Interview
Change
Community
Politics
6 min read

The thin place family-making creates

Fixing a broken adoption system leads to a 'thin place' – one where family-making transcend traumas. Belle Tindall meets Tarn Bright of Home For Good.
Three young children run away into the distance down across a field of long grass.
Towards a thin place.
Photo by Jordan Whitt on Unsplash.

‘The thin place’ is one of those wonderfully old terms; fifth century old, to be exact. It’s what Celtic Christians labelled the precise places where it felt as though this world and another would meet. Those places were thin because the atmosphere they provided made it appear as though there was very little separation between humanity and the divine. The seen and the unseen, residing in particularly close proximity.  

Being Welsh, I have a soft spot for anything remotely ‘celtish’. Being a lover of anything enchanting, I swoon at such a beautiful notion. Being a Christian, I happen to believe that thin places are real.  

Here’s the interesting thing though, when the Celts used this phrase, it was pertaining to a geographical area – a Welsh waterfall, an Irish woodland, a Scottish Loch (sorry England, I’m sure your Anglo-Saxons were just as appreciative of you). But when Tarn Bright, the CEO of Home for Good, used this phrase just last week, it was when talking about the UK’s care system. 

Quite the unexpected twist, isn’t it? 

But you need to spend approximately three minutes in Tarn’s presence to agree with her. In fact, whenever I find myself chatting to anyone from Home for Good, an organisation that is intent on ‘finding a home for every child that needs one’, I find myself in a very thin place indeed.  

As a way of explaining myself (and Tarn), allow me to briefly turn my attention to just one of the things that make Christianity ever so slightly odd: the Christian God is a family. I know, I know - it’s intricate, it’s complicated, it’s paradoxical, but it’s absolutely core to the way Christians perceive… well…. everything.  

Father, Son, Holy Spirit – the Holy Trinity. All distinct, all one, all God. If I were NT Wright or Jane Williams, perhaps I would feel confident enough to explain this thoroughly. But I’m not, so I won’t. Instead, I’m hoping that you’ll take my word for it, follow my (or rather, Tarn’s) line of argument, and seek out the details later.  

Deal? Deal.  

So, here we all are acknowledging that Christianity has a family as God, that there has been relationship from the very beginning of time. And so, it follows that Christianity also hinges on a family-making-God, one who ‘sets the lonely in families’, to borrow a phrase. Hence, the thin place. Tarn’s profound thinking is that when we, as humans, put families together, there’s very little separation between us and the God who has always been determined to do the very same thing. If those families are formed biologically – wonderful. If a family is put together through a combination of circumstance and choice – that is just as legitimate and just as thin.  

I struggle to think of a more beautiful thought.  

Blasting through such trauma, is the immense joy of Home for Good finding and supporting a young couple who adopted all five children. 

While I could expend thousands of words waxing-lyrical about such things, I’d be remiss to not tell you anything of Home for Good aside from its somewhat sacred (in my over-emotional opinion) nature. Let’s take it from the beginning.  

Home for Good was thought up nearly ten years ago, at a garden party hosted in a vicarage; one flowing with Pimms and finger sandwiches. While the setting may be charmingly quaint, the content of the meeting was of the utmost seriousness. Desperate shortage of foster carers and adoptive parents in the UK was making headline news, and several Christian leaders, many of whom were foster carers or adoptive parents themselves, committed to work together to raise the profile of fostering and adoption within the UK Church. 

And so, Home for Good was born.  

You see, a child will enter the UK care system every fifteen minutes, there are more children in the care system right now than ever before. Each and every one of those children has intrinsic worth and value, all of them have experienced loss and trauma, many have suffered abuse or neglect. The reality is that there just aren’t enough carers to ensure that these children have somewhere stable to call home. It’s one of those vast and painful realities we find hard to digest. And yet, Home for Good not only acknowledges the tragedy, it tackles it head-on.  

Active in all four UK nations, Home for Good is working to find a home for every single child: through fostering, adopting and supported lodgings.  

You may be asking yourself where on earth they’re finding these homes.   

Well, they’re finding them in the fifty thousand churches across the UK. Not ‘churches’ as in the grand (or perhaps not so grand) building next to your favourite coffee shop, but ‘Church’ as in the tens of millions of people who flow in and out of those buildings. We’re talking the people, not the places. Home for Good practically equip, support and train those who want to invite children into their families, while also mobilising churches to be welcoming and understanding places for these families to be. Because, if we are thinking of family as in ‘nuclear family’; that all important two adults to two-point-five children ratio, we are thinking too rigidly. And, contrary to popular belief, we are not thinking along very Christian lines either.  

It struck me, while speaking with Tarn, that the work that Home for Good do is also thin in another way: the space between profound pain and immense joy is, and perhaps always will be, very thin indeed. For example, Tarn told me a story of five siblings who were in very real risk of losing each other. There seemed to be very little hope of finding a stable home for all five of them, as there simply aren’t enough carers who are able to take on siblings. And once separated, even if only intended to be a temporary measure, the chances of those siblings living together again are practically non-existent. It’s hard to fathom looking straight into such huge pain on such little faces. That’s the type of pain that, if we’re honest, we’d like to pretend doesn’t exist. But it does. And it’s in closer proximity than we allow ourselves to realise. But then, blasting through such trauma, is the immense joy of Home for Good finding and supporting a young couple who adopted all five children. This isn’t a story of rescue, Tarn will stand for no such thing, rather it is a story of family-making. The type that Tarn, with her own beloved adopted sons, knows well.  

Unconditional love, deep belonging and unwavering devotion had been ‘professionalised out of the system’. 

As well as working on a local level, Home for Good have built up an immense influence on a national level. Since Tarn’s been the CEO, she has worked with (all seven) Children’s Ministers in Westminster. As she subsequently observes, the system is not of conscious design. Rather, it consists of a conglomeration of reactive policy ‘add-ons’. Although there are people devotedly working within the system who are intent on doing the best for children, it is deeply and undeniably stretched. What’s more, inputting into the ‘once in a lifetime’ independent review, Tarn and her team were able to explain how unconditional love, deep belonging and unwavering devotion had been ‘professionalised out of the system’. Somewhere along the line, we have stopped asking ‘what the child’s heart needs’.  And yet, Tarn notes that how we treat our children now will directly affect how our world works in a generation’s time.  

If this is not a justice issue of the most profound kind, it’s hard to imagine what is.  

And so, there we have it. Home for Good, the thinnest place imaginable. The place where every child is fought for. The place where family is re-imagined. The place where I abandon every ounce of professionalism, as I put all my energy into holding back embarrassing tears. The place that is, thankfully, quite used to such reactions.  

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. 

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