Article
Creed
Sport
6 min read

Sweating the soul

A mantra-laden spin class generated more than sweat for Alianore Smith, it raised philosophical questions too.

Alianore  is a theologian, communicator and author. She works for a global charity based in London.

A spin class rider smiles and gives the thumbs up sign in front of other riders.
SoulCycle.

Last year, I learnt an important lesson: cycling and spin classes are not the same thing. 

Of course, they both take place on bikes – one moving, one stationary. And they are both exercise. But the similarities stop there. 

Let me explain. 

I’m a cyclist – and a smug one at that. My cycle commute to work, three times a week, comes to a round trip total of about 15 miles.  

So, when I was invited last summer to take part in a SoulCycle class in aid of a charity I care deeply about, I jumped at the chance. How hard could it be? I can ride a bike. My cardio-vascular fitness is above average. It’ll be an easy way to raise awareness of the charity, and maybe have some fun in the process. 

How wrong I was. 

My first clue that a SoulCycle class wouldn’t be like my normal commute was found on my visit to its website. The About Us page informed me that at a SoulCycle class – a ‘sanctuary’ – ‘tears will be shed’ and ‘breakthroughs happen’. The only time I ever cried whilst commuting was when I got my second puncture in a week, three miles from home, in the January rain. And, quite frankly, when you’re dodging taxis and swerving around pedestrians, breakthrough feels a long way off. 

And so, I headed off to my SoulCycle class, equipped with my padded shorts and my charity-branded cycling jersey. I arrived, hired my shoes, and headed into the changing rooms. And it was there that I was greeted by the SOUL Etiquette sign: 

SOUL Etiquette ‘To preserve soul sanctuary, we have a few simple requests’ 

  1. No text & chat 
    No cell phones or communication devices in the studio. If you are a doctor or your child is sick, kindly leave your phone with the front desk and we will get you if there is an emergency 

  1. Skip the cross talk 
    Talking during class is a major distraction for the spiritual folks around you 

  1. Laundry 
    We ride close together so we can feel each others’ energy. That being said, your neighbour does not want to feed off your odor. 

  1. Kindness is cool 
    Respect the rider on your left and your right. Treat the front desk the way you would like them to treat you. 

  1. The pack 
    There is a direct correlation between your energy and your neighbour’s ride. If you want to do your own thing, please don’t ride in the front row. 

I was fascinated. What lay ahead of me? 

Well, let me tell you: nothing could have prepared me for the class I took. 

A dark room, filled with mirrors, motivational quotes and – for some reason – grapefruit scented candles. About 30 stationary bikes, lined up in three rows. An instructor whose enthusiasm knew no bounds.  

I took a bike at the back.  

Within 10 minutes, I was sweatier than I have ever been, and questioning all my life choices up until that moment. Within 15 minutes, I had removed my charity-branded cycling jersey and drunk half of my bottle of water. There was still 30 minutes to go. I wasn’t sure I was going to make it. 

And yet by the end, I was buzzing. Whether it was the endorphins, the sense of community, or the relentless cheerleading of the instructor, I wanted more. It was… remarkable. I very nearly signed up for another class there and then. 

From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. 

The instructor – a bouncy brunette whose name I can’t remember – led the class with an exuberance that I am yet to see anywhere else. At one point, she got off her bike and danced up and down the aisle in front of the class. Quietly rasping for air at the back, I had no idea how she had the energy to speak whilst pedaling, let alone dance. 

The thing that I found most fascinating about my SoulCycle class, though, was the ‘spiritual’ aspect. From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. That the ability to breakthrough my problems, to succeed, to achieve my dreams, was all held within me – I just needed to dig a little deeper, peddle a little harder, put my mind to it. 

At one point, the instructor made us repeat after her: ‘I can do all things…’ it was there that she paused. As someone who grew up in the church, learning memory verses of Scripture week after week, I immediately wanted to yell ‘through Christ who strengthens me!’, but instead was encouraged to complete the sentence with something (I can’t remember exactly what) about my own abilities and force of will. 

The whole class was deeply motivating. I left feeling like, quite frankly, I could achieve anything.  

Thing is, though, I’m an able-bodied, middle class, professional, white woman. I come from a two-parent family, and I’m happily married to a non-abusive partner. I have a stable income. Although some of these things are because of the work that I’ve done or choices that I’ve made, many of them are an accident of birth. The odds are – for the most part – stacked in my favour. The very fact that I would have been able to afford to attend this class if I’d wanted to (new riders pay £16 for their first class, and £26 per class from then on) shows a level of privilege that was seemingly completely overlooked.  

When things are working in your favour, it’s easy to assume that it’s because you’re the one doing something right. That was the philosophy that was shouted in catch phrases from the front – you can do it, just try a little harder.  

Breakthrough is on the other side of this spin class. Mind over matter. That’s the message of SoulCycle. 

But every life philosophy, every ‘spiritual experience’, has a flip side to it. 

But the problem with that philosophy, of course, is its flip side: if things go wrong – if you’re in an accident, if you get made redundant, if you lose your house or your health fails you – then, logic dictates, it must be that you’ve done something wrong.  

If you can no longer afford a SoulCycle class, it’s because you didn’t try hard enough, or you didn’t peddle fast enough, or you didn’t put your mind to it. 

Of course, this was never said during the class – it was far too positive for that. But every life philosophy, every ‘spiritual experience’, has a flip side to it. If everything happens for a reason, then sudden seemingly random acts of cruelty – cancer, the death of children, natural disasters – must be there to teach us something. If we can control the good things in our lives – the promotions, the achievements, the relationships – then if stuff goes wrong then it must be our fault as well. 

Is that really true? 

Human beings are relentlessly fickle. And we have a deep and overwhelming desire to think that we’re in control, that life is in our hands. And it’s comforting – when things are going well. But what when they aren’t? 

In her book Everything Happens for a Reason: And Other Lies I’ve Loved, professor of the history of Christianity and Stage 4 cancer patient Kate Bowler writes that ‘control is a drug, and we’re all hooked’.  

I can see how SoulCycle could get addictive. In fact, the day I was there, someone was celebrating their 750th ride at SoulCycle London. The endorphins, the encouragement, the relentless pursuit of ‘breakthrough’ and ‘growth’ and ‘progress’ – it’s intoxicating.  

When you grow up in the church, you learn a different way of existing. It’s not that you can do all things through yourself, but – as aforementioned – through Christ who strengthens you. The idea of relying on something outside of yourself, something all-powerful, all-loving, is one of the ideas at the heart of Christianity. It’s less of an emotional crutch, and more of a ‘catch-all’ reality for those of us who have realised that we’re not as in control as we once thought, or as we would like to be. 

 

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

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

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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