Explainer
Creed
Israel
Middle East
6 min read

The most contested real estate on the planet

Can contradictory views about how God connects to Jerusalem ever be reconciled?
A gold-domed, blue-walled octagonal mosque seen through a row of arches.
The Dome of the Rock on the Temple Mount.
Andrew Shiva via Wikipedia.

It was Saturday 14 October last year. BBC Radio were about to play a pre-recorded interview with a spokesman for Hamas and needed to explain to listeners something in advance: “the reference you will hear in a moment, stating that one of the causes of the Gaza conflict is the desire to preserve the freedom of ‘Al Aqsa’, is a references to the Al Aqsa mosque in Jerusalem—regarded as the third holiest site in the Muslim world”. 

That was it in a nutshell. The Hamas spokesman was making it plain that, behind all the many political causes of the conflict erupting so tragically in the Holy Land, there was an essentially theological issue. Yes, as in other conflicts around the world, there are strong human desires in both Israeli and Palestinian communities to live in a place of security and to have their aspirations for some political independence to be adequately met, but here in the Holy Land there is an irreducible ‘God-component’ to the conflict.  

The heart of the conflict 

It’s not just that the conflict is predominantly between two major monotheistic religions—Judaism and Islam.  It’s that those two world-religions have conflicting theological views—derived from their respective scriptures, the Hebrew Bible and the Quran—about physical places in the Holy land. And, even more particularly, they are have essentially contradictory views about the piece of land which Christians now often refer to as the ‘Temple Mount’: namely, the place where the former Jewish Temple stood, but which Muslims refer to as Haram Esh Sharif (‘the noble sanctuary’), because it is now the site both of the Dome of the Rock and the above-mentioned Al Aqsa mosque. 

This is the most contested piece of real estate on the planet. The same site is, on the one hand, revered by Jews as the site of Solomon’s temple centred on the ‘holy of holies’ and, on the other, is revered by Muslims as the place from which Muhammed went on his mysterious ‘night journey’ up to heaven and back, as recounted in the Qu’ran. So, for both religions the site is not just of historical interest but rather is invested with theological weight—as a place associated like no other, with God himself. 

The Hamas spokesman was thus helpfully laying bare the irreducible theological crux at the root of this conflict. Secular politicians and humanitarian agencies might want to take this ‘God-component’ out of the equation, but it will not go away. For this conflict is based on essentially contradictory views about how God connects to Jerusalem and especially to the Temple Mount.   

Enter Jesus 

The familiar story of Jesus’ triumphal entry into Jerusalem is remembered on Palm Sunday every year. It is an event with layers upon layers of meaning. At its heart, however, is the conviction of the Gospel writers and of the early Christians that Jesus had entered Jerusalem as the human embodiment of God himself. 

A hint of this may be found in the way that Jesus, when criticised by the religious leaders for the extravagant claims the crowds were making for Jesus at that moment (especially haling him as the ‘Messiah’), himself claims that “even the stones would cry out” in honour of him, if they could—presumably because they know that their Creator was passing by at just that moment! 

Yet this conviction—that Jesus had been the human embodiment of God—is perhaps best sensed when we note how Jesus’ coming over the Mount of Olives into Jerusalem can, arguably, be seen as the return of the Lord’s Shekinah glory into the Temple. This comes through noting a highly significant passage in the Old Testament book of Ezekiel. The prophet, writing from exile in Babylon, had seen a vision about the ‘glory of the God of Israel’: ‘the glory of the Lord went up from within the city and stopped above the mountain to the east of it’ — in other words the Mount of Olives, the hill to the east of the city of Jerusalem, that looked over the Temple Mount 

Now Jesus comes over the Mount of Olives and storms into the Temple: this is Ezekiel’s vision but now in reverse. He is embodying the return of the Lord’s glory; he is the personal presence of Israel’s God; he is, as the prophet Malachi predicted, ‘the Lord himself coming into his Temple’. 

If true, then Jesus was God’s embodied presence coming into the Temple.  God had previously made the Temple to be the place where he dwelt on earth; now Jesus was that presence himself—in human form. 

And, when Jesus goes on solemnly to announce that “your house is left desolate”, he is making it clear that that divine presence, which had genuinely filled the Temple back in the days of Solomon, was now being removed once and for all.  

After some further teaching Jesus eventually makes his own final departure from the Temple precincts—a clear sign for the writer of Matthew’s Gospel that Jesus is taking the divine presence with him out of the building. And a few weeks later, as described by Luke, we are presented with the picture of Jesus taking divine presence back into heaven in the event of the Ascension. 

Viewed in this way, we can see the whole story of Jesus’ going into the Temple as effectively a ‘de-secration’ of the Temple. He was making it clear that he alone was now where God’s presence was to be found. Divine presence was no longer to be associated with a place, but with a person. 

Back to the present  

Coming back to the present day, then, there is a profound sense in which those who associate the former Temple Mount with a doctrine of divine presence are chasing after ‘thin air’. The Temple once upon a time had housed the presence of God, but, according to this Christian understanding, it does so no longer—it is an ‘empty pot of gold’. ‘The Glory has departed’—in Jesus. 

If so, this major source of tension in the contemporary Middle East—the conflicting theologies of Judaism and Islam concerning the sanctity of the Temple Mount and its historic connection to God’s presence—can only be resolved by a recognition that Jesus has decisively changed all this.  

If Jesus is ‘God incarnate’ (something clearly not recognised in Judaism and Islam)—if, in other words, he is the place where we go to find God—then that takes the ‘God-component’ out of the equation and brings to an end the elevated status that so many give to Jerusalem and the Temple.   

Jerusalem, understood in this way, now points in God’s purposes to the far greater reality of Jesus Christ who alone embodies the true presence of God in human form. Jesus himself said that “one greater than the Temple is here”. But, tragically, the overwhelming majority of those who live in Jerusalem and the Holy Land today are committed to religious systems which deny these and other New Testament claims for Jesus.  

Taking this further 

Alternatively, you might like to access to a suite of resources for Holy Week: take your pick from some ‘In the Steps of Jesus’ videos (filmed in Jerusalem), or some audio recordings (‘The Week that Changed the World’) or a book (‘Immersed in the Passion’) that retells the story from Palm Sunday to Easter Day. 

Review
Belief
Creed
Music
Wildness
5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.
A rock star prowls the stage while behind hundred of faces tined red star.
Cave and the congregation.
Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.  

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was… 

Kind of.  

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.  

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not. 

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.  

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.  

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.  

So, I’ll suggest it again – the Wild God tour is a religious experience.  

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.  

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes, 

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’ 

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?  

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.  

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. 

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’. 

 It’s specific. It’s religious.  

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.  

Can something be sweary and sacred? Can art be bursting with rage and religion? 

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.  

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.  

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.