Article
Change
Politics
7 min read

Hope is a choice, insist on it

Amid loveless politics, remember hope cannot exist in isolation.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A crowd of people stand in the side steps of the Lincoln Memorial
Easter services, Lincoln Memorial.

The other day – a cold grey day, the kind of day that makes summer seem as distant as a star – I encountered a woman who stood out. She was cheerful despite everyone else’s winter gloom, and she was wearing a home-made tabard. The tabard was covered in a layer that seemed to be made of tape and clingfilm, and underneath it were little Ukrainian flags, images, facts, and small everyday items like soap. I have seen her before dressed the same way. She stood out, I think, because of her attire but also because of the defiance she radiated – a defiant joy, but also belief that it is worth hoping and acting in the ways we can, even when all the evidence seems to tell us those actions make no difference. The news of Russian’s invasion on Ukraine in 2022 has lost its initial shock power. We are creatures who like stories, and so we like news that has a clear beginning or end. The messy middle can be hard to stick with, precisely because we do not know what comes next or how long it lasts. And so our attention moves on. This, coupled with our felt powerlessness in something so big and distant, can mean it is easy to lose hope, to stop taking action.  

But the woman who raises awareness most days in this creative way, with suggestions for what items to donate or how to send funds or how to host refugees, has been making me re-look at hope. Her posture – her insistence on hope as choice – feels life-affirming and countercultural. For a moment, she snaps me out of despair for the world. She faces looks of bemusement and seems to say, if not this, then what?  

What keeps us moving forward when the world seems heavy? Where does hope spring from, even in the face of overwhelming odds? Hope, I have learned, has been tangled with humans for as long as we’ve walked the earth. It ensured the survival of our ancestors because it drew them towards a future that might be better than today. It kept them going.  

In Greek mythology, Pandora opened a box out of curiosity despite being told not to. All kind of curses contained in the box spilled out into the earth. She wrestled the lid back on but not until it was almost too late. Almost, but not entirely. One thing remained in the box: hope. This myth always brings to my mind memories of visiting a slave fort that still stands on the coast in Ghana. The walls were oppressive, the words above the gate that led to the slave ships were haunting: ‘door of no return’. And yet I learned that there were songs. Spirituals and other songs that passed the time, helped members of different tribes feel connected when they were all shoved together, and conjured hope despite all the evidence to the contrary.  

Optimism asks us to sit back and hope for the best; hope knows that we have work to do to bring forth a better future. 

Ideas of hope have been with us always. And yet I find that hope can feel hard to conjure now, staring into the face of an increasingly unknowable and uncertain future:  authoritarian leadership that seems to be on the ascendancy, impacts of the climate crisis that are coming into startling clarity, and loneliness that has been declared a global health concern by the World Health Organisation. It is easy to feel that things are falling apart. Faced with these things and more, hope can seem naive, wishful, hard to get hold of.   

Perhaps one reason for this is that hope, in the age of the individual, is harder to come by because hope is relational, it cannot exist in isolation. It is transmitted through community, story, and care for others. Those old slave songs sang of hope because, I imagine, people had the reality or memory of each other. Hope said: people have been good, and they will be good again. Hope is insistently communal. It asks us not to bear the weight of the world on our own, but to face each other and distribute that weight via a web of relationship. Perhaps now, accessing a hope that can carry our burdens and our fears means first re-finding each other.   

Hope and blind optimism are, of course, different things. Rabbi Jonathan Sacks said that “Optimism is the belief that the world is changing for the better; hope is the belief that, together, we can make the world better.” Optimism asks us to sit back and hope for the best; hope knows that we have work to do to bring forth a better future. And so perhaps that’s why lately, hope has felt exhausting. I’ve worked with communities internationally and locally for two decades on all kinds of projects, always asking, is this how things have to be? How might we imagine and build better? And yet still the climate worsens, inequality persists, bad leaders get into positions of terrifying power. It is easy to stand back and despair, to question, to wonder if all the hard work has been in vain.  

Jesus knew this exhaustion. He knew what it was to work, encourage, and love hard, often to face rejection, mockery, and ultimately death. But still Jesus chose to enter into the persistent mess of the world. He chose the day in, day out work of becoming flesh. He affirmed the dignity of the marginalised, calling them into action, knowing that action would keep that dignity alive. He knew that new life would come through suffering, not by denying it.  

 

Strongman authoritarian leaders aren’t the problem, they are a symptom of a society who are divided and not encountering each other well 

Perhaps hope is hard too because though it is a posture which faces the future, it also asks that we live with integrity, love, and care right now, in this fractured world. Hope is not writing off the present in favour of some distant time or place. It is not wishing this world away so that we hasten to another one. It says, we can work for a better future, but we should not put off good work until then. That better future will only come if we invite it into our present, whatever the outcome might be. Hope is in living deep and timeless and world building values, even if there are no obvious or immediate results. Czech playwright and former dissident Vaclav Havel who led his nation after the collapse of communism said that

“Hope is not the conviction that something will turn out well, but the certainty that something makes sense, regardless of how it turns out.”

If a principle is right for the future, it is right for now, even if that requires work. If I espouse values of kindness, love, community, and imagine a future where these things rule, and yet ignore the marginalised, or distrust people not like me, or cut off people I don’t agree with, then my hope for the future is no more than optimism, because I am not willing to do the difficult work of living as if that future were here now.   

Hope is turning outwards and living these values with others, even when honestly sometimes it seems easier and more appealing to turn inwards and single-handedly try and fix things — a myth that has grown in our age of individualism, celebrity, and our self-referential rhythms of life.   

Hope has lately been asking me to take a Beatitudes perspective on things. In his Beatitudes, Jesus flipped the logic of the world on its head. The last will be first, the poor will inherit the kingdom, the weeping will find joy. Like the Beatitudes, hope asks me to take a different approach. When I look at the world through this lens I find new ways to think. Perhaps, for example, things aren’t getting worse but instead are becoming clear, truths are being unveiled – and so climate change is not the problem, rather, it is a symptom of a greedy economic system in which we are all complicit; Strongman authoritarian leaders aren’t the problem, they are a symptom of a society who are divided and not encountering each other well, and of money and distrust having too big a say in how we govern ourselves. This doesn’t mean we should stop addressing the symptoms, but that we have new possibilities in our scope for action.  

Now, as we enter another cycle of — at best — strange politics that is steeped in lovelessness and will have unknowable outcomes near and far, the thing I search for alongside wise voices is hope. And searching for hope means living a good future now, and finding others who can carry both despair and beauty with me. Novelist and critic John Berger said that

“Hope is not a form of guarantee; it’s a form of energy, and very frequently that energy is strongest in circumstances that are very dark.”  

So let us call on that energy, that light in the dark today. It is how we build the future.  

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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. 

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

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