Editor's pick
Creed
General Election 24
Politics
8 min read

Voting is much more than a token gesture

The political practice can capture something heavenly.

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A sign reading 'polling station' stands by the entrance to a church.
Red Dot on Unsplash.

What makes an act sacred? Who it excludes, or who it welcomes? I found myself pondering  this looking at the thin metal discs in the box I’d pulled off the shelf. I’d seen their tagged under glass at Scotland’s National Museum. Now, in an archive housed in the old kitchen of our rural community’s school, I had my first chance to touch what was once called “the open sesame to the bliss of so great a mercy”, a Church of Scotland communion token. Now items for collectors, filling drawers in local history museums, they once were the necessary payment for participation in one of the rites at the heart of Christian worship. They were the coin that verified that its holder’s faith and morals had been examined by an elder of the kirk and been found satisfactory.  

Holy Communion, or the Eucharist as it is called in other churches, has its origins in the Last Supper, a meal of bread and wine Jesus shared with his disciples on the night before his crucifixion. Christians may disagree on the exact meaning of the meal, but all hold that it is, in some way, sacred and central to the Christian life and the recognition and celebration of Christian community. Communion tokens were but one example of a strategy that Christians have employed time and again to ensure that the mystery and sacrality of the meal is properly recognised: stopping the wrong sorts of people from participating in it. Ironically, in this we have often been much more discerning, or perhaps discriminating, than Jesus himself. The companions he chose to initiate the practice were a quarrelsome lot. They were mostly provincial fishermen more concerned with establishing their place in the new kingdom they imagined Jesus would establish after overthrowing the Romans than in participating in the meal with due reverence and seriousness.  

All who came were for that day, in that room, in that act, equal. All who came were welcome. No one was turned away. 

A year later, I found myself sitting behind a table in the rear of our community’s nursery. It was election day for the Scottish Parliament, and I had added polling clerk to the miscellany of part-time jobs I had taken after finishing my studies. We had all arrived early to ensure that we had time to wrestle enough string and cable ties together to secure the polling station sign around the ancient tree that marked the entrance of the nursery’s car park before polls opened at 7am. It was the first, and only time I have worked a sixteen-hour day, and my exhaustion at the end of it probably contributes to much of it being a bit of blur. What I do remember is the flow of people: mums in smart blouse and skirt combinations with kids in tow, fitting us in first thing before a stop by the childminder’s on the way to the office; tradespeople and farmers catching us between jobs, their trousers still spattered with paint or mud; scions of the local aristocracy; proud parents bringing teenagers to vote for the first time once the school day ended; a couple with a young baby, asleep for now, arriving just before closing, “We’re not too late are we?”.  

My fellow poll workers, two old hands, knew most of our customers by sight. I knew a few, mainly other parents I had met during school and nursery drop-offs, but it didn’t matter as the rite was the same for all. They would approach the table, give us their name and address, and once a line was drawn through them on our roll, they were given the elements, two ballots, one to vote for their constituency Member of the Scottish Parliament, and another to vote for their preferred party. All who came were for that day, in that room, in that act, equal. All who came were welcome. No one was turned away. All that was needed was their word that they were who they said they were. Once the ballots were completed, we made sure they put each in the correct ballot and then they were out the door, on to the rest of their day. 

Perhaps it is also true that sometimes, as much by accident as intention, we happen upon a form or practice in our shared political life which captures something of heaven. 

As someone who did my first voting in the United States, I was a little stunned the first time I cast a ballot in the UK. Instead of having to use a black ink pen to assiduously fill in ovals on a ballot that felt like an extended multiple-choice test, all I needed to do was make a single penciled ‘X’ on a half sheet of coloured paper and make sure it wound up in the secure box. Was that it? 

As I’ve reflected on that experience and had a few more goes of voting here, I have come to appreciate the elegance of the British approach. Instead of making the voter feel like an overwhelmed bureaucrat having to make a couple dozen underinformed choices on matters as diverse as national representatives, state laws, school boards, and local ordinances, the simplicity of the UK ballot means that what is centred is the social meaning of the act itself. We may be differentiated on all other days by class, culture, income, region, or football club allegiance, but in this act we come as close in our political practices as we ever do to touching something which Christians know, something which Christians sometimes see as they share Communion, that all these distinctions are ultimately passing, that beyond them each one of us is imbued with a dignity which the greatest worldly failure cannot take away from us and to which the greatest worldly success cannot add. 

There is a school of thought in political theory which says that all our most important political concepts are actually secularised theological ones. They say, for example, that our exalted ideas of state sovereignty find their origins in our forebears’ understanding of God’s. Theologians draw various lessons from this approach, some worrying that what it really reveals is that we have made an idol of the state. They may be right, but perhaps it is also true that sometimes, as much by accident as intention, we happen upon a form or practice in our shared political life which captures something of heaven. It is not wrong, I think, to accord such secular practices a certain level of sanctity. It is not wrong to call the principle of ‘one person, one vote’ in some sense sacred. 

No longer are we allowed to trust that people are who they say they are. They are assumed to be imposters until they produce a piece of paper which says otherwise. 

But once that sacredness has been granted, we face a very similar problem to the one faced by those early Scottish reformers regarding Communion. How do we ensure this sacredness is protected, that it does not become debased? A traditional answer has mirrored the reformers’ approach to communion: erecting hurdles to ensure that only the truly worthy are allowed to participate. The unmaking of this approach has been the slow work of centuries as the franchise was eventually extended down the social and property ladder to all male citizens and, then, belatedly, to all women as well. What I experienced at the polling station that day was a miracle secured by many years’ of struggle, reform, compromise, and collective recognition that what has made this act sacred is not its exclusion, but its welcome. In this it has mirrored the welcome of most contemporary Communion services in the Church of Scotland where participants are, to be sure, asked to approach the act soberly, having examined themselves and made confession to God, but where the default is to trust that people have done so. No longer are people considered unworthy until proven otherwise by their possession by a metal disc. 

When I first heard of the possibility of the introduction of Voter IDs at polling places, my mind immediately flew to how such laws were aimed in the United States. Like here, there is little to no actual evidence of voter fraud there, but in a country where the archaic system of the Electoral College means a few thousands votes in the right state can decide a presidential election, there is a real threat that such laws will sway election results. Here the influence of such laws is less clear. While they do seem to have a small effect of driving down participation, at last year’s local elections four pre cent of eligible non-voters cited the ID requirement as the reason they did not vote, recent election results have not been dramatically out of step with opinion polling.  

What I do worry about losing with these laws is a little bit of the elegance and dignity which has previously imbued the UK system. No longer are we allowed to trust that people are who they say they are. They are assumed to be imposters until they produce a piece of paper which says otherwise. It is a small change, but one which nudges the rite closer to being just one more bureaucratic transaction, a bit more like picking up a package or going to the bank, than one of our most important public rites. It is a precaution that seeks to preserve the sacredness of the act, but is chipping away at what it is that makes it sacred.  
If I wind up working in a polling station on July 4th, I will dutifully check every voters’ ID prior to handing them a ballot. I will send friends and neighbours home to get theirs if they’ve forgotten it. I will be careful to bring my own. I am sure if I had lived in former times in Scotland, I also  would have been careful to remember to take my communion token to church. Those are the rules of admittance and the rite is too important to skip. However, I will mourn a little for what has been lost and hope for more places where we recognize the possibility of the sacred dwelling in our practices of welcome, recognition, and trust rather than exclusion. 

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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