Article
Change
Community
Development
6 min read

Tackling homelessness needs much more than promises and policies

While homelessness generates statistics and strategies around the world, Jane Cacouris asks what really is home.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A mother sits with a toddler standing in front of her. The father appears from the side lying on his back reaching an arm out.
A family play in a Rio favela.

“Mummy, are we homeless?” asked our six-year-old as we pulled away in the taxi. We had just eaten a final meal - a KFC family bucket of fried chicken - sitting on a sarong on the floor of our empty apartment in Rio de Janeiro, our home for almost four years.  

The question left me momentarily winded. Homeless. A word that instantly conjured up feelings of anxiety and uncertainty, of sands shifting under our feet. Technically, yes, we were. My husband had just left his job in Brazil, and we had two months with nowhere to live before we relocated back to the UK. With no permanent base anywhere in the world, we were about to use the time to travel in South America as a family. Whilst I did feel somewhat insecure, my husband in contrast found it freeing; the first time in his life that he didn’t carry a set of house keys in his pocket. We had nowhere to live, but we were free to go wherever we wanted. And this is where the analogy of us actually being homeless broke down. We had a freedom of choice in a way that the vast majority of people who experience homelessness do not.   

World Homeless Day on the 10th October was marked with the recent release of a landmark UN report on global homelessness. The UN define homelessness as:  

“where a person or household lacks habitable space with security of tenure, rights, and ability to enjoy social relations, including safety. [It] is a manifestation of extreme poverty and a failure of multiple systems and human rights.”  

According to UN-Habitat, a staggering 1.6 billion people in the world are estimated to be in inadequate housing and over 150 million have no housing at all.  

Global homelessness has been rising for the past decade, with temporary homelessness being increasingly caused by conflict and climate-induced displacement. However, according to the UN report, Covid-19 exacerbated the issue, deepening existing inequalities and causing already marginalised people to be even more vulnerable.  

In developing countries, the informal economy – self-made microentrepreneurs who sell everything from popcorn to shoe polishing - usually sustains the poor urban majority. But with many informal jobs vanishing during lockdowns, and with few assets and limited social safety nets, many urban dwellers were rapidly plunged further into poverty. Women and children suffering from domestic and gender-based violence had to remain in unsafe environments, with abuse escalating during lockdowns and curfews. Issues that encouraged migration and homelessness. 

There are approximately 150 million children living and working on the streets worldwide. Almost impossible to imagine, and so the number sometimes doesn’t compute with our hearts.

The extent of homelessness worldwide is notoriously difficult to quantify accurately, partly due to what is known as hidden homelessness. The hidden and isolated nature of children and adolescents living on the street, for example, makes statistics difficult to gather. A 2023 UNICEF report of street children in Dhaka estimated that the number of children living on the street just in Bangladesh could be in the millions. And according to UN sources there are approximately 150 million children living and working on the streets worldwide. Almost impossible to imagine, and so the number sometimes doesn’t compute with our hearts. The true horror of the isolation of child homelessness only truly hit me a few years ago… 

The residents in our block had finally had enough of the noise and called the police. They arrived in the middle of the night with their guns and shot at the children who dispersed.

Living at the top of a high-rise block in the middle of an urban neighbourhood in Rio, we were kept awake for a number of nights in a row. It started as a disturbance – children yelling in the street outside that would continue from the early hours until dawn. But as the days went on, the disturbance at night became more acute. One morning as I stepped out of our apartment in the morning, bleary-eyed and irritated, I was confronted by a small group of sleeping children lying huddled together in a row on the pavement next to a tree. Several pairs of bare filthy feet were sticking out of a blanket they were sharing. I looked down at them as I passed – they varied in age from about eight to twelve years old. The youngest was probably younger than my son at the time. He had knotted black curly hair and a streaked face. The next night we heard gun shots and then an eery silence. Another sleepless night, this time from worrying about the children, and then we discovered that the residents in our block had finally had enough of the noise and called the police. They arrived in the middle of the night with their guns and shot at the children who dispersed. The children never came back. 

The government pledge to end rough sleeping in England by the end of 2024 is woefully off track. 

Although homelessness is an overwhelmingly larger problem in poor countries, it also affects affluent nations, including the United Kingdom. This year the Kerslake Commission, an expert panel set up to scrutinise how rough sleeping is being addressed across England, pointed out that data on rough sleeping in London last year showed a 16 per cent increase in numbers of people sleeping rough. And that almost half (48 per cent) were sleeping rough for the first time. It concluded that the government pledge to end rough sleeping in England by the end of 2024 is woefully off track. According to Crisis, the homelessness system in England is at breaking point and the Homelessness Monitor 2023 reported that the cost-of-living crisis, rising rents and a lack of affordable housing are making it harder for councils to provide homeless people with effective support.  

It is about where you feel valued and understood… where you feel loved… and where you want to come back to. 

So, the problem of homelessness really is global. And what is the answer? Yes, governments must act; social safety nets and public policies to help alleviate poverty are critical. But even the richest countries with the most advanced governments have never been able to fully tackle this issue. Homelessness and poverty were rife in Biblical times. As Jesus said in the Gospel of John, “‘You will always have the poor with you”. And Jesus himself understands homelessness in a way many of us don’t; he started life in a stable, born to parents who were sleeping rough. He became a baby on the run to flee King Herod, homeless and seeking asylum in Egypt. When Jesus was older, after he was baptised by John the Baptist, he became homeless again, living life on the the road and in the open. In Luke, he says: “Foxes have dens and birds have nests, but the Son of Man has no place to lay his head.”  

He emphasised that his followers leave the trappings of “home” to follow him.  

I used to volunteer at a Christian charity, Casa de Maria e Marta, in a favela (slum) community in Rio, known for gang violence and drug trafficking. A larger-than-life Brazilian lady, Edimea, has run the charity for over twenty years. Almost a hundred children come to the charity each day, which provides three meals as well as extra tuition and care for the children. All of those who attend are either living in inadequate housing or are homeless. One day I asked Edimea whether she still sees the children after they leave her charity at age twelve. She laughed and said yes of course, they still come back to eat! And then she said, 

“I do an assessment before I take a new child in, to understand what they know, and work out how we can best help them. And I always say to them – we take beautiful children, and so we are taking you, because you are beautiful inside and out. They come back because they don’t forget those words.” 

Like Jesus, Edimea shows endless concern and love for those on the margins. She can’t solve all the practical problems she comes across or offer a permanent roof over a head, but she does provide a place where everyone feels a sense of safety and belonging. Perhaps home means more than the UN’s definition. It is about where you feel valued and understood… where you feel loved… and where you want to come back to.  

Review
Culture
Film & TV
Identity
Music
6 min read

Life is complicated, and Alan Bennett knows it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

An Edwardian choirmaster conducts.
Ralph Fiennes conducts.
Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal. 

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.  

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble. 

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts. 

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”  

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours. 

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.  

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society. 

At one point he recites  

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”  

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!” 

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy. 

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring. 

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny. 

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen. 

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.  

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus. 

Complicated! 

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind. 

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.  

“Purgatory …” says Clyde, “… I could take you there tomorrow!” 

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell: 

 “Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.” 

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is: 

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.” 

And Guy Lodge in Variety observes: 

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …” 

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common. 

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion. 

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point. 

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them: 

“There is always one fact more in every man’s case about which we know nothing.” 

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly. 

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack. 

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