Article
Culture
Politics
Re-enchanting
6 min read

Re-enchanting councils - and glum councillors

Local government could be a place of humanity and beauty more than lifeless language and procedures.

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

A marbles staircase rises on four sides of a chamber.
Glasgow City Chambers' staircase.
Michael D Beckwith, CC0, via Wikimedia Commons.

At the local level in politics, I have found there is a stereotype that persists more than that of the corrupt politician. It is the glum councillor, the pothole poser, or sometimes the councillor looking glum while pointing at potholes. These are the photos that turn up on election leaflets, and in local news, and there are lots of them here in Devon because potholes are numerous and huge.  

When I was a district councillor, I tried to push back against this image – I would smile, avoid photos with potholes, share the good stuff found in the community alongside working to improve what wasn’t working. But, looking around the council chamber, it was hard to deny. Sometimes the glumness would slip into sleep; I’ve seen councillors prodded awake ahead of important votes that impact tens of thousands of people. That is not just glum councillor, that is irresponsible, disengaged councillor.  

And though the responsibility lies with them, this never surprised me. In my four-year term, I too felt a disillusionment creep in. And I am perennially hopeful; my default is to see possibility. But four years in a context of budget cut after budget cut, endless bureaucracy, lifeless language, and an aversion to trying things differently, even I started to slump in my seat. I never fell asleep, but sometimes my soul did.  

Author-farmer Wendell Berry – who speaks with much affection and wisdom about the importance and strength of local community – said that  

“unlike the local community, the government and the economy cannot be served with affection, but only with professional zeal or professional boredom.”  

I have seen that professional boredom in the language, in the sterile council chamber bare of life, where processes and procedures rule more than humanity; where passionate members of the public would attend meetings only to be told they couldn’t input because they hadn’t pre-registered; where a meeting that finished before the allocated time was seen as successful, regardless of content. I’m sure it should feel more hopeful, more vision-led, more life-giving to be involved in local decision-making – it should be about placemaking more than simply ticking boxes and balancing budgets.  

There are, of course, councillors who care deeply, and there are councils where local decision-making is being reclaimed by to serve the local community, economy, identity – like the independent councillors elected onto the town council in Buckfastleigh in South Devon who made it more plain-speaking, more accessible and more engaged; and the Flatpack Democracy movement started in Frome Town Council that has sparked similar local ‘revolutions’. But I think there is something else needed, if local government is to replace lifelessness with hope and vision. Something more upstream of the how.  

When the spirit of the age feels like cynicism more than delight, more than beauty, more than possibility, it impacts our relationships and the places that should thrive on good relationships like local government. 

In his essay The Joys of Storytelling, Ben Okri says, “In a fractured age, when cynicism is god, here is a possible heresy: we live by stories, we also live in them...if we change the stories we live by, quite possibly we change our lives.” I would often imagine a story of local government that makes space for enchantment. Former monk Thomas Moore speaks of reenchanting as a reawakening to the depth of soul that embraces us and the world. Councils, like lots of spaces, feel disenchanted. Perhaps much of our current disenchantment is symptomatic of our alienation from ourselves, from each other, and from our shared humanity – and from the belief that this shared state of being is strong enough to take the weight of our world, even as heavy as it feels now. When the spirit of the age feels like cynicism more than delight, more than beauty, more than possibility, it impacts our relationships and the places that should thrive on good relationships like local government. Everything dulls; we disconnect from our spirit-breathed humanity, we forget that we were pulled from the soil by a gardener God who made us to be with each other, surrounded by beauty and life.  

In the book Faith, Hope and Carnage, the musician and writer Nick Cave says that the “luminous and shocking beauty of the everyday is something I try to remain alert to, if only as an antidote to the chronic cynicism and disenchantment that seems to surround everything, these days. It tells me that, despite how debased or corrupt we are told humanity is and how degraded the world has become, it just keeps on being beautiful. It can’t help it.” 

Cave’s words echo Dostoevsky who wrote in The Idiot that ‘the world will be saved by beauty’, which in turn, echoes earlier sentiments from the likes of Plato, Aristotle, and Thomas Aquinas who taught that God is truth, goodness and beauty. In the Bible, Jesus pointed again and again to these things too – in people, in creation, in God. They feel like good things to point the way now; more timeless and apolitical than any current ‘vision’ in government, more tangible than a distant government, more life-giving than purely balancing budgets as a goal. Of course, local government also needs better and more reliable funding, more efficient processes, passionate people, and lots more – but I think these things are more likely to come, in part, from a re-enchanted local government that draws on the “luminous and shocking beauty” of the everyday, and of local people and places. To start to make space for that re-enchantment, government could experiment with three things (which, more than funding, need people willing to try, to think beyond business-as-usual, to take existing resources and think about how they can be used even slightly differently). 

It may not need to overcome death, but local government could embrace local people, their humanity, their aliveness. 

First, it could move away from language that is detached from emotion and care and life. The word ‘enchant’ has its root in words – cantare means ‘to sing’ – Councils could aspire to make language beautiful more than bureaucratic, clear instead of obscure. It could invite local people into decision-making using life-giving and locally meaningful words and ideas, rather than excluding them with jargon and lifeless language. For this, we’d need the help of local storytellers, poets, writers, speakers – people who can wake us up with the power of words.  

Second, local government could bring that “luminous beauty” into the space, rather than sealing conversations and processes away in characterless buildings. Meetings I’d go to were usually in bland rooms, with beige walls, nylon grey carpets, lukewarm coffee. Letting even some of the beauty of this world in – perhaps with colour, architecture, art; perhaps with stories and creativity and food; perhaps with some meetings outdoors in the beauty of the world – would, I think, breathe life into the space, and into relationships, and so into what becomes possible.  

Lastly, re-enchanting local government must include re-humanising it, because humanity at its best is relationship and soul and care; it contains the same possibility that was present in Eden when all this was dreamed up. If, as Christians believe, humanity is made in God’s image, then God is endlessly creative; God is about the detail of our lives as well as world-shaking stories; God is about life – life that is so alive it overcomes death. It may not need to overcome death, but local government could embrace local people, their humanity, their aliveness; it could ask them to show up as themselves, with all their strengths and weaknesses, their ideas and hopes and fears, rather than shut them out because they cannot bend to inflexible meetings and procedures and language. It would not shy away from these things; it would use them to create new life and thriving places.  

Re-enchanting local government could, I think, bring us closer to beauty, to the goodness of each other, to the truth of people and places. From there, I think it becomes possible to restore relationships, to imagine what government might be at its best, and to view it as a place-based way of knowing and actually serving people. I think it becomes easier from there to look downstream – to re-think processes, the voting system, and the rules of ‘business as usual’ – and perhaps even to fix potholes and the glumness that goes with them. 

Review
Belief
Culture
Music
Race
5 min read

Annie Caldwell: “My family is my band”

A force of nature voice that comes from the soul.

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

A family group stand and sit for a photo.
Family album.
The Caldwells.

They say that good things come to those who wait. Annie Caldwell is someone who has experienced the truth of that proverb.  

The album she and her siblings (known as the Staples Jr. Singers) made and paid for themselves in 1975 sold only a few hundred copies but, when reissued in 2022, was received as a stone-cold classic and led to the recording of a second album 49 years after the first. Now, her other group, Annie and the Caldwells, have released their major label debut to rave reviews, 30 years after they first began performing. 

Annie Brown was 11 when the Staples Jr. Singers was formed in honour of Pops and Mavis Staples of the famed Chicago soul-gospel group, The Staples Singers. The siblings gained popularity at churches and functions throughout the American South and Midwest, being mentored by Mississippi greats like Lee Williams and Spiritual QCs. 

Back then, the South was desegregated on paper but not always in practice. Their parents found refuge and support in the church against the backdrop of an unwelcoming town (and nation), while the children found refuge and a greater purpose in life in the music. They were influenced by what they saw - the backlash after desegregation, Civil Rights - and wrote music with messages of community and social justice. “All the songs we were singing about,” said Annie’s brother Edward Brown, “We were going through it.” 

The Staples Jr. Singers got to make a single record together, one which, because of its rarity, became coveted by gospel soul collectors: When Do We Get Paid. They paid for the record themselves and pressed a few hundred copies, selling most of them on their front lawn to their neighbours. On its re-release in 2022, The Guardian called their socially conscious gospel album “Powerful,” and UNCUT said that it was “music that deserves your attention.” 

As a result, the Staples Jr. Singers finally had their time in the sun, including multiple European tours. Annie spoke then about being able to “do many things that we didn’t get the chance to do in the beginning of life … Because the time and money wasn’t there. It all came late, being in our sixties now—but it looks like it’s just beginning, you know? Life is just beginning for us.” She concluded that: “God has blessed us and opened up doors that we couldn’t even see,” and said that, “If I can help just one person, I know that I’m not singing in vain.” 

They play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. 

One warm evening in October 2023, the family gathered in a single-room church in West Point, Mississippi, called The Message Center to record their second album Searching. There, across the street from Annie’s house, they played songs they had written nearly fifty years before and did so together with four generations of their musical family. The original three Staples Jr. Singers, Edward, R.C., and Annie, were joined by some of the new vanguard: Edward’s son Troy on backing vocals, R.C.’s son Gary on bass, and R.C.’s grandson Jaylin on drums. “It was good to be able to go back,” said Annie, “and look back over our life. Some of the same songs that we had sung, those songs have a new meaning to me.” 

“The process was very easy,” said producer Ahmed Gallab, who performs as the artist Sinkane. “There’s nothing like a family bond/band. It was so special to watch how locked into each other everyone was. You can hear and feel that on this record.” He concluded: “I feel like I was able to witness part of this family’s continued story and legacy in real time. That was a very special thing to witness.” 

Annie and the Caldwells is also a family band, being led by Annie and her husband of the last fifty years Willie Joe Caldwell, Sr. (who plays guitar). Annie says, “My family is my band”: she is backed by their daughters Deborah Caldwell Moore and Anjessica Caldwell and goddaughter Toni Rivers; their eldest son Willie Jr. Caldwell is on the bass and youngest son Abel Aquirius Caldwell is on the drums. 

Annie traces the genesis of the band back to the moment she heard her daughters sing at a talent show: “They were really good. I said, ‘Let me get those girls before the devil gets them!’ Because I was raised up in gospel, so I think you should use what the Lord gave you for good. I decided to raise them with the values my father taught me – singing for the Lord.” 

They generally play on weekends, so for their day jobs Willie Jr. drives a forklift, Abel Aquirius drives hospital patients, Anjessica works in customer care for an insurance company, Toni is an elementary school teacher, and Deborah does hair. Annie runs a clothing store on Main Street called Caldwell Fashions, which has been a beloved staple for women dressing for COGIC (Church Of God In Christ ) convocations and anniversaries since the 1980s.  

Prior to the latest album, they released two albums under Ecko, a renowned soul and gospel label from Memphis. Influenced by The Gap Band, Chaka Kahn, and Bootsy Collins, they play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. Their music embodies the full power of gospel – the very kind The Message Center, where the family regularly performs, experiences on a weekly basis. The Message Center is also where Joe plays guitar every other Sunday, and where his father used to be a deacon.  

Like Searching, Can’t Lose My (Soul) was also recorded at The Message Center and produced by Gallab. He has said of the recording session: “Hearing Annie’s voice for the first time was like witnessing something rare. Like you’re in the presence of a force of nature that’s been here long before you. It’s visceral, almost like it’s coming from her soul. You can feel every part of her life, every little piece of her journey, in each note she hits. It’s pure talent: no effort, no pretense, just real and raw.” 

In his five-star review of the album for The Guardian, Alexis Petridis wrote: “These are great, powerful, moving songs, made all the more potent by the fact that they’re recorded live, without an audience, in a church …  their message is ultimately one of hope. You don’t need to share the Caldwells’ faith to find something powerful and inspiring in that, particularly given the current climate, which can easily incline you towards hopelessness …”