Article
Art
Culture
Politics
5 min read

Art makes life worth living

Why society, and churches, need the Arts.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A choir sing at the front of a church while an audience looks on.
St Martin-in-the-Fields choir performance.

Arguing for the significance and role of the arts and culture during an election in an era where a cost-of-living crisis has followed austerity and a pandemic, may seem to be a hard task. The Arts being thought of often as frivolous and unimportant in comparison with the basics of survival. Yet it is essentially a task that the current government has attempted, as in June 2023, a ‘Creative industries sector vision’ was published which included a commitment to an additional £77 million in funding. 

At that time, the government estimated that creative industries generated £126bn in gross value added to the economy and employed 2.4 million people in 2022. A range of research has also been examining the way in which creative industries and the arts can positively impact wellbeing, for example through public health interventions.  

The foreword to ‘Creative industries sector vision’ stated: 

“Our creative industries are world-leading, an engine of our economic growth and at the heart of our increasingly digital world. From 2010 to 2019 they grew more than one and a half times faster than the wider economy and in 2021 they generated £108bn in economic value. In 2021, they employed 2.3 million people, a 49% increase since 2011. Their impact reaches beyond their borders to other sectors, with advertising, marketing and creative digital innovation supporting sectors across our economy. 

The importance of the creative industries also goes well beyond the economy. They provide the news that informs our democracy, the designs that shape our cities and the content and performances that enrich our lives and strengthen our global image. The sector has proved that it is an essential positive force for society, bringing joy, inspiration and opportunity to our lives. The creative industries form the national conversation through which we define our shared values.” 

The arts and culture help tackle social injustice as theatres, museums, galleries and libraries are the beating heart of our towns and cities bringing communities together and making life worth living. 

This positive view of the creative industries was echoed in a report ‘The arts in the UK: Seeing the big picture’ published in November 2023 by management consulting firm McKinsey. The report described the UK as a “cultural powerhouse” with a globally recognised arts sector and 91 per cent of UK adults engaging with the arts in the previous 12 months. 

The Arts Council estimates that art and culture contribute £10.6 billion to the UK economy as the UK has a creative economy worth £27bn and culture brings £850m to UK, through tourism, each year. They also contend that the arts and culture help tackle social injustice as theatres, museums, galleries and libraries are the beating heart of our towns and cities bringing communities together and making life worth living. In addition, our creative industries are successful throughout the world - our leading cultural institutions are a calling card worldwide and have important trading links from the US or Germany to China and South Korea. Last year our National Portfolio Organisations earned £57m abroad. 

Churches feature within these arguments because they often host or organise cultural events, exhibitions, installations and performances which contribute towards the economic, social, wellbeing and tourism impacts achieved by the arts and culture. The Arts are actually central to church life because, as well as being places to enjoy cultural programmes such as concerts and exhibitions and also being places to see art and architecture, many of the activities of churches take place within beautiful buildings while services combine drama, literature, music, poetry and visuals. 

The artist Makoto Fujimura has suggested the creation of cultural estuaries in churches, schools and informal associations as a strategy for enhancing culture. Estuaries are where salt-water mixes with fresh in a confluence of river and tidal waters. They are environments not of protection but of preparation as critical nursery areas for fish that come downstream after hatching.  

This suggestion has been taken up by Sam Wells, Vicar of St Martin-in-the-Fields, who advocates for churches to minister in and through the 4Cs; commerce, culture, compassion and congregation. He writes in ‘A Future that’s Bigger than the Past’ that: 

“… the image of an estuary is helpful for a church regarding itself as a meeting place of human and divine, gospel and culture, timeless truth and embodied experience, word and world. 

Churches work hard to make themselves inspiring locations where people are drawn into a sense of the presence of God; but they can work equally hard to make themselves hospitable locations where people of varied backgrounds may gather in a spirit or mutual appreciation, generous regard and constructive challenge. The two purposes of church need not be mutually exclusive.”  

The arts, he suggests, provide a perfect example of how such an estuary space may flourish with participatory, aspirational and commercial activities all taking place in the same space. In a short time, he suggests, “a secluded, secretive space may be opened out to become a centre of community activity, energy, and creativity.” All that’s needed “is for a church to let go of the need for direct outcomes and linear trajectories and to let the Holy Spirit govern the interactions and catalyse its own surprises.” 

The Bible adds to this missional assessment of the importance of the arts. At the point we are told of human beings as having been made in the image of God the one thing we know for certain of God is his creativity, making our own creativity central to our understanding of how we live in his image. Later, the very first people to be spoken of in terms of being filled with the Spirit of God are the artists and craftspeople who make the Tent of Meeting for the people of Israel as they journey through the wilderness. The Bible, itself, is a library of various genres of literature with many of its texts having been preserved through oral performance, whether spoken or sung.  

Given these theological, missional, social and economic reasons for seeing the arts and culture as central to personal wellbeing and to national life, in this election period it surely makes sense to check the commitment of politicians in all parties to maintaining and developing the cultural industries and the vital place that the arts and culture have in the life of our nation. 

Article
Comment
Community
Nationalism
5 min read

I protested against the Unite The Kingdom protest

The need to see one another

Thomas is a writer exploring the intersection of faith, politics, and social justice.

CCTV footage show two rival protests divided by a line of riot police.
CCTV image of the rival protests on Whitehall.
Met Police.

I don’t know why I was so concerned about the horses. I kept noticing them swaying through the sea of shivering bodies. I was so drawn to them that I tried to take a photo, a rare occurrence for me, but I was too far away. The horses riders, dressed in full riot gear, were being pelted with beer bottles. Maybe the horses were getting hit too, but it felt like they were recoiling on behalf of their riders. 

In front of the horses, engulfing Trafalgar Square, were tens of thousands of “Unite the Kingdom” protestors. From what I could see, they were predominantly white men. Many of them were dancing and waving flags, but a sizeable contingent was furious, drunk, and insisted on attacking any unfortunate police officer in their way. 

Behind the horses, lining the streets of Whitehall, were five thousand counter-protestors, including me. Unlike our opposite numbers in Trafalgar Square, we were trapped, surrounded on every side by St George’s flags, Union Jacks, and, oddly, some Georgian flags too. Maybe the shop had sold out. To my right, I could see the counter-protestors defiantly dancing. To me left, I could see a group chanting “Nazi scum, off our streets” whilst swearing towards the St George’s flags. 

There in the middle, I found myself feeling a curious mixture of discomfort, sadness, and anger. Uncomfortable because I’d been trapped for four hours, stuck on a continuous cycle of rinse and drain. Sad, because I knew that much of the “Unite the Kingdom” violence was built on misinformation and the scapegoating of refugees, a group I know well, and because this fog of violence blew over the counter-protestors as they hurled insults towards the St George’s flags. And angry, because figures like Elon Musk were using their extraordinary wealth and influence to spread fear and lies: “Whether you choose violence or not, violence is coming to you. You either fight back or you die. You either fight back or you die. And that’s the truth. It’s only a matter of time till that happens to towns and villages. It will spread. And no one will have any peace.” Over the years, I have spent many hundreds, if not thousands, of hours with refugees and asylum seekers, both in my home and at my church. I had experienced no violence. In that moment, I was surrounded by “leftists”, socialists, and trade unionists, and the only violence I was experiencing was from the glint of beer bottles raining down on the police two hundred meters away. 

I was grateful for the interruption of an elderly lady asking if she could get past. I’d been asked a number of questions throughout the day, primarily because I was one of a group of four Christians holding signs like “Jesus was a refugee”, “love thy neighbour”, and “I was a stranger and you welcomed me”. At the start of the protest, an older lady and a young man joined our circle. The young man asked “I’m glad to see there are some Christians here. What do you think of Christian nationalism? Your religion doesn’t feel much like Jesus?” He was a brave Saudi Arabian refugee with a bright smile, earnestly questioning the fractures in my community of faith. Taken aback by the poignancy of the question, I fumbled a response before being rescued by one of my friends. 

Protest signs written on cardboard.
Tommy's protest signs before the rain.

 

After a while, the older lady started speaking. “Sorry for interrupting. I used to be a Roman Catholic, but I’ve lost my faith. On days like this though, I always want to pray. I don’t feel much hope for the church. A while ago, I went into a catholic church. I asked if the church could do anything about the divisions in our community and the anger at refugees. The priest shrugged and said no. I’m glad you’re here.” Her short, staccato sentences mirrored the tension of the day. I told her about how our church serves refugees, how I struggle with the anger of days like today, and how some of us have forgotten that the bible tells us to welcome the stranger dozens of times. As they walked away, I felt touched by the honesty both the young and old had gifted to four strangers, and I was glad to be carrying our smalls signs of hope. 

The megaphone brought the present back into view with another question. “Could everyone please get ready to leave up the left of Trafalgar Square?” it said. The police had cleared a path for us to leave, the sea of flags artificially parted by riot gear. We were escorted to Green Park tube station, at which point we turned off towards Oxford Street. My wife remarked at how quickly normality returned. I was devastated by the day, but felt too tired to weep. I wasn’t quite the same Tommy that I’d been that morning. The man who shares my name, and the chaos he wrought on my city, had turned a dial in me a little further than it had been turned before. 

I knew that I would have more days like this. In the midst of my discomfort, sadness, hope, and fear, I knew that I was supposed to be there, holding my soggy “Jesus was a refugee” sign, shivering in my damp clothes, and praying under my breath. I knew that I needed to gather other reluctant protestors alongside me, holding their own soggy signs and praying their own prayers. 

And I also knew that there was a better way to carry this fragile message of unity in our increasingly fragile land and increasingly fragile time. As a half-British, half-South African man, I’ve had the privilege of growing up with the stories of the anti-apartheid movement, stories which steward the hard-earned truth that defiant, tenacious, persistent love is the only antidote to hatred, misinformation and fear. As Desmond Tutu once said, “when we can accept both our humanity and the perpetrator’s we can write a new story”. Saturday left me feeling that we desperately need a new story, and that requires us to look beyond the swaying horses and see one another clearly. 

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