Article
Change
Mental Health
4 min read

Don't try and cope on your own

The company of those who care helps when handling traumas.
a man in a wheelchair sits in a subway station holding a sign reading 'seeking human kindness'.
Michael, Boston, 2018.
Matt Collamer on Unsplash.

I did a horrible piece of training at the weekend. You have to do a lot of continual learning if you’re a counsellor, and some of it is hard going. This particular session (with Cruse, a national bereavement charity) was about self-harm, and it contained sheets and slides and lists of the ways in which people hurt, damage and punish themselves. Usually as a way of expressing another kind of pain or because it’s the only thing they can control in a chaotic world. Six hours of it, on Zoom. 

All of us have topics that we struggle with – areas that we find difficult to contemplate – and self-harm is one of mine. It is so far from my own experience of reality that it makes me feel square and naïve and overprotected, and every part of me revolts against it in some way. How terrible that people who are already suffering can only find relief by inflicting further harm on themselves! And some of the injuries are so grievous. Mortifyingly, my main reaction on this occasion was an urge to put my fingers in my ears and tell everyone to STOP IT... not just the trainer, but the poor souls involved in hurting themselves too. Training can be humbling, in the way it reveals the limits of your own compassion to you.  

Clearly though, telling people to ‘stop it’ is not an option, however you might feel! So what to do? 

Christianity, usefully, offers quite a lot of different options for coping with difficult life stuff, so I started considering some of these as I attended to the trainer. The peaceful, thoughtful series of Lent reflections I’ve been listening to recently, for instance… might they help? Um no, not suitable really. Too meditative. You can’t ‘gather the scattered pieces of your consciousness and centre them on God’ when someone is talking about teenagers cutting themselves in ‘risky places, or too deep’ I found. Tranquillity of mind is too passive a response.  

So then I thought about people talking sometimes of being able to hand over their troubles to Christ. He ‘takest away the sins of the world’, as the communion service puts it... his arms are open and he is God, so he can bear the weight. But that didn’t work either. Too mystical. It felt as if action was required, not meek handing over of sorrows because I couldn’t bear to contemplate them. I don’t think we’re meant to dodge responsibility and simply go, ‘Ugh, you have these ones Lord because I don’t want them’.  

So, I sat there writhing inwardly and feeling sweaty and miserable and wishing I was somewhere else. 

This kind, accepting, unshocked conversation was immensely comforting and reassuring, I found. There was safety in it, and daylight, and hope. 

But then I started wondering how everyone else at Cruse copes with such things. I began looking at the other faces on my screen… the 21 of my colleagues who were also attending the training, almost all of them volunteers.  

There was the strong, calm face of Manju, an Indian doctor lady, and Suki, a smiley gappy-toothed African lady, who both work on the triaging team, assessing callers as they come in and assigning them to helpers. There was Richard the First and Richard the Second, both white, one younger than me, one older, both friendly and knowledgeable and kind. There was Naga, a retired nursing sister who looked Scandewegian, and Christina, ditto – except she’d been a teacher. And Nick, not much more than a teenager by the look of him, and Sat, a big Brummie taxi driver in a turban. William looked as if he might be an academic, with his leather elbow patches, and Keith had his sound off due to the presence of a large cat on his desk, which leaned over periodically to miaow into his mike. Lots of others too. 

And suddenly I realised that there was my answer: all those good people, giving up their Saturday because they cared. Listening to stories of suffering because they wanted to understand better, in order to be able to help – to do something for the broken and the sad among us. 

That’s the presence of God, surely: that an army of people turn out, day in, day out, to do things simply because they are good. There is no payment, no special recognition. They have to listen to some very difficult things and contemplate darkness that they wouldn’t necessarily in their own lives. But there they all were that morning, one small group among thousands of others all over the country no doubt – ready to serve, and cheerful and friendly and attentive. 

They talked matter-of-factly about cases they’d encountered and situations which can lead people to injure themselves, and about self-harm as a phenomenon in certain social groups. About how it can be treated, about how it can heal and disappear with the right care and compassion. About how sometimes it can even be preferable to other alternatives. It is much easier, for example, to stop self-harming than it is to recover from an eating disorder. 

This kind, accepting, unshocked conversation was immensely comforting and reassuring, I found. There was safety in it, and daylight, and hope. A feeling that even if someone is suffering, there are others who are able to meet them there, to keep them warm and hold them up. That people do act as the hands and feet of God actually sometimes, regardless of creed or faith or fallenness. 

Looking at them all I felt so much better… and that if they could do it, I could. We only need to work in company together and our collective strength will keep us all afloat, rescuers and rescued alike. ‘Be not afraid’ the Bible says over and over again. It is very much easier not to be, when you’re not trying to be brave by yourself. 

  

Article
Culture
Mental Health
Music
5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman stand at a mixing desk playing a small keyboard.
Lleuwen Steffan plays.

In 2012, musician Lleuwen Steffan first came across a trove of lost Welsh folk hymns preserved in the sound archive of St Fagan’s Museum. Knowing they were not in current hymn books, she undertook further research and discovered they had been excluded from earlier hymn books by the then all-male hymn book committees of their time. Instead, they had been passed on orally, and, although recorded for St Fagan’s by the historian Robin Gwyndaf, had become lost with time and secularization. 

Steffan was particularly attracted to these hymns as many dealt with the dark side of the psyche including addiction and mental distress. She has said that many of these hymns, some of which date back to the eighteenth century, are “conversational and the lyrics feel so current”. She is currently taking these hymns back to where they were born through a tour of 50 chapels in Wales but this is not an exercise in nostalgia as her focus is on their contemporary resonance: “Musically, I’m not interested in recreating something from the past. That’s missing the point. Yes, the words are old but the message is always new. The music is free form.” 

Although the subject matter of these hymns will have been part of the reason for their exclusion from the hymn books of their day, that same subject matter has been part of worship songs from the time of the Psalms to the present. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.  

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension. 

“This eerie, intriguing and enchanting music... is infused with echoes of the past two centuries’ beliefs and threads of spirituality and song.”

Rupert Loydell 

With such a collection of worship songs as the foundation of worship in churches, and with plainsong in Western churches providing a means by which to chant the Psalms on a daily basis, it should not be surprising that later hymns, such as those being reimagined by Steffan, tap into the dark side of the psyche. The success of albums such as Officium by saxophonist Jan Garbarek and The Hilliard Ensemble, together with Steffan’s own collaboration with pianist Huw Warren and saxophonist Mark Lockheart on Welsh hymns Duw A Wyr (God Only Knows) which is in a similar vein, show how such music can be made relevant to contemporary audiences.  

Ghostwriter’s latest album, Tremulant, inhabits similar sonic territory to Steffan’s current Tafod Arian (Silver Tongue) music. Created over several years by Mark Brend, Suzy Mangion, Andrew Rumsey and Michael Weston King, this album has also been borne out of a shared love of antique evangelical hymns and spiritual songs. Using English, Welsh, Scottish and American source material from the nineteenth and early twentieth centuries, the quartet pieced together their reconstructed hymnal through remote collaboration – creating an album that sounds both ancient and modern. 

In his review of Tremulant, Rupert Loydell says it is “a strange ambient gospel album, where what used to be called spirituals and hymns are subverted by echo, wheezing organ and spacious musical interludes, which recontextualise, reimagine, stretch and mutate the very idea of song”.  This, he says, “is eerie, intriguing and enchanting music” with “echoes of classic Nico (the cold beauty of Desertshore)”. It's ”declamatory poetry, alt-folk, noise and gentle discord” combined with “calm vocals” is “infused with echoes of the past two centuries’ beliefs and threads of spirituality and song”. As such, it's not what you’ll hear the local worship band playing, more’s the pity! 

“Something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” 

Lleuwen Steffan 

Like buses, other revisiting’s and reimagining’s of old hymns and gospel songs are also coming along together. Hymn Time In The Land Of Abandon by Over the Rhine is “Music that we grew up singing, music as present in our formative years as the air we breathed”. Their recordings of hymns have been described as “spare, sweet and subtle renderings that transform the familiar into something fresh and new”.  

The musical reimaging involved in Over the Rhine’s reinterpretations of hymns takes them into the space that Brueggemann defines as new orientation, while the sounds and, in some cases, content of the hymns chosen by Steffan and Ghostwriter are more in the realm of his disorientation category. The music making of Lleuwen Steffan, Ghostwriter and Over the Rhine takes us to places not commonly accessed by the music used in many church services. As is indicated by the story of hymn book committees omitting hymns that tap into the dark side of the psyche, much of the music used in church services can be located firmly in either the orientation or, sometimes, the new orientation categories.  

Given that the arc of Christ’s life, death and resurrection takes us on a similar journey to that which Brueggemann sees occurring in the Book of Psalms, when our music and liturgy fail to go on a similar journey, we are only encountering part of the meaning and message of faith. The recent music of Lleuwen Steffan, Ghostwriter, and Over the Rhine is therefore profoundly helpful in beginning to redress that loss of balance in worship by taking us back to a fuller appreciation for the original songbook of the faithful, the Book of Psalms.  

In speaking about why she has been drawn again and again to church music, Steffan described her teenage experience of drinking with her “mates in Bangor on the Saturday night” then getting “the last bus back home” and rolling “out of bed the following day to go to Sunday School”. She concluded: “That’s a strange paradox but, you see, something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” It may well be that that something is the arc of orientation, disorientation and new orientation we encounter and experience in the Psalms.