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Christmas survival
7 min read

Team Christmas and the three gifts of Christmas

How can we push past the stresses of the festive season to rediscover the magic? Roger Bretherton tells us how he learned to find joy in being on Team Christmas. Part 2 of Unwrapping God this Christmas.

Roger Bretherton is Associate Professor of Psychology, at the University of Lincoln. He is a UK accredited Clinical Psychologist.

An animated scene shows a man in a Christmas jumper and a child look around a corner into something and be delighted
Arthur Christmas, Roger Bretherton's doppelgänger.
Aardman Animations.

There is one job at Christmas I always forget I have to do. It’s the one where you get the Christmas tree home only to realise that, if it isn’t going to be dead of dehydration by Christmas Eve, some chump has to saw one inch off the bottom of it. In my mind there is another version of myself who is admirably skilled and handy at things like this. That Roger- let’s call him manly-Roger- has a neatly ordered garage full of power tools ready for any task, and a set of multi-sized saws hanging outlined by a perfect silhouette on the wall. Unfortunately, this Roger- let’s call him real-Roger- does not own that garage. To give you an idea of just how chaotic our garage is, the police once woke us up at 3am to tell us it had been broken into and trashed by burglars. When I joined them in my dressing gown to inspect the ‘crime scene’, it turned out the kids had left it open, and I was forced to confess that our garage always looks like that.  

So as the rest of the family disappear into the house, pinning up lights in a joyous cacophony of festive music, I’m swearing in the garage trying to find a saw. It’s usually completely inaccessible; wedged under a leaf blower, a bottle of windscreen fluid, and some discarded dumbbells which manly-Roger, were he to exist, might have actually used. Eventually I’ll emerge brandishing something completely ill-fitting for the task- some garden secateurs, a metal file, or a rusty axe, and I’ll then spend the next twenty minutes sweating over the base of the Christmas tree, thinking it all would have been much easier if real-Roger had bothered to pick up those dumbbells more than once this year. If a bad workman blames his tools, a truly abysmal workman has no clue what his tools even do. By the time I’ve finished clipping, hacking, and filing, the base of the tree looks not so much neatly sawn as gnawed-by-a-passing-beaver. I enter the house like a war hero flushed and dirtied from battle, defeatedly clutching the mangled tree. It requires every spare inch of inner resolve not to declare Christmas cancelled.  

When I was a kid Christmas seemed so much easier. It was something that just happened. The festive magic occurred as if by magic. It took me longer than it should have to realise that Christmas only happens because someone makes it happen- and when you have kids and family that someone, is you. Given my incompetence with Christmas trees then, it may come as a surprise to know that I’ve learned to love being part of Team Christmas, being part of the gang who are in on the act and can make the magic happen. (And not just because our teenage sons reckons I look like Arthur Christmas in our wedding photos.) I have learned that there is, just beneath the surface, a bone-deep satisfaction in the hard work of hosting Christmas at home. It has become a spiritual discipline for me, and I should probably explain why. 

We go into Christmas knowing that this year there is joy and beauty to be found in responding to other people’s demands. 

Ronald Rollheiser, in his book Domestic Monastery, tells the story of a monk who followed the call to prayer deep into the solitude of the Sahara Desert. His name was Carlo Caretto, and after all his spiritual exertions and mystical extremes, he reflected that he was still no holier, no more godly, no less selfish than the mother he had left at home. His view was that the very act of raising children and constantly responding to the needs of the household had shaped her, even more effectively than the desert winds, into the attentive caring presence he had come to know. Rollheiser extends this story to us all. In the monastery, life is ordered by the monastery bell. When it rings the monks turn to prayer. Whatever they are doing – eating, speaking, half-way through a sentence – they stop and turn their attention immediately to God. Rollheiser suggests that we view the demands and interruptions of home and work just like this, as the monastery bell inviting us to turn to whatever is demanded of us in that moment. In doing so, we find ourselves shaped, like Caretto’s mother, into a more gracious and attentive form. 

Christmas, more than any other time of year, has started to have a similar effect on me. When people need food or drink, when the presents need to be wrapped, when board games are needed for entertainment, when fresh air is needed to break the monotony, when someone needs to talk… I hear the sound of the monastery bell. The demands can be relentless, and easy to resent, but I have come to find some delight in willingly responding to them without a second thought.  

Psychologists have written something similar about the things that motivate us towards being at our best. Self Determination Theory for example, holds that there are three basic psychological needs to which we are all intrinsically drawn. They are the conditions for feeling that what we do was initiated by us and hasn’t been imposed by the tyranny of our circumstances.   

The first is autonomy. We have to feel on some level that we chose to do what we are currently doing. This is where the monastery bell can be so helpful at Christmas. We may not have chosen our families or the place of our birth, but we can choose how we respond to the obligations these things place upon us. As the guru of meaning, Viktor Frankl once said, we should not ask what the meaning of our lives is, because in the duties and demands of each day, life itself is constantly questioning us. Meaning is to be found in how we respond. Whether we are willing to do the things we have to do, as if we chose to do them. This is an intention we can set for ourselves long before the family rock up for Christmas dinner. We go into Christmas knowing that this year there is joy and beauty to be found in responding to other people’s demands. We only make ourselves miserable by imagining a world where we only ever call the shots and never have to serve them. Like the proverbial puppy, autonomy is not just for Christmas… it’s for life.

Some of our best memories of Christmas can be the conversations we had while cooking, or washing up, or serving drinks, or setting the table. If we find it difficult to ask for help, we may need to set up the request in advance. 

It’s all very well claiming our intention to serve the family at Christmas, but if we don’t brace ourselves for it, it’s liable to collapse with the first person to turn down our homemade cranberry sauce (it’s a long story- see Unwrapping God this Christmas Part 1). We can choose our duty, but we don’t have to choose it alone. This speaks to our second psychological need: relatedness. We want to connect with other people, to make contact and build relationships. Doing our duty at Christmas is great, but we need to watch out for that subtle moment when our delight at serving others morphs into stomping around wishing we didn’t have to. Often this is because we ignored the moment at which we probably should have asked for help. We start to feel alone in serving and, even worse, we start mentally rehearsing all the reasons why the rest of our family are useless wasters who never lift a finger.  

We need to be attentive to the pivot point at which our desire to serve turns into martyrdom, and not be seduced by the moral superiority of going it alone. If we can learn to ask those around us to help when we need it, we can create unanticipated times of connection. Some of our best memories of Christmas can be the conversations we had while cooking, or washing up, or serving drinks, or setting the table. If we find it difficult to ask for help, we may need to set up the request in advance. We let the family know that at some point during Christmas it will all feel a bit too much and we need them to be ready to help. In our house, at such times my other half has ‘permission to boss’. Given that she is more likely than me to be aware and stressed out by what needs to be done, she is free to point it out. And if, at times, that comes across a bit bossy, it’s no big deal- just Team Christmas working together to get things done.   

And, if the theory is right, getting things done is the third psychological need (alongside autonomy and relatedness) that motivates positive behaviour. We like to find outlets for our competence, our skills and abilities. To listen out for the monastery bell is to ask ourselves the question: what am I able to do in this moment that would contribute to hosting the family right now?  And for me, ultimately, that’s what makes the practice of Christmas a spiritual discipline. A few hundred years ago the Jesuit spiritual director, Jean-Pierre de Caussade (1675-1751), grew tired of convoluted esoteric paths to spiritual enlightenment. He preferred a much more down to earth approach. He wrote: the duty of every moment is a shadow that conceals the action of God. Sometimes we miss God because we are put off by the shadow that conceals the divine presence in everyday life. But when we approach the demands of the festive season, willing to give what we have, to whomever we can, we celebrate once again this Christmas, in our own small way, the coming of heaven to earth.  

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy
Beyoncé at the Houston Rodeo.
Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.  

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?” 

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.  

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.  

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts. 

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” 

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.  

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance. 

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.  

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.  

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”  

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.  

She challenges the present 

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another.  Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead. 

There’s anger in this record. The first song is “American Requiem” and includes the line:  

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?” 

Full of confidence and rage she asks over a bed of country music guitar chords:  

“Can you hear me? / Can you stand me?”  

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast.  The smashing of divisions makes way for the building of something new.   

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.  

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.  
 
Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds.  She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.  

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.  

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.  

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.  

 

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”  

16 Carriages 

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen) 

 Amen