How to get the best time out of your downtime

The joys and perils of taking time out for summer holidays.

Roger Bretherton

Roger Bretherton is Associate Professor of Psychology, at the University of Lincoln. He is a UK accredited Clinical Psychologist.

A pair of sunglasses beside a swimming pool.

Jakob Owens on Unsplash.

For the first few days of any summer holiday there seems to be something wrong with my brain. Having looked forward for months to the moment when I can finally down tools and get some rest, having yearned for weeks to be free of the relentless schedule of emails and meetings, the moment finally arrives and I, well… hate it. I’ve wanted to stop for ages and then when I get the chance, I don’t want to. The flywheel momentum of the to-do list somehow carries over into the holiday and turns the first few days into an obsessive nightmare of drivenness.

This usually manifests in the agitation of wanting to rest while being unable to do so. My schedule says stop but my mind hasn’t got the memo. Instead of gently sculling across the pool, I’m swimming time trials through an obstacle course of inflatable beds and dayglo sea creatures. My family is quick to remind me that the languid currents of the pool were designed for relaxation, not for achieving a personal best. ‘It’s called the lazy river, Dad, not Verstappen at the Nürburgring.’ It makes me laugh, but it doesn’t make me stop. Nor does it stop them shouting things like ‘He’s taking the apex’, and ‘Dad’s got DRS’ from their sun loungers every time I sluice past.

In the old days, psychiatrists used to call it the Sunday Neurosis, the mild state of agitated low mood that afflicted people on their day off. The inescapable feeling that we should be doing something on days when there is nothing to do. The realisation that we’re not quite sure who we are when we are freed from the daily demands we can easily resent. I don’t know what you have planned for the summer- a beach party in the Bahamas or an Airbnb in Bridlington or the classic post-Covid staycation- but if you’re planning to take a break of any kind there are a few things you should perhaps keep in mind to make the best of it.

If we must work full throttle to the final hour – we may have to accept that we’ll spend the first few days on holiday getting used to being on holiday.

First. Slow down slowly.

We have a tendency to think that life can change at the speed of thought. Just because our diaries say holiday, doesn’t mean that our bodies are working to the same schedule. The autonomic nervous system that governs our state of physiological arousal largely operates automatically. It isn’t synched to our Outlook calendar and can’t deliver relaxation on demand, no matter how much we would like it to. Psychotherapist Deb Dana likens changing our state of physiological arousal to taking a lift down a few floors. It takes time to move from a highly active state, to a more relaxed and connected way of being. It doesn’t happen at the flick of a switch and we only agitate ourselves more thinking it should. She says we should befriend our nervous system. Instead of impatiently asking ourselves why we aren’t more relaxed, we should simply ask whether we need to be this agitated right now. And if we don’t, accept that it may take us some time to adapt to a less demanding environment.

When it comes to holidays, this suggests we should allow ourselves some time to acclimatise. Our bodies don’t automatically relax the moment they hit the beach, or hike the mountains, or lie under canvas - they need some time. We can do this before the holiday starts, by slowly decelerating as time off approaches. Like a car approaching a junction, if we want to stop smoothly, we might want to hit the brakes long before we reach the stop sign. And if we can’t do that – if we must work full throttle to the final hour – we may have to accept that we’ll spend the first few days on holiday getting used to being on holiday. It may not make us a pleasure to be with, but we can at least understand that it’s just how our bodies work. We are not droids, there isn’t an off switch on the back of our heads.

On holiday, we can take time to savour the experience of living- to be in our bodies, not just use them.

Second, get into your body (and out of your mind).

There’s a reason people spend so much time on holiday exercising their bodies: surfing, climbing, walking, riding. And weird stuff too, that you’d never dream of doing at home. One time in Normandy we booked a hand-pumped locomotive and huffed/puffed our way up and down a railway line for an afternoon. If I didn’t have the blisters to prove it, I’d think I’d dreamed that. Why do we do these things? Because it feels good to be aware of our bodies. Even my laps around the lazy river had a certain logic to them.

Many of us spend most of our time in disembodied thought. We can sometimes feel like the involuntary participants in a workplace time and motion study, in which worth is measured by output. It doesn’t matter where you work – home, school, office, a boat, the woods – sooner or later a spreadsheet will find you. You can run, but you cannot hide your data. And the impact this has on us is that we tend to be more aware of whether we have hit our targets than we are of the toll these targets take on our bodily wellbeing. Just recently I was asked to support a management team going through a stressful restructuring. One guy claimed he didn’t feel the stress of it- he just got on with the job. But when I sympathetically suggested he might be paying for it with his body, the litany of physical ailments he produced sounded like the list of side effects in a 1980s pharmaceutical commercial. He didn’t think he was stressed, but his body kept the score.

Let’s face it, going on holiday itself is stressful. It’s ranked 42 on the Holmes-Rahe Life Stress Inventory, just above ‘minor violations of the law’. Apparently packing for Marbella is more stressful than being pulled over by the cops. But it’s worth it if it creates a space in which we can de-stress, a space in which we can remember that we have a body, a body that needs to be looked after. Of all the benefits of bodily awareness – the positive sense of how our body feels, not the crippling consciousness of how it looks – perhaps the greatest is its capacity to turn off the hyperactive judgement of our minds. On holiday, we can take time to savour the experience of living- to be in our bodies, not just use them.

If we are defined by our output, who do we become when our output drops to zero?

Third. Make time to connect.

What happens when we slow down and learn to live in our bodies again? We become open to connection: socially, emotionally, even spiritually. Back to Deb Dana. She notes that when we take that slow elevator down from the souped-up state of busyness to a more relaxed and open state of mind, we activate the ventral vagal nervous system. She calls it our ‘home away from home’- which seems especially apt for being on holiday. In this state we are happier to be seen by others and therefore to be in relationship with them. Whether it’s a conversation while walking, or an evening card-game, or a meal together, all of them offer a chance for us to dwell in our home away from home in connection with others.

One of the things that can keep us so obsessively busy, is that we are not always sure who we would be if we stopped. We’re not certain we have a right to exist when we’re not being productive. If we are defined by our output, who do we become when our output drops to zero? This is why for thousands of years the practice of rest has been enshrined in spiritual practices. Without space to detach ourselves from the hectic pace of life we will inevitably confuse who we are with what we do. The Judeo-Christian tradition called it sabbath, not just a day of rest, but a way of being in which there is nothing left to prove. Holidays can offer us that opportunity, if we are willing to take it. Because after all what do we call someone who becomes more relaxed and embodied and connected? I think: more human.

Article

Culture

Mental Health

Music

25 October 2024

5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

Jonathan Evens

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.