Social prescribing for whole person care

Responding to an anxiety epidemic, there’s a growth in social prescribing with a spiritual wellbeing element. Esther Platt explores how it's working out locally.

Esther Platt

Esther works as a Senior Consultant for the Good Faith Partnership. She sits in the secretariat for the ChurchWorks Commission.

Two people sit at a table with their hands resting on top of it. One speaks to the other

Photo by Christina @ wocintechchat.com on Unsplash

Since 2001, Mental Health Awareness Week has been marked once a year in May. This year, the theme was anxiety - an increasingly relevant topic in a country that has endured three years of world-changing crises and the soaring cost of living. Research from the Mental Health Foundation has found that 1 in 10 UK adults feel hopeless about financial circumstances and more than one-third feel anxious.

For centuries, it has been recognised that spiritual well-being is closely tied to mental well-being. By spiritual wellbeing, I don’t mean organised religion. I mean our sense of relationship to a higher-power or reality beyond our own, and our sense of purpose and meaning in life, as Craig Ellison outlines it as in his paper Spiritual Well-Being: Conceptualization and Measurement.

In Man’s Search for Meaning holocaust survivor Victor Frankl compellingly makes the case that in a world of suffering, our survival depends on our sense of purpose, meaning and hope. Frankl coined the term ‘the self-transcendence of human existence’ by which he explained that human beings look for meaning beyond themselves, either in a cause, a person to love, or a higher power.

With an increased understanding of the holistic nature of wellbeing, and the value of spirituality, a new way of looking at health is emerging.

While modern psychologists are still building a clinical-grade evidence base on the value of spirituality, there is clear agreement that spiritual wellbeing is crucial for a good quality of life, especially for those who are facing adverse life events, as you can read on the US National Library of Medicine web site. Traditionally, health provision in the UK has focused exclusively on the physical, and more recently the mental. However, with an increased understanding of the holistic nature of wellbeing, and the value of spirituality, a new way of looking at health is emerging.

Social prescribing is one way in which this is being done, and across the country.

In social prescribing, local agencies such as charities, social care and health services refer people to a social prescribing link worker. Social prescribing link workers give people time, focusing on ‘what matters to me?’ to coproduce a simple personalised care and support plan. This involves ‘prescribing’ individuals to local community groups such as walking clubs, art classes, gardening groups and many other activities.

Churches are playing a crucial role making social prescribing happen. St Mary’s Church in Andover, offer a wellbeing course to members of the community who have been directed to them through the local GP surgery.

Members of Revival Fires Church in Dudley have been trained to offer Listening and Guidance support to those who are referred by a GP.

Beyond social prescribing, St John’s Hoxton in London offer the Sanctuary Mental Health course to their community which gives people an opportunity to share their experiences and find solidarity in their struggles.

Church provides a space where the breadth of our wellbeing, our desire for purpose, community and hope can be supported in a way that the NHS does not have capacity or experience to deliver. As the Archbishop of Canterbury, Justin Welby, writes

"The issue of mental health is one that requires a holistic approach on an individual basis, incorporating as appropriate psychiatric, medical and religious support’.

Olivia Amartey, Executive Director for Elim, an international movement of Pentecostal churches adds,

‘I am convinced that there is no other organisation on earth that cares for the whole person, as well as the church. Its engagement with the statutory authorities, focussed on individuals’ well-being, provides an invaluable opportunity for a synchronised partnership to the benefit of all our communities.’

Jesus told his followers, ‘I have come so that you can have life and have it to the full’. This is the hope that animates churches. Christians find meaning and purpose in the hope of life, peace and justice that Jesus gives. Church can be a space where the complexity of hurt and suffering is acknowledged, and where we can find solidarity and support in the presence of those who can help us find purpose and meaning.

At ChurchWorks, a commission of leaders from the 15 biggest church denominations in the UK, we are excited by the prospect of more churches providing this space. On 18th May we held ChurchWorks for Wellbeing, in which we gathered over 300 church leaders to explore how the church can bring hope to our communities in this time. We shared stories of small and simple conversations, where offering a listening service, an art class or a food pantry enabled churches to give people in their community space to be, to grieve, to process and to grow. From the conference, it is our hope that we will see hundreds more churches start to engage in social prescribing and welcome their communities to access holistic wellbeing support.

At a time when anxiety is rife, and it is so easy to feel despair and hopelessness, the church offers a vital resource to us: a place where our spiritual wellbeing can be nurtured, where we can find purpose, where we can find community, where we can find hope.

Article

Culture

Mental Health

Music

25 October 2024

5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

Jonathan Evens

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

A woman stand at a mixing desk playing a small keyboard.

Lleuwen Steffan plays.

In 2012, musician Lleuwen Steffan first came across a trove of lost Welsh folk hymns preserved in the sound archive of St Fagan’s Museum. Knowing they were not in current hymn books, she undertook further research and discovered they had been excluded from earlier hymn books by the then all-male hymn book committees of their time. Instead, they had been passed on orally, and, although recorded for St Fagan’s by the historian Robin Gwyndaf, had become lost with time and secularization.

Steffan was particularly attracted to these hymns as many dealt with the dark side of the psyche including addiction and mental distress. She has said that many of these hymns, some of which date back to the eighteenth century, are “conversational and the lyrics feel so current”. She is currently taking these hymns back to where they were born through a tour of 50 chapels in Wales but this is not an exercise in nostalgia as her focus is on their contemporary resonance: “Musically, I’m not interested in recreating something from the past. That’s missing the point. Yes, the words are old but the message is always new. The music is free form.”

Although the subject matter of these hymns will have been part of the reason for their exclusion from the hymn books of their day, that same subject matter has been part of worship songs from the time of the Psalms to the present. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension.

“This eerie, intriguing and enchanting music... is infused with echoes of the past two centuries’ beliefs and threads of spirituality and song.”

Rupert Loydell

With such a collection of worship songs as the foundation of worship in churches, and with plainsong in Western churches providing a means by which to chant the Psalms on a daily basis, it should not be surprising that later hymns, such as those being reimagined by Steffan, tap into the dark side of the psyche. The success of albums such as Officium by saxophonist Jan Garbarek and The Hilliard Ensemble, together with Steffan’s own collaboration with pianist Huw Warren and saxophonist Mark Lockheart on Welsh hymns Duw A Wyr (God Only Knows) which is in a similar vein, show how such music can be made relevant to contemporary audiences.

Ghostwriter’s latest album, Tremulant, inhabits similar sonic territory to Steffan’s current Tafod Arian (Silver Tongue) music. Created over several years by Mark Brend, Suzy Mangion, Andrew Rumsey and Michael Weston King, this album has also been borne out of a shared love of antique evangelical hymns and spiritual songs. Using English, Welsh, Scottish and American source material from the nineteenth and early twentieth centuries, the quartet pieced together their reconstructed hymnal through remote collaboration – creating an album that sounds both ancient and modern.

In his review of Tremulant, Rupert Loydell says it is “a strange ambient gospel album, where what used to be called spirituals and hymns are subverted by echo, wheezing organ and spacious musical interludes, which recontextualise, reimagine, stretch and mutate the very idea of song”. This, he says, “is eerie, intriguing and enchanting music” with “echoes of classic Nico (the cold beauty of Desertshore)”. It's ”declamatory poetry, alt-folk, noise and gentle discord” combined with “calm vocals” is “infused with echoes of the past two centuries’ beliefs and threads of spirituality and song”. As such, it's not what you’ll hear the local worship band playing, more’s the pity!

“Something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.”

Lleuwen Steffan

Like buses, other revisiting’s and reimagining’s of old hymns and gospel songs are also coming along together. Hymn Time In The Land Of Abandon by Over the Rhine is “Music that we grew up singing, music as present in our formative years as the air we breathed”. Their recordings of hymns have been described as “spare, sweet and subtle renderings that transform the familiar into something fresh and new”.

The musical reimaging involved in Over the Rhine’s reinterpretations of hymns takes them into the space that Brueggemann defines as new orientation, while the sounds and, in some cases, content of the hymns chosen by Steffan and Ghostwriter are more in the realm of his disorientation category. The music making of Lleuwen Steffan, Ghostwriter and Over the Rhine takes us to places not commonly accessed by the music used in many church services. As is indicated by the story of hymn book committees omitting hymns that tap into the dark side of the psyche, much of the music used in church services can be located firmly in either the orientation or, sometimes, the new orientation categories.

Given that the arc of Christ’s life, death and resurrection takes us on a similar journey to that which Brueggemann sees occurring in the Book of Psalms, when our music and liturgy fail to go on a similar journey, we are only encountering part of the meaning and message of faith. The recent music of Lleuwen Steffan, Ghostwriter, and Over the Rhine is therefore profoundly helpful in beginning to redress that loss of balance in worship by taking us back to a fuller appreciation for the original songbook of the faithful, the Book of Psalms.

In speaking about why she has been drawn again and again to church music, Steffan described her teenage experience of drinking with her “mates in Bangor on the Saturday night” then getting “the last bus back home” and rolling “out of bed the following day to go to Sunday School”. She concluded: “That’s a strange paradox but, you see, something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” It may well be that that something is the arc of orientation, disorientation and new orientation we encounter and experience in the Psalms.