Explainer

Creed

Time

9 November 2023

4 min read

The unutterable preciousness of an ordinary day

A strangely named season of the Church calendar, Ordinary Time, is anything but that. Julie Canlis explores how it can point to wonder in the moments.

Julie Canlis

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

A father sits on a bed and fixes the hair of his daughter standing in front of him

OPPO Find X5 Pro on Unsplash.

One of the strangest (and longest) seasons in the Church Calendar is called Ordinary Time. It feels caught like a fish out of water between the high pageantry of Easter and the thrill of Christmas. Ordinary Time – when school is out, and warm summer days are glorious – is there some mistake? Any kid with a high love of summer would know that the church had yet again missed the whole point.

You’d be forgiven for thinking that Ordinary Time, despite its obvious insinuations for anglophones, means “boring” or even “not important.” It is not, after all, when the church gets a well-earned break from the supernatural, and things can be normal for a while. Nor is it when Jesus goes on vacation, alongside the rest of us. Despite the “terminological abomination” that is Ordinary Time (George Wiegel), Ordinary Time is when the church leans into the fact that all of life is sacred. All of life has meaning. Why? For Christians, it is because God decided to become human in every ordinary way, to bless and remind us that life is not so ordinary after all.

Because of this, no day can be a “time out” from the supernatural. Every day is now holy. And this is the riot of Ordinary Time.

The fact that God decided to walk our history in our shoes means that God’s life is available in all alleyways, everywhere, every minute. This means that every child whose knee has been scraped, and has been comforted, is in God’s territory. Every joy of friendship, and even rejection, has been experienced by the God-man. Every pubescent crush is understood. Every badly crafted project in our dad’s workshop or mom’s flour bin has also been in Mary’s kitchen or hanging on her wall. When Christians worship this God, they know that they worship someone who experienced everything that they are experiencing – every joy, every terror, and even the humdrum in between.

Because of this, no day can be a “time out” from the supernatural. Every day is now holy. And this is the riot of Ordinary Time, which has no holy-days but is itself one long holyday-holiday. And so, the church calendar is attempting to do precisely the opposite of carving up life into sacred and secular, a false division if there ever was one. The Church calendar integrates all things into the life of God who was also human, and so can testify to the goodness of jam and the horror of loneliness. This calendar, far from an attempt to lift people out of ordinary life, was an attempt to root them in the One who makes all things extraordinary. It’s no wonder that the chosen color for this season is green – that of new life, vibrant in its small seed-like ways, growing imperceptibly but persistently.

And this is why, when Christians have been vigilantes against things that prioritize the supernatural over the natural, the church has flourished for all classes. Even the good old stodgy Reformation forefathers (with their frilly collars) championed ordinary life as God’s sphere, against those who held it as lower on spiritual scale. Or again, there were Victorian priests like M. F. Sadler who intuited the dangers of church elitism and railed against “mischievous” theology cut-off from ordinary life. Or what of George MacDonald, Scottish pastor and fantasy writer, who says that Jesus’ miracles only seem like miracles because we take everyday life for granted. “How many more have the marvel of vision than those blind whom the Lord has healed.” He calls God the “divine alchemist,” turning every meal into a eucharist, not just the bread and wine on the high altar.

Today is the stillpoint from which all the days since our birth have been stretching forward. And today is the point from which all days rush toward our end

“Ordinary Time” in the Church Calendar is the season of the sacred ordinary. Or the ordinary extraordinary. Fifty days after Easter is “Whitsun” or Pentecost when, according to the history of the early church by Luke the doctor, the Holy Spirit came upon all people – young, old, men, women, Greek, African, slaves. The Spirit (and love) of Jesus was handed over to these ordinary people to continue what Jesus started. And that day the church was born. And here we are, 2,000 years later, as the same ordinary church, invited to hallow something as ordinary as time itself. How differently would we live, if we were able to recognize the unutterable preciousness of today? To be aware that we will never be given this particular day again? Today is the stillpoint from which all the days since our birth have been stretching forward. And today is the point from which all days rush toward our end. Without knowing this, and finding ways to honor it, can we be living at all? This is the invitation of Ordinary Time.

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Comment

Paganism

Sport

28 July 2024

8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim May

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.

da Vinci's Last Supper.

Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.”

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power.

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable.

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos.

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture.

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion.

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire.

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation. Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection.

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where:

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter. The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.