Blog action day- land and food…

This is my contribution to Blog Action Day 2011…see here for more details.

The theme of this years action day is- food.

But I wanted to talk about land. And poverty. And I want to do this via a lesson from history, and using the voice of a dead poet. (What else would you expect?)

Because the land and food (and poverty) are rather linked- it is from the land that we are sustained.

Most of us have no connection to the land any longer. We westerners live in an artificial urbanised world, in which all provisions, all groceries, all produce, are available all year round no matter what the season- all courtesy of huge supermarket companies, and a fleet of containers, aircraft and road miles.

Increasingly, as the current economic dysentery is stirring the belly of capitalism, we are asking questions about how this insulation from the blood  and dirt of food production might be making fools of all of us. It is resulting in a kind of sickness- in which we are addicted to instant, processed imitation food, in which taste has to be added chemically. We are getting fatter and more sclerotic with each mouthful, and once hooked, kicking the habit is near impossible.

Sure, there are dissenting voices- like shiny red apples in a burger bar. The slow food campaigners and those wonderful allotmenteers and land sharers- but despite the rising food costs and increasing poverty gap in the West, for many of us, these choices are about lifestyle, not necessity.

Most of the people in world have a different connection to the land- one of absolute dependency. If this connection is broken- they have a choice- starve, or become refugees. Either way, communities are broken and culture is scattered. The very stories of these people are submerged and silent.

Most news reports focus on drought, or war, or corruption as the cause of these events- and all of these things play their part. Mostly as symptoms rather than the cause however. I am not one for oversimplifying things as a rule, but the issue is really about-land.

Ownership of the land

Stewardship of the land

Access to the common land

Use of the raw materials from the land

I mentioned a lesson from history- and it concerns our own diaspora- sent out from these shores as a result of the greed of land owners and the separation of a whole culture from the land.

As I write this, I expect that many of you will be thinking of the Highland clearances. Lamented in story and song, so much so that something of it has entered into the consciousness of not only modern Scotland, but also into the new cultures spawned from this exodus- in the USA or Canada or Australia.

But this is not the story I want to remember. Rather it is another one, forced on communities the length and breadth of these islands over a period of around 200 years and known collectively as ‘The Enclosures’.

Battle was joined around the Tudor times- land owners started to make ‘improvements’ to the land- enclosing common pasture in order to grow cash crops in fields. Stripping away the ancient rights of those who lived hand-in-soil.

There were riots, and for a while economic circumstances preserved the status quo. But progress was unstoppable. Money was to be made.

And so through the 18th and 19th centuries, a whole series of ‘Inclosure Acts’ were passed by Parliament. These enclosed the common land, often to the benefit of the landowners, and compensated other land users with parcels of inferior land- which they had to enclose, or lose. Many could not afford to enclose, so lost.

Between 1700 and 1890 over 20% of the total land area of England and Wales enclosed by Acts of Parliament- of which 2 million acres were common lands.

And so the connection was broken. And a new kind of slavery was born- to the machines. On the back of this removal from the land, working people found themselves working in the factories of the land owners- and a new industrial age was born, with all its black shadows and shiny new product, from mechanised spinning and tin soldiers to i-pads and sports cars.

This is our history- that of Great Britain. It is a history of an enforced removal from the land, and a replacement of this with something else. And in doing this, we have lost all respect for the place that holds us. Economic necessities govern our food production, and those who still seek to make a living from the land are under incredible pressure.

The rest of us know little about food- for us, land is only important in as much as having a large driveway is a good measure of personal success.

And it is happening anew.

In South Africa, in India, in Brazil, in Haiti.

This is not meant to be a rant against supermarkets, or the evils of capitalism. Rather it is an attempt to find again some connection to where we come from, and what still we look to feed, clothe and sustain us.

We might do this by planting some seeds, or finding out more about the origins of the food we eat. But I am a poet, so I look for connections through the stories and songs that emerge from who we were, and what we have become.

Has anyone heard of John Clare?

John Clare, our most remarkable poet of the English countryside, was born in the village of Helpston, Northamptonshire and raised as an agricultural labourer. Clare’s genius was his ability to observe and record the minutiae of English nature and every aspect rural life, at a time when enclosures were transforming the landscape and sweeping away centuries of traditional custom and labour. 

Following great success with his first published poems (outselling even John Keats) Clare quickly became unfashionable, falling quickly into literary obscurity. The magnitude of Clare’s achievement and poetic genius was not fully appreciated until the recent publication of a first complete edition of his poetry, much of which had remained neglected in manuscript archives for 150 years. Now scholars worldwide regard him as one of our leading poets gradually affording the same status as reputed poet contemporaries such as William Wordsworth and S.T.Coleridge. 

(from here.)

John Clare began as a poor labourer, cursed and blessed with the sensitivity of a poet- at a time when everything he knew was changing. He went mad, alienated by his gift and his broken connection with the land that he loved, living out his final years in an asylum.

And he wrote like this-

The Gipsy Camp

The snow falls deep; the Forest lies alone:
The boy goes hasty for his load of brakes,
Then thinks upon the fire and hurries back;
The Gipsy knocks his hands and tucks them up,
And seeks his squalid camp, half hid in snow,
Beneath the oak, which breaks away the wind,
And bushes close, with snow like hovel warm:
There stinking mutton roasts upon the coals,
And the half roasted dog squats close and rubs,
Then feels the heat too strong and goes aloof;
He watches well, but none a bit can spare,
And vainly waits the morsel thrown away:
‘Tis thus they live – a picture to the place;
A quiet, pilfering, unprotected race.

But, back to the enclosures- here is another of his poems

Accursed Wealth

Oh who could see my dear green willows fall
What feeling heart but dropt a tear for all
Accursed wealth o’er bounding human laws
Of every evil thou remainst the cause
Victims of want those wretches such as me
Too truly lay their wretchedness to thee
Thou art the bar that keeps from being fed
And thine our loss of labour and of bread
Thou art the cause that levels every tree
And woods bow down to clear a way for thee

I first came across John Clare thanks to hearing Chris Wood’s song, ‘Mad John’- from the Album ‘Trespasser’.

Here is the only version of the song I could find. May the spirit of John Clare call us back to the land, and remind us to listen to the voices of the dispossessed wherever they may be heard.

Worship music remix 1- introduction…

This is the first of a series of post on worship music. My current working titles for he others include ‘Authenticity/Creativity’, ‘Transcendence’ , ‘Songs of community’ and ‘What is so special about singing anyway?’- hopefully these will emerge over the next few weeks. But in the meantime, here is a bit about my own journey, in which I have to acknowledge some rather negative aspects to my experience…

I have written before about my own previous encounters with worship music- the practice of which has been extremely important to me.

I started out singing in a church choir. I had a high pure voice as a boy, and sang solos in church. I learned to play piano, and church organ- earning some pocket money playing at weddings and funerals.

Later we discovered simple choruses- and during the late 70’s and early 80’s I started playing guitar. We played simple songs such as ‘We have come into this house’ and ‘Freely’, and were indebted to the songs of the ‘Fisherfolk’, whose music became the soundtrack to the Charismatic revival that swept through the Church of England. I still feel a strange nostalgia for the simplicity and ‘wholesomeness’ I remember from this time- and the music was a huge part of this.

I then spent 15 years as part of a large independent church in the north of England- in which my major contribution was musical. I eventually became the leader of the music team. We made a journey through all the waves of new church music that emerged- at first it was all sourced via new songbooks- which would come out every now and then- but later the machine that poured out songs  (mostly from America) used many different portals- books, CD’s and increasingly, the internet. Vineyard soft rock worship was something we constantly imitated- although the shiny happy Hillsongs worship always left me a bit cold.

Following a move to Scotland, I continued to lead worship- now in a small Baptist church. Through connections there, I also became slightly itinerant- leading worship in the USA, Europe and for some different events in Scotland.

Then I stopped.

I found it increasingly difficult to sustain any kind of passion for this kind of worship. It had become so formulaic and anchored within a narrow world view- based on  set of core assumptions that were all-dominant even if rarely spoken. I was increasingly finding myself at odds with these assumptions, which were grounded in a particular American Evangelicalism.

Then there was the place of this kind of worship at the centre of all of our services. At first, worship music was all about FREEDOM- it was the means by which we escaped ritualistic liturgy and ‘made room for the Spirit.’ Except the longer we did this, the more liturgical and rigid we became. The formula went something like this-

Open service with a time of ‘praise’- 

Upbeat high energy praise songs. However, there were (and presumably still are) far fewer exuberant praise songs than quieter ones, so we tended to do the same 10-15 or so over and over, after which typically the kids will leave for Sunday School, and we hear notices.

Time of ‘worship’

We then have more singing- quieter songs now which worship leaders try to theme slightly, with a nod towards the coming sermon. In my experience, we often talked about worship being about a much broader thing than just music, but in practice other artistic forms of collective worship had little part in our services. The odd bit of drama, or music/power points. Possibly a bit of dance. The job of the worship leader here is to generate some intensity and expectancy as we prepared to hear the preaching of Gods word- mainly by singing songs.

The sermon

Teaching within this tradition is of paramount importance. We talk of being ‘fed’ by this teaching, and skillful preachers were the top of the tree in terms of status. The very best preaching has this goal of creating a climax– you could call it a spiritual/emotional crisis- during which the congregation is expected to ‘make a response’. This might mean coming forward for prayer for healing and deliverance. The public nature of these crises is valued as some kind of statement before man and God, but I have long wondered whether it might also serve the purpose of measurable ‘success’ of the peaching.

And while all this happens, the music has a vital role again- ecstatic, emotional love songs to Jesus. Matching/creating/heightening the emotion of the event. A benign manipulation of our emotions in the name of Jesus.

The sending out

The last part of the service was about commissioning the congregation to go out into the world, changed by their encounter with God in the service. Songs tend to be more martial, triumphalist and perhaps more hymn-like.

All of this can be energising and vibrant- it can also be very ego-centric for those of us on the stage.

That is not to say that all this has no value- but I think we greatly exaggerated it. People were challenged and even changed in these services, but most were not- they were just caught up in the weekly merry go round. I once heard these services described as like a weekly wedding with the same couple getting married each time. And me, the wedding singer.

About 5 years ago I decided that I could do it this no more. The ‘crisis point’ of services seemed to me increasingly to be manufactured and divorced from the reality of the lives of the people present. At worst it became a religious show- a pep-me-up for the dwindling faithful. The particular context I was part of did not make this easier as there was also a surface dishonesty about levels of conflict and political in fighting.

There were other reasons why I walked away- firstly, theological ones. I found myself adventuring into new ideas, questioning and rediscovering aspects of my faith- and the Evangelical assumptions of many of the songs I had previously used became very difficult to sing. They tended to be strange quasi-erotic love songs to Jesus, or triumphalist war songs for the army of God. They use the Bible as source material- but only parts of the Bible that come pre-packaged by Evangelical assumptions.

And they tend to be American, arising from the cult of the super worship leader- a strange cool guy (mostly male) who has an expensive guitar. His music only finds wider release if he is marketable, and hopefully photogenic. Then the music goes into a highly profitable (but not necessarily prophetable) machine, which spews out visuals, CD’s and sheet music for the whole band. All worship leaders have their favourite super worship leader. We aspire to be like them, and to make music that is a second rate version of their music.

Secondly, I was discovering other forms of worship that I could connect to in a different way- both older forms of worship (from a contemplative tradition) and also new forms of ‘alternative worship’, which had more in common with performance art that with praise and worship as I had used to understand it.

I am a few years down the line now though- and have been involved in many a prayer room, curated worship space or wilderness meditation event. These experiences are very precious to me, in my on going attempts to reach towards God, and to offer my worship.

But I still love to sing. Gatherings with friends still often involve getting out some of the range of instruments our family have accumulated. And within my community (Aoradh) we still sing when we gather from time to time. What I have however, are a set of open questions that I am still working through-

  • Where are the songs of lament, of thanksgiving, of hope, of brokenness, of joy, of doubt, that fit this new context?
  • What songs are counter cultural- challenging the idolatry of the consumer driven unsustainable way of life our churches are embedded within?
  • This new context- what songs might collectively release us towards a different kind of mission? Encourage us to seek after justice, truth, beauty- and when we find it, to sustain it?
  • If these songs are the cultural carriers of our theology- then what of our faith do we want to celebrate? How do we move towards songs that are more open, less reductionistic, more comfortable with mystery and less concerned with the promulgation of fake certainty?
  • Where are the songs of community- not of individuality- all of that personalised spirituality from the God of success?
  • Are there different kinds of songs needed for small community contexts?
  • Why do we need to sing the songs of the machine- how can we encourage local expressions emerging out of community?
  • What of the old is still usable? From the 1560s or the 1960s?
  • I long for poetry- deep and honest lyrics. I am sick of the same old sacred rhymes- grace/face, love/above, sing/bring. We can do so much better.
  • I long for music that carries emotion, not just a steady tune. Where are the solo instruments, and the complex rhythms and harmonies? I am so tired of soft rock.
  • Is all this just because I am looking for something new, something trendy? Am I overreacting?
So, the journey continues- think I will go and get my guitar…

Soaking in some culture…

M and I are just back from a lovely couple of days in Edinburgh- I had to attend a meeting about mental health improvement (which was actually really interesting- might say more about this later) and so we took the opportunity to go together and spend some time in the City.

And we found ourselves drawn like hungry creatures to the great honey pot of culture that can be encountered in Edinburgh. We spent ages in bookshops, music stores- and more interestingly, in art galleries.

Michaela spent 4 hours in the David Mach ‘Precious light’ exhibition– and was so captivated that she then took me in there too.

You enter the exhibition through a space filled by three crucified figures- the power of which are simply inescapable.

Then you enter a series of galleries full of art inspired by the words of the King James Bible. They are astonishing- huge collages of explosions of images- disturbing combinations and all sorts of mysterious weirdness.

This is the only exhibition I have ever been to where people walk round with tears running down their faces.

My favourite were a series of collages of heaven- in 4 seasons, juxtaposed with grotesque collages of hell, set in lots of cities. As Michaela pointed out- the heaven images were not nearly as powerful- mostly just lots of folk in happy activity- but the contrast with the hellish ones was electric.

Michaela’s favourite was a nativity scene- this does not begin to do it justice-

The other thing that you encounter in the exhibition are two heads- one of the Devil, and one of Jesus, made of matches, which are then burned.

Here is Mach talking about the Devil one.

The burning of the Jesus one was more controversial of course. Mach

The interesting question is whether such powerful religious art could ONLY be done by someone who is not religious? Could a Christian make art as powerful as this about the Christian story?

If you can- go and see for yourself…

 

Poverty in small towns…

A few years ago I found myself in the middle of one of those internet ‘spats’- you know the sort- a discussion forum kind of thing that becomes increasingly acrimonious and strangely hurtful.

It was a surprise for several reasons- firstly the discussion ranged across several different Christian sites, and a FB group which I had set up in an attempt to make connections around ‘emerging church’ types of issues. You would have thought that Christians would know better than argue about doctrine and practice wouldn’t you?

Secondly I was surprised how difficult I found the discussion. Insulated by cyber-space and in discussion with people I did not really know, I was still vulnerable. I think this was because I was so hungry for connection at the time, and the end result was the opposite of this. It felt like such an opportunity lost.

And finally because I felt something that I carried as a strength (my commitment to social justice) came under direct attack.

The issue raised was the ‘Emerging Church is middle class’ one. The evidence for this was that it tended to attract white, male, professional Christian malcontents, who lived in the suburbs.

Mixed in with this was a bit of a issue of funding- it was suggested at the time that the resources released to and by these groups tended to go no-where near the disenfranchised and marginalised parts of our society.

One of the protagonists was part of a church planting movement, whom I will not name, but clearly was fired with a passion for urban outreach, which for him meant moving out of the suburbs to live and witness in the city amongst the people in the greatest poverty and the greatest need. I admired and was challenged by his zeal, but pointed out that this was not the only way that the emerging church communities might engage with their context. I listed some of the ways that my own community tried to do this-

1. Many of us worked within caring professions- social work, community work, youth work.

2. Several of us where unable to work for health reasons, but still volunteered in LINK clubs, charity shops, community action.

3. Our group itself was made up of a fairly broad spectrum of people- several with acute MH problems, others in later years, and our activities were certainly not heavy on resources- everything we did was on a shoestring.

4. And we looked for partnerships with other community groups all the time- locating what we did in the middle of our town, not out in the comfortable outskirts (if indeed there are any!)

I also talked about the nature of living and working in rural/small town Scotland- the hidden poverty and stigmatising that can be part of such places- and how suggesting that poverty only existed in cities was rather silly.

None of this cut any ice. From his point of view, I think that social work was part of the problem, certainly not the solution, and all the rest was justification for not doing what Jesus wants us to do- which was to move to the city and work with the poor.

I think in some ways, I kind of agree with him. The comfortable life we live in Dunoon is a far cry from inner city streets. The question of how this integrates with a trying to live as followers of Jesus has exercised my thoughts constantly.

And no-one is a harsher critic of Social Work than I am- even though to blame my profession for poverty makes as much sense as blaming the police for crime, or ambulance drivers for car accidents.

But the fact is, I am here. My kids are here. My friends and my community are here. The measure of the life we live is how we might seek to live out lives full of Grace wherever we find ourselves.

And we should be careful about imposing our own passions and our calling on others. I wonder how things have gone for my friend. I genuinely hope that they have gone well, and that  good has been done in situations of real need. But my experience has been that wisdom comes with miles travelled- and a few failures/successes along the way.

The discussion is ancient history now but the reason I am raking it up again is because of a newspaper report I read today about my little town. Mortality and poverty rates are the third worst for any area across the whole of the Scottish Highland area. Only the Merkinch area of Inverness and Alness, south Wick have poorer measures. I sort of knew this instinctively, but it is still a surprise to see it confirmed by wider measures.

The picture of the whole county is similarly challenging- 18000 of the 60,000 people of Argyll and Bute live in poverty, and our take home pay is 9% less than the national average.

In the mix are high levels of alcohol abuse. Reports from the courts in our local paper are almost all alcohol related.

All this means that inequalities in health have worsened- those in poverty are likely to suffer poorer health than 10 years ago- and these people are also more vulnerable in the current economic climate, as public services are squeezed, and low paid jobs become more competitive.

How do you do anything about this? What combination of micro and macro interventions might begin to change it all? Whole reports have been written about all this (remember the Black report?)

It is never easy- but for sure, one important component is the heart and strength of the communities we are part of. The wellbeing we experience through connection and shared purpose and meaning. The learning of tolerance and respect despite all the usually opponents to these things.

We do not have all the answers- I am no Messiah, but this sounds to me like a calling. A Jesus kind of calling…

Dark reflection…

Part of some poetry written for Aoradh’s Pucks Glen meditation walk- another Cowalfest collaboration. If you are local- come along to the Glen next Saturday @ 2.00pm. You can book here.

The sun can only be seen in the light

Of the sun

And everything else is just

Reflection

~

Sometimes our roads lead through dark places

Places of uncertainty

Bridges between here-

And somewhere else

~

But darkness is often penetrated

From above

~

Like this falling silver water

The things you do on a wet Saturday afternoon…

William, Michaela and I set up a poetry/meditation walk in Morag’s Fairy Glen this afternoon- it will be up for the duration of Cowalfest– and is part of Aoradh’s contribution to the walking and arts festival.

It started out moist, and finished soaking wet.

Here we are, suffering for the Kingdom-

(Photos by William.)

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Standing at the edge…

Today I took a step closer to the edge.

Like most changes we face, this one is not of my choosing. I was told today that I would be receiving a redundancy notice- I will be invited to apply for a different job at my level (which I do not want) otherwise I will have a choice between a demotion or redundancy.

The circumstances of this are really rather strange- for reasons which I will not discuss here, but this means that for the first time in my career, I am facing redundancy. In one sense, I am fortunate, as I have a choice.

But perhaps (more scarily) I am facing an opportunity to take a leap into the unknown.

After 21 years of uninterrupted social work practice, then a chance is here to re-invent life and living.

I am not sure yet whether I will leap. There are lots of sums to do and business plans to work on. There is a skew in me towards safety. But a safe life is not the measure of value I want to look back on in 20 years time, should I last as long…