adapt our environments for the better, mirroring the individual acts of placemaking, like those seen in a morning outreach in the park. The practical challenge is how the instincts and dreams of the unhoused man, currently manifest in a little bark footpath, might be better translated into the wider process of town-wide identity. This process often leaves even the most engaged people feeling overlooked, especially those trapped in the cycle of homelessness, unable to see beyond immediate survival. It is here that the Christian community gets involved in this placemaking.  

Just as the church will be called to extend support to a person without a home, we are similarly obliged to play a role in the broader scope of regeneration efforts by helping the voiceless find their voice and amplifying it. Our stewardship extends beyond mere occupation of space; it is a call to play a bold role, engaging confidently and constructively with decision-makers and policy-shapers to help resist the secular tendency towards inequity. The Christian’s vocation to sojourn purposefully intersects with a civic duty to nurture spaces that promote the well-being of all residents, but with a particular bias towards those who are voiceless. In the context of Blackpool, invoking the spirit of Jeremiah we are urged to ‘seek the shalom of Blackpool... and pray to the Lord on its behalf, for in its shalom you will find your shalom.’ This noble endeavour to move the ‘World As It Is’ to the ‘World As It Should Be’ is transformative. It not only reshapes our communities but also refines our own character from ‘Who I Am’ to ‘Who I Should Be’. This fusion of spiritual odyssey and community involvement epitomises Christian discipleship. Placemaking, then, can be an act of faith and dedication, not merely shaping physical landscapes but also weaving a spiritual fabric that enriches the collective identity of our communal life by including those on the edge, like people in tents in a park. 

This principle transcends the specific context of Blackpool. The mission of placemaking knows no bounds: from the local county to the national landscape, and even the global stage. The shaping of space into home is a fundamental instinct relevant to all, from an unhoused neighbour to residents of a town like Blackpool to the Christian sojourning in the world. The church has an invaluable role to play in this effort, serving as both a consistent presence in a place undergoing upheaval and being a catalyst for change, but most particularly an avenue for participation for those we might consider to be ‘the least of these’ - the homeless man; the battered girlfriend; the addict; the asylum seeker; the kid excluded from school; the lonely older person. By embracing this call, the church upholds its commitment to being a faithful community and fostering belonging. It also participates in the divine act of creation, shaping the world to reflect God’s love and grace. Through this sacred duty, the church contributes to spaces becoming places of shalom. Indeed, without ‘the least of these’ playing a part, true shalom is not possible. By partnering with other local organisations through broad-based community organisations, initiating housing projects, or advocating for policy changes, the church can materialise its vision to make earth a bit more like heaven. Examples from communities where churches have led or participated in urban regeneration efforts demonstrate the transformative power of faith in action, turning spaces of neglect into thriving places of community and support. 

From the personal touch of a man creating pathways in a park, to my relocating of household furniture, to the communal efforts in Blackpool's regeneration, we witness a profound truth: that shaping our world to become home is not just an act of physical transformation but an expression of deep spiritual yearning, which is, fundamentally, to know that the Kingdom of God is among us. 

Review
Culture
Film & TV
Identity
Music
6 min read

Life is complicated, and Alan Bennett know it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

An Edwardian choirmaster conducts.
Ralph Fiennes conducts.
Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal. 

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.  

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble. 

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts. 

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”  

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours. 

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.  

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society. 

At one point he recites  

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”  

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!” 

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy. 

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring. 

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny. 

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen. 

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.  

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus. 

Complicated! 

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind. 

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.  

“Purgatory …” says Clyde, “… I could take you there tomorrow!” 

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell: 

 “Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.” 

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is: 

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.” 

And Guy Lodge in Variety observes: 

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …” 

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common. 

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion. 

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point. 

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them: 

“There is always one fact more in every man’s case about which we know nothing.” 

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly. 

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack. 

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Graham Tomlin
Editor-in-Chief