Weekend essay

Art

Culture

20 January 2024

9 min read

Wonder walls: will Manchester’s creativity save the city?

Manchester newcomer, and new bishop, Matthew Porter is bowled over by the city’s enrichening creativity.

Matthew Porter

Matthew Porter is Bishop of Bolton, in the diocese of Manchester.

Looking down on a man walking across a grid of large black and white portrait photographs of people's faces

The 'Inside Out: This is Manchester’ installation.

Manchester is the place to be. So thinks fashion house Chanel. It recently hosted its renowned annual Métiers d’Art show in the British city, billing it as ‘one of the most effervescent cities of pop culture and an avant-garde one, whose bands, spanning all genres, have changed the history of music.’ So thinks the English National Opera, who have just announced that Manchester is to be its new home. And so, think the investors who have pumped £242mn into Aviva Studios, a stunning new arts centre, billed as the most important arts venue in the UK since London’s Tate Modern gallery.

Cultural mix

Having recently started as new bishop in the Diocese of Manchester, I feel like I’ve arrived at a time of exploding artistic vibrancy, with the city and region rising to new cultural heights. The mix is rich and potent, edgy and interesting, young and confident, strong and loud. And yet not far from the coolness and affluence it brings there are still many areas of urban dreariness and scruffy social housing, often linked with deprivation and deep poverty, telling a different story of those who feel they’re being left behind, deficient in ambition and lacking in hope. Manchester is a real cultural mix.

Despite these contrasts, you can’t ignore the fact that much of Manchester is humming. The symbol of the city, the ‘Manchester Bee,’ feels apt and has rightly been revived, for it represents hard-work and industry, something the area is becoming known for again. But it’s a new kind of industry. It’s not the hard factories of the cotton mills but the softer artistic endeavours that are reclaiming the spaces and setting the tone. Astute and celebrated, the Mayor of Manchester Andy Burnham recognises and champions this, declaring recently that it’s the creative industries that are now the fastest growing sector in the city.

As a newcomer to the region, I’ve been wondering what I should make of all this artistic entrepreneurship. Is it good? Is it important? Is it helpful? To help answer these questions I decided I needed to see what all the fuss was about and so I visited the newly opened Aviva Studios.

Nestling in the heart of the city, on a riverbank, the venue is located in the renovated Granada TV studios building and provides a vast space for creativity. It’s already the home of the Factory International music label and the Manchester International Festival. I was keen to understand the vision and understand why so much time and energy and money has been invested in such a space. I wanted to know if it really is a landmark space for contemporary arts in the UK, especially in the North of England, and whether I’d be back.

So, I visited on the first day of the venue’s official ‘Welcome’ to the general public. There’d been a series of soft launch events which included Free Your Mind, a large-scale, interactive hip-hop dance reimagining of The Matrix, directed by Oscar-winning film-maker Danny Boyle. But this was now ‘open to the world’ time. I turned up with grown-up members of my family who work in various creative sectors and who were keen to explore, aware that the warm-up events had already garnered great acclaim from The Times to Aesthetica magazine. We entered and took in the aroma of fresh coffee and the bustle of noise, as a small crowd of diverse ages gathered round a pop-up stage enjoying the creative reading of a children’s story. The foyer stage was transformed every hour into something new: first a space for musicians, then actors, then artists and dancers, all entertaining and encouraging participation. It was fun and vibrant, with an intriguing and inviting family-feel, drawing people in.

Connective art

Good art does that. It attracts. It reels you in, not just to observe, but to get involved. I experienced something of that as we stepped outside and enjoyed an installation called ‘Inside Out: This is Manchester’. It was a simple black and white portrait-display of two hundred Mancunians. The large photos were set out in a group on a concrete floor, creating what looked rather like a giant board game. The idea was you walked over them, standing on them, in and among them. So, into the photos I walked, and to my surprise I soon discovered the experience to be visually arresting and intriguingly immersive. After a few minutes of wandering among the faces I stood to one side for a breather. I asked my family which face they found most interesting, and I pointed out the one that had stood out for me. At that very moment, I noticed that a woman walking among the pictures had stopped at the one I’d chosen and was crouching down. As I looked again, she appeared rather like the woman in the photo. ‘Hi. Is this your photo?’ I asked. ‘Yes, it is’ she replied. ‘I’m Carmen. I’m just here for a short time today and wanted to see it.’ ‘It’s my favourite’ I said, ‘It’s a really great photo. I love the way it’s captured you pulling such a strong face!’ ‘Thanks’ she smiled, going on to explain how the shoot had been taken, but that this was the first time she’d actually seen it. I was thrilled: the person behind one face out of two hundred that had caught my attention, happened to turn up at the exact moment I was there! It made me feel strangely connected to the installation and with the people of Manchester they represented. Such is the connective power of art!

Such art does what cathedrals of old have done, enabling us to look out and look up and see beyond ourselves into a greater vista. They are deeply valuable and enchanting spaces.

Quality design

From there we went on an architectural tour. The stairwells, the corridors, the foyers, and the meeting spaces were cleanly and elegantly designed, using strong but simple materials, emphasising curves and city views, encouraging you to walk on and see more. We were told how many spaces, especially the foyers, worked really hard, being multi-functional and could be transformed for different uses. The two main venues were impressive and huge: the Hall is a 1600-seat concert venue, and the Warehouse space could host 5,000, thanks to vast walls that can be opened to create one massive space. The quality, the design, the versatility and the technology was hugely impressive, all set up and ready to be a northern centre of artistic excellence.

Enchanting spaces

So what did I make of it? And should such creativity be funded in Manchester? In short, I liked it. In fact, I absolutely loved it. It made me realise how much we need good art, good artists and good artistic spaces. They enrich us and our environment. They touch us deeply not just in our minds but in our souls and cause us to ponder and wonder. Such art does what cathedrals of old have done, enabling us to look out and look up and see beyond ourselves into a greater vista. They are deeply valuable and enchanting spaces.

The experience was significant for me, and extremely positive. Not only do I want to go back but since visiting I’ve mentioned it to quite a lot of people and am finding myself to be a bit of an evangelist for the place! I didn’t expect that. It reminds me that good spaces produce good conversations. The fact that it cost so much might be controversial to some, but it’s hard to put a price on stunning. If it inspires people to great visionary endeavours and lifts people, especially those lacking in hope, to see beyond their horizons, then it’s money well spent. If it causes children and women and men to dream dreams and imagine new futures, then I’m behind it. If it helps people see beyond their present dilemmas and laugh heartily and cry deeply and love compassionately, then I’m a supporter.

I believe passionately in encouraging artistry and innovation whenever and wherever I can. For the God I serve is the great Creator and the inspiration behind all true creativity.

Deeper understanding

My visit to Aviva Studios must have been good, as it’s made me want to support and encourage the team working there. I found myself thanking everyone, and even took a leaflet about becoming a member. As a bishop, I feel on behalf of the church and city that I want to cheer on Aviva Studios, commending it and its boldness to the Greater Manchester area, for I believe passionately in encouraging artistry and innovation whenever and wherever I can. For the God I serve is the great Creator and the inspiration behind all true creativity. Not only has he made the universe and planet Earth on which we reside, but throughout history he has given artistic gifts for human beings to foster and share.

I agree with Japanese artist Makoto Fujimura, that ‘Art is fundamental to the human search for deeper understanding. Art, by extension of this reasoning, is fundamental to understanding the Bible,’ which itself is a beautifully and uniquely-crafted literary work combining human artistry and divine inspiration. Creativity then, is at the heart of God, and of his human creation. We need to express this creativity in all sorts of places, including our workplaces. Artist and crafts pioneer William Morris rightly says that ‘without dignified, creative human occupation people become disconnected from life.' But surely this is true not just of our jobs but of our homes, and especially of designated creative spaces. Without such creative places, like gothic cathedrals, beautiful parks, art galleries and now Aviva Studios, we can easily become disassociated from the wonder and joy of life. We need good spaces to stir us and send us.

Innovative leadership

As a bishop who wants to see our churches growing and communities thriving, I welcome the new Aviva Studios as part of the cultural landscape of Greater Manchester. I want to enjoy it, visit it and share it. I also want the church to learn from it, for churches are meant to be places of Christ-centred worship and mission that are indigenous, reflecting the good things of their cultural environment. Manchester’s burgeoning creative culture is a good challenge to the church to be similarly creative, and not just in a reactive, but proactive way.

Churches have often been centres of creative excellence in the past, which is often when they have been most vibrant. They tried new things and become breeding grounds for creative people and innovative leaders. Interestingly, despite many churches struggling in the UK today, I see more signs of vitality and pioneering cultural leadership now than I did ten years ago. Most days I come across entrepreneurial church leaders who are brimming with fresh thoughts and renewed vision for their communities. Some even have bold and brash ideas that are being turned into reality, like purchasing, at considerable cost, an old army barracks in the centre of Manchester. Once renovated it will be a stunningly creative space for young adults, to serve the city and from which many new churches will be planted in the future. I’m all for it. Let creativity arise!

Creative people

Aviva Studios is an impressive building, designed to be a modern cathedral of contemporary cultural creativity in Manchester. It confidently declares a positive future for the arts, shouting loudly and proudly that Manchester is the cutting-edge city for creativity in the region and, should anyone be unsure, it really is the premier metropolis of the North. But perhaps more importantly I hope its impact will not just be the vast and impressive multi-million pound building, but the greater creative legacy it leaves in people, in those who are shaped by its art.

Rabbi Jonathan Sacks, who was Chief Rabbi from 1991 to 2013 expressed something of this when he said:

'We are shaped by our environment, but we can also shape our environment as well. We are created, but also creative.’

My prayer is that Aviva Studios and the other new artistic ventures will release more creativity across the city and region, across all ages, social sectors, and ethnic groups. Not only will this lift our sights, but it will stir our souls, and cause us to wonder at the Most Creative One, the God and Father of our Lord Jesus Christ.

Essay

America

Comment

Leading

Politics

31 October 2024

6 min read

Democracy, hypocrisy and us

A deep dive into the pitfalls of political vision and our response to them.

Josh Richards

Josh is a curate in London, and is completing a PhD in theology.

Donald Trump holds his arms out to his side while speaking.

Trump addresses a faith leader event.

x/realdonaldtrump.

Coverage of the Republican candidate for Vice-President, J.D. Vance can't help but return again and again to his Christian intellectual influences. Whether it's an interview with Rod Dreher or an analysis of Patrick Deneen and other 'New Right' thinkers, many US political journalists are having to give their readers a crash course in some of the most controversial ideas in contemporary theology. One recent Politico article stands out because it didn't just introduce an unsuspecting audience of political obsessives to an obscure theologian, it also told them (us) about contradictory ways one might read said obscure theologian. And yet these contradictions force us to confront a difficulty facing anyone engaged in democratic debate.

In the article , Ian Ward sought to explore the impact of Rene Girard's scapegoat mechanism on Vance. In doing so, Ward underlines the importance of Girard's ideas in the intellectual circles around J.D. Vance and his mentor, Peter Thiel.

Girard, a French academic who died in 2015, is remembered foremost for his analysis of the relation between desire and conflict. Girard proposes that desire is ‘memetic, that is to say, it mimics; I want what I see that others want. This naturally leads to conflict, a conflict that can only be resolved by a scapegoat. Identifying a scapegoat, an out-group, is a force powerful enough to create a sense of solidarity between those would otherwise be in conflict over shared desires.

The Politico take considered how Vance's reading of Girard might relate to Vance's defence of his running mate's false suggestion that Haitian immigrants are eating their neighbour's pets in Springfield, Ohio. It went as far to suggest that—rather than a rejection of Girard's analysis— Vance could be understood to be applying a pragmatic reading of Girard. Ward writes:

Though Girard never said so outright, some of his interpreters have argued that Girard’s idea of the Christian ethic — which in theory offers an alternative to ritualistic violence as a basis for social cohesion — cannot in practice serve as the basis for a large, complex and modern society.

Scapegoating is inevitable, deploy it to your advantage. We cannot know how exactly this or any reading of Rene Girard factors into his political tactics. What we can know is that Vance's public fascination with big ideas opens him up to a charge upon which a healthy democracy depends: hypocrisy.

In contrast, there is often a surprising transparency to Trump's appeals to self-interest, Addressing a audience in July, Trump declared:

Christians, get out and vote, just this time. You won't have to do it anymore. Four more years, you know what, it will be fixed, it will be fine, you won't have to vote anymore, my beautiful Christians.

As much as Vance and others try to change this, there is little ideological content, no substance behind ‘Make America Great Again’ insofar as Trump tells it. It is politics at its most transactional and what Trump offer his supporters, beautiful or otherwise, is so often a scapegoat. Trump tends to be pretty open about this and, as ugly as this kind of politics is, there is a strange kind of honesty to it. But Vance is different. He has big ideas. And however weird you may think these ideas are, and however much tension there seems to be between his love of Rene Girard and his scapegoating of Haitian immigrants, democracy is better for that tension. Constructive democratic debate, in some sense, depends on hypocrisy. Without it, democracy would be nothing more than a negotiation around mere self-interest.

A politician with an ideological vision is one that can be held accountable. Keir Starmer's recent decision to pay back £6,000 worth of gifts is a case in point. Had he not sought to set himself as a contrast to the Boris Johnson of Partygate, the criticism of his accepting clothes and tickets would not have had the same bite.

Stumbling into politics haunted by a sense that things could be better will make us hypocrites on impact.

The first generations of Christians encountered a similar problem. The law they believed that they had received from God showed them a vision for the good life just as it revealed all the ways they fell short. As the early church leader Paul wrote: “through the Law comes the knowledge of sin.” We might add that through political ideology or aspiration comes the knowledge of political hypocrisy.

Had Vance never publicly explored Girard's theory, if he were only an opportunist more like Trump, we would have one less means by which to hold him to account. Every politician will be found lacking when judged by their public ideological aspirations. And the more ideological aspirations, the greater the charge of hypocrisy. Hypocrisy will always be found wherever we find people debating and aspiring to ideas more perfect than they are. I'm not defending any individual hypocrisy; the residents of Springfield, Ohio and newcomers across the US deserve so much better. Hypocrisy is always disappointing, but it is less disappointing than the alternatives: either a naked pursuit of self-interest or a naïve expectation of ideological purity.

The question for each of us in a democracy is how we live with hypocrisy, expecting it while still expecting more from those who wish to serve us in public office. And a moment's introspection reveals that it is a charge that confronts each of us also: the shaming gap between my aspirations for my life and the reality. To ask how we live with these hypocritical politicians is really to ask how we live with ourselves?

With that we return to Girard. He claimed that Jesus Christ willingly became a transparently innocent scapegoat and in doing so undermined the mechanism. In the Politico article, Vance is quoted as follows:

In Christ, we see our efforts to shift blame and our own inadequacies onto a victim for what they are: a moral failing, projected violently upon someone else. Christ is the scapegoat who reveals our imperfections, and forces us to look at our own flaws rather than blame our society’s chosen victims.

The exacting logic of the crucifixion prevents us from scapegoating even the scapegoating politicians.

But Jesus’ death is more than an embodied social critique. In coming to us and dying in the person of Jesus, God showed his love for imperfect people struggling under the weight of perfect ideas. He came to give the home and safety we all desire, offered freely to hypocrites. The point of Christ's death is not, at least in the first instance, to inspire me to treat others better. It is God's unconditioned offer to the broken and hypocritical, as the broken and hypocritical, not as he'd rather we be.

Paul puts it like this: "God demonstrates his own love for us in this: While we were still sinners, Christ died for us." Yes, God's grace is too dramatic, too strong not to provoke us and empower us to change, but his love comes to us before any change. It comes to us as we are, nursing our pitchforks and that self-righteous sense that it's all really someone else's fault.

Stumbling into politics haunted by a sense that things could be better will make us hypocrites on impact. We must not excuse this hypocrisy; we should hold ourselves and our leaders to account. And yet we can do so gratefully haunted and gratefully held by a God who came for hypocrites.