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. 

  

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

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