Column
Change
Christmas survival
7 min read

The shadow under the Christmas tree

Psychologist, Roger Bretherton, offers advice for those who find it challenging to spend time with the family at Christmas.
Part 1 of Unwrapping God This Christmas.
A light green pine tree stands amidst dark green forest and its black shadows
Evgeni Evgeniev on Unsplash.

The Ghost of Christmas cranberries past 

I am haunted by a Christmas ghost. But mine isn’t Jacob Marley weighed down with chains. It’s Nigella Lawson, and she comes carrying cranberries. One merry Yuletide many moons ago, I made the mistake of cooking, thanks to Nigella, what my family largely agree to be the best cranberry sauce ever.  It was easy. I just followed the recipe, and a delicious sauce was born. Unfortunately, I have never been able to repeat the feat. Every year I return to the same recipe, in the same kitchen, with staggeringly different results. Results which my family, who have always been a bit too kind for their own good, insist on eating out of some perverted sense of duty. Over the last half decade, we have basically invented a new Christmas tradition: pop the crackers, don the hats, supress the gag-reflex while consuming the annual plate of silage masquerading as cranberry sauce. 

Christmas is a time for ghosts, and not just the cranberry flavoured ones. It might be the empty chair at the table. It may be the memory of happier times. It could be a year of losses and regrets. But there is a darkness to Christmas that the fairy lights and tinsel can’t quite conceal. There’s a shadow under the Christmas tree that we’d rather not acknowledge.  

For some people the most difficult thing about Christmas is the requirement to spend time with family. It is one of the few times in the year we run the gauntlet of being thrown together for an extended period of time in a confined space with a bunch of people who may not be our first choice of company. We may have a common biology, or a common history, but we may not have much in common beyond that.  

Most Christmases are not haunted by the spooky ghosts that send a shiver down our spine. They’re more often harried by the mundane phantoms of broken promises, unsaid words, and the seething resentments that lie dormant in any group of people with a shared past. Sometimes there is one person we don’t want to be left alone with: the critical mother, the lying ex, the uncle who thinks the governments of the world are a front for a secret cabal of paedophile lizards. Whether they scare us, infuriate us, or bore us- we’d rather steer clear. It’s no wonder that for some of us, Christmas with family is not an appealing prospect.  

To hear some people talk in January, you’d think they’d gone to purgatory for Christmas. All the festive trappings leave them feeling, um… trapped. 

Trapped by the Christmas trappings

To hear some people describe the suffocating sense of confinement they feel when forced to spend time with their family is to be treated to a picture-perfect case study of learned helplessness. This psychological concept became famous following a series of distressing lab studies carried out in the mid-1960s. The experiments involved placing lab dogs in a cage with a wire mesh floor that could deliver painful electric shocks through their feet. For one set of animals the lid of the cage was open – as soon as the voltage was turned on, they leapt over the walls of the cage away from the pain. Other dogs received the same excruciating electrocution treatment, but for them the lid of the cage was closed – no matter how much they tried there was no escape.  

After this initial training, the dogs were then placed in the cage again, but this time the lid was open for all of them. The dogs who’d been trained in the open-lid cage, leaped out and away from the electric shock as they had done previously.  But – and this is the really distressing bit – the dogs who had previously experienced the inescapable pain of the closed-lid cage, failed to move a muscle. Even when they could escape, they didn’t. Freedom from electric shocks was only a short leap away, and yet they lay down and took the pain as if they could do nothing about it. It was a brutal experiment. Even those who conducted it have written about it since with a palpable air of embarrassment. But it birthed the concept of learned helplessness, the idea that we can be conditioned to act as if we can do nothing to change painful situations – even when we can. 

It probably seems a bit much to equate Christmas at home with being electrocuted like an imprisoned dog.  But to hear some people talk in January, you’d think they’d gone to purgatory for Christmas. All the festive trappings leave them feeling, um… trapped.  

 

Even the most dysfunctional families fail to keep it up and lapse into moments of hilarity, peace, or occasionally even love. 

Three thoughts to turn a drama into a crisis

The difference with human beings though, is that unlike dogs, our helplessness is not just conditioned, it is learned and maintained by the way we interpret the world around us. We are not trapped just by what happened in the past, but by how we view the present. There is an unholy trinity of thoughts that are guaranteed to turn the usual family drama into a crisis.   

First, take it personally. Instead of thinking your family (like most families) can be a bit weird and anyone would struggle to get on with them at times, convince yourself that their eccentricities say something really hideous about you. Spending time with these people makes you a worthless, useless, failure – or whatever other creative insights your inner critic has gift-wrapped for you this season.  

Second, make sure you ignore anything good. The thing about being human is that we can’t do anything perfectly. We’re not even very good at being bad. Even the most dysfunctional families fail to keep it up and lapse into moments of hilarity, peace, or occasionally even love. We can be quite good at ignoring these bits though.  

Third, imagine it’s going to last forever. It’s true all good things come to an end. But to be honest, all bad things come to an end too. Our least favourite Christmas gatherings may feel interminable, but they only get worse if we keep telling ourselves, we’re stuck in the land that time forgot.  

These are the three patterns of thought that, more than anything, induce a sense of brain-fogging ineffectiveness at the thought of joining the family at Christmas. If we find ourselves wishing we were somewhere else, or wishing everyone else was somewhere else, we’ve probably succumbed to the three attributions that make up learned helplessness. In more technical language, we see the challenges that confront us as personal, global, and stable. 

And speaking of stables… (yes, I really did just do that). 

When God got a family

Most contemporary scholars now agree that Jesus wasn’t born in a stable, at least not in the way we think of stables. It’s more likely that he and his family were accommodated in a single storey dwelling where the humans slept on a raised section and the animals on the ground. Apparently, it wasn’t even that unusual for a manger to make do as an improvised crib- a bit like those baby carriers that double up as a car seat.  

But putting aside the stables and the mangers for a moment, what we do celebrate at Christmas is the mysterious moment in history when God became human. Not the moment Jesus appeared as a human-being-in-general floating ethereally above the global population, but the moment God became a specific human being. Developmental psychologist Donald Winnicott once said: there is no such thing as baby. He meant that to be born is to be thrown into a context we did not choose for ourselves. We emerge into the world as the product of a complex biological and social network, in which we are embedded, and without which we would not survive. The family that is currently doing our head in, is the family without whom we would not have a head in the first place. So, when we sing sweet carols to the baby Jesus, we’re actually celebrating the moment God got a family. 

Even more than that, to have any family is to have, specifically, your family. To be human is to be specified. You are this person, in this body, in this place, at this time, in this culture, in this family… this Christmas. There is no other You available other than this. When learned helplessness gets the better of us, we can succumb to the illusion that we would have been better if we’d emerged from some other family, any other family. We can be so lost in the dream of the family we don’t have that we fail to see the family we do.  And in doing so, we deprive ourselves of the freedom and triumph that come when skilful adults respond to challenging situations.  

So, this Christmas how about trying on a few new beliefs for size? You belong to your family, but they don’t define you. They may be your history, but they don’t have to be your destiny. Your time with them won’t last forever, but you may regret it if you don’t make the most of it while it lasts. They may be painful, but there are still moments of goodness to be found in their company.   

In part two, we’ll think about just what those good things might be.  

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief