Explainer
Creed
Development
6 min read

Flourishing a way out of poverty

Is it just for rich people who have nothing to worry about other than feeling a bit happier?

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

Bill Wegener on Unsplash.
Beside a shack in a rubbish dump, a man wearing a black shirt and bare foot sits on a stool and looks around.
Bill Wegener on Unsplash.

Humankind stands at a crossroads today. Still emerging from the aftermath of a global pandemic, the world is faced by monumental environmental, social and political challenges. Extreme weather events, floods and food poverty are no longer only on our screens affecting poor people in countries far away; screens that we in the global North were able to switch off after a momentary sigh of compassion before getting on with our lives. Some of us are starting to feel the impacts of planetary change and have financial struggles too. But they haven’t really affected us that much yet. We still have the time, space and luxury to ponder how we can improve our emotional and mental wellbeing – perhaps carve out some more “me time” or go on more walks in nature or keep a daily journal.  

The shift from considering poverty and wellbeing simply in monetary terms to a broader, multi-dimensional understanding of these terms is not new. It began at the turn of the twenty-first century with the Millennium Development Goals (MDGs) which aimed to tackle material poverty but also access to health, education and water and sanitation - the first united global effort to eradicate world poverty. In 2015 the Sustainable Development Goals (SDGs) replaced them, going further and also recognising the importance of environmental sustainability in realising poverty goals, as well as their interconnectedness.  

In theory this all made perfect sense and since the MDGs were established in 2000, global poverty was on a declining trajectory for a number of years. However, progress towards eliminating world poverty has been slowing down since 2013. And since Covid in 2020, progress towards the SDGs has stalled with most recent reports showing a rise in the number of people living in extreme poverty for the first time since records began. If present trends persist, by 2030, a staggering 575 million people will remain in extreme poverty and 84 million children will be uneducated.  

A bleak picture. With the global machinery signed up to reduce world poverty (and that’s not even bringing the COP Climate Change talks into the mix), how have we got to this point? By diversifying our attempts to improve human wellbeing, have we taken our focus off eliminating basic, grinding economic hardship? Or conversely, is it too little too late? Did our historic focus on economic development rather than equitable human wellbeing sow the seeds of inequality and planetary disruption that we are now reaping? Should we actually go further? And as the timeframe to achieve the SDGs narrows, there are calls for the next set of human development goals to be more overtly focussed on human flourishing.  

When you are doing your best to survive, perhaps thriving isn’t top of the priority list. 

Human flourishing is the state of optimal functioning and wellbeing across all aspects of an individual’s life and their community. We flourish when we live with purpose; when we practice gratitude, forgiveness, and open-mindedness.   

A group of experts from Harvard have proposed five sets of Global Flourishing Goals to lead on from the SDGs, including striving for meaning, purpose and life satisfaction, ending economic hardship, social and political cohesion as well as protecting biodiversity. Likewise, the Christian aid and development agency, Tearfund, has long been a proponent of viewing human wellbeing holistically. The Light Wheel is a tool to guide practical action that promotes seven different areas of wellbeing – such as material assets and resources, emotional and mental wellbeing, living faith, personal relationships -  that in turn lead to whole life transformation and flourishing communities.  

But what do the world’s poorest people think about this emphasis on flourishing? When you are doing your best to survive, perhaps thriving isn’t top of the priority list. Who cares about life satisfaction and fulfilment when you are struggling to feed your children a daily meal of rice and beans? Is the concept of flourishing for rich people who have nothing to worry about other than feeling a bit happier? Is this the right track for global human Development?  

“Poverty is lack of freedom, enslaved by crushing daily burden, by depression and fear of what the future will bring.”  

“Poverty means working for more than 18 hours a day, but still not earning enough to feed myself, my husband, and two children.” 

These are quotes from a landmark World Bank study, Voices of the Poor; an unprecedented millennial effort to gather the views, experiences, and aspirations of more than 60,000 poor men and women across sixty countries. The study presented the realities of poor people’s lives through their own voices. How do they view poverty and wellbeing? What are their problems and priorities?  

Although poverty is rarely about one thing, for the world’s poorest, the bottom line was and always will be hunger - the lack of food. As expected, human wellbeing without the basic building blocks for survival - food and water – is impossible. Better health and access to education were also priorities. However, it seems that having enough materially for a good life is asking for relatively little. “But at least for each child to have a bed, a pair of shoes, a canopy over their heads, two sheets—not to sleep like we do on the ground.”  

But the responses were much broader than a desire for material and basic needs to be met. Many of the expressions of wellbeing were about relationships; social and emotional wellbeing were acutely important. Harmony within the family unit and wider community, close and reliable friendships, helping one another. Wellbeing also had important psychological dimensions for those interviewed, such as the desire for dignity and respect, to feel better about oneself, to maintain a spiritual life.  

When people were asked to rank the institutions most important in their daily lives, local churches scored well because they offer spiritual support as well as material assistance in times of need, also serving to strengthen communication between the various groups in the community. Community cohesion matters to the poorest. And relationships are at the heart of the Gospel of Jesus Christ.  

 So can you flourish your way out of poverty? If we mean the UN definition of extreme poverty, and if flourishing means wellbeing in all aspects of life, then probably no.  The poorest people in the world, like the rest of us, need the minimum building blocks of life to survive before they can thrive here on Earth.  

But from a Christian perspective the new Development discourse around flourishing is moving in the right direction. In John’s Gospel in the Bible, Jesus is clear that he came “that we may have life, and have it to the full”. When Jesus refers to a full “life”, he means the assurance of eternal life that comes through a faith in Jesus Christ. To truly flourish in our Earthly life, the hope of eternal life with Jesus is the critical aspect of wellbeing – it is what sustains and strengthens us as humans as we live our life on Earth.  This is the great equaliser between the rich and the poor. The poorest people often see this far more clearly than the rich who have less need for God and an eternal life where – as it says in the Bible - there will be no more death or mourning or crying or pain and all will be new.  

“We may be poor in material things, but we are rich in the eyes of God.”(Voices of the Poor, 2000) 

Of course it depends what weight you put on the spiritual aspect of flourishing, but perhaps on balance, those we consider to be the poorest on Earth are actually far closer to human flourishing – to having a “full life” - than we are.

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

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

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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