Events
Identity
Politics
S&U interviews
4 min read

June 3: Esau McCaulley and Graham Tomlin - get tickets now

Join us in London as we explore today's cultural moments.
A man talks to a camera with his hands together palms up and his finger interlaced.
Esau McCaulley on the Re-enchanting podcast.

Meet Esau and us

Seen and Unseen is hosting an incredibly rare event: Bishop Graham Tomlin in Conversation with Esau McCaulley on 3rd June, at St Mellitus College, 24 Collingham Road, Earl’s Court, London starting at 7.30pm .

As well as hearing more of Esau’s story, this conversation will cover the place of faith in public life, the significance of the black church, US politics, and this cultural moment. Trust me, you don’t want to miss this. I have had a couple of conversations with Esau McCaulley, and they have re-arranged the theological air I breathe.  

You can find out more about Esau on his web site and read his New York Times columns. Or listen to my interview with him, as part of our Re-enchanting podcast.  

Places will be limited, get further details and reserve your (free) ticket on Eventbrite.

 

Belle Tindall writes...

How does one wrestle their faith out of the hands of those who used it as tool to enslave them? How does one keep hold of such a faith when the owner of the local plantation was also the pastor of the local Presbyterian church? When the people who filled the pews were also the people who turned up to the KKK rallies? And how do the descendants of those people wade through the cultural and spiritual residue of such a history? Wrestling, still, with the complex evil that defined their ancestors' days?  

And how does one respond when Donald Trump, the likely Republican presidential candidate, endorses a God Bless America Bible as some kind political strategy? What does one do when their community are being peddled their own sacred book, this particular edition of which includes the American Constitution, the Bill of Rights, the Declaration of Independence, the Pledge of Allegiance and the lyrics of a country song also entitled God Bless the USA? Oh, it also has the American flag emblazoned across the front. For good measure, I suppose.  

And finally, how does one look out at an increasingly secular culture and remain confident that what it really needs is to be reminded of an ancient Galilean carpenter, as if he’s still some kind of relevant solution to our deepest hopes and fears?  

These questions have something in common: they have been, and are continuing to be, answered by Esau McCaulley.  

Answered honestly.  

Answered powerfully. 

Answered ever so publicly.  

Last year, Esau was named by the Washington Post as one of the most influential faith leaders in the USA. He is a New York Times contributor and a New Testament Professor at Wheaton College, he is also the author of the award-winning Reading While Black and his latest best-selling memoir, How Far to the Promised Land? What began as a eulogy for Esau’s (rather complicated) father became ‘one black family’s story of hope and survival in the American south’. The eulogy was unapologetically complex, and so is this book. It was unwaveringly honest, and so is this book. It was utterly profound, and so is this book.  

Esau, when reflecting on his own history, stretches for truth, refusing to relax into comfortable simplicities or false binaries that don’t belong in reality. Writing this memoir cost Esau something. You can tell. The grace woven into the paragraphs did not come cheap.  

This book, as Esau himself explains, is about his father, but his father is a metaphor for America. And so, when it comes to this book (and much of Esau’s work), the political makes its home within the personal; the story that Esau tells is, to an extent, a trojan horse. A challenging commentary of America is sitting within this book’s pages. Esau is clear, his father – who continued to leave a trail of trauma in his wake – made bad decisions. But society played a significant role in creating the context within which those decisions were made. Were the poor decisions his father made down to personal responsibility or was it structural injustice? Esau’s answer? ‘Yes’.  

Again, he has an aversion to binaries that don’t belong in reality.  

To borrow an Elizabeth Oldfield phrase that I cannot stop thinking about: this book tells us something of our brokenness and our ‘breaking-things-ness’. And, as Esau writes,  

‘patience with broken people and broken things is a manifestation of trust in God’ 

And Esau seems to have a lot of patience. Patience with himself, patience with his father, patience with Rev. Matthew Bone, owner of the Bone planation where his ancestors were enslaved, patience with those who have hurt him, patience with us all.   

And that, it seems to me, has bred a persistence in hope. Real, gritty, bruised and yet still beating, joy-filled hope. The kind of hope that can look at the God Bless America Bible and not face-palm. The kind of hope that can research the links between Christianity and slavery and not fall into spiritual crisis. The kind that can observe the theory that faith is losing its place in public life and can use a New York Times column to prove it wrong.  

Ultimately, the kind of hope that the world is increasingly paying attention to.  

Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Associate Minister at Holy Trinity Clapham, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’