Tag Archives: theatre

Chapter 47: sounding the Hours of the Divine Office

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For all things ought to be done at the designated hours.

When do things happen?

There is an organisational tool that I have found useful in creating spaces for creative conversations called ‘Open Space Technology’. I have described this many times over the last few years and have been exploring its uses in different practical contexts in my ministry. Within the world of Open Space there are some principles which guide people into more creative thinking; a narrative framework, if you will. One of those principles suggests:

Whenever it starts is the right time. The real impact of this principle is to serve important notice about the nature of creativity and spirit. Both are essential, and neither pays much attention to the clock. (Harrison Owen, Open Space Technology: a user’s guide (3rd edition),(San Francisco: Berrett-Koehler Publishers, 2008) p.93-94)

In the creative context this principles is true. If you say you’re going to begin a rehearsal at 3pm that doesn’t mean that the work begins at 3pm, you can’t switch it on like that. Creativity has its own time.

In this way the Divine Office is not a creative exercise. It is more about obedience to God than about creating some profound experience. We cannot put God on the clock but we can put our clocks on God, by which, I mean, we can give up our time for God and turn up whether he chooses to speak to us or not. A monk goes to prayers because he has given up his life to serve God in prayer to build his life around his times in prayer not the other way round. This life choice is so alien to us because we want to be in control of our lives, we think we know what’s best for us and we don’t like being told what to do, we don’t like being beholden to someone else. Obedience challenges us.

It has been interesting to witness how the above principle of Open Space comes undone when working with a specific group of people, namely in a community. I wanted to use Open Space Technology with a group on a weekend away to encourage a creative conversation about what lay ahead for us as a group. Several people were late for the start and so, as the leader, I had to decide when to start the introduction and explanation to the format and principles of Open Space. There were some who were keen to start without half the group but it fell to me to decide whether I prioritised another principle of Open Space Technology (‘whoever comes is the right people’) over the principle of starting, i.e. do we allow latecomers to control when things happen or do we set a rhythm which they chose to enter into or not?

I have heard the same conundrum occurring in creative communities such as a theatre company who uses Open Space in their process. If you are expected to be present at a rehearsal and you’re being paid to be there how far do you stretch this particular principle? One of the company suggested an amendment for occasions like the one described. They explain the principles as being ‘true’ within the world of Open Space, i.e. the normal world does not run on the principles stated in Open Space Technology. Once the community/company is gathered then the principles begin, outside of that context the principles are not lived by. There is something here about entering into the spirit of a different world.

The reality is, for life with others there needs to be agreed upon rules and regulations; why? It is because there are some instincts of our human nature which need to be disciplined and controlled. Obedience is a foundation to life together because it shapes our character to be one which looks beyond our own wants and desires. Open Space, I find, works best when the participants are committed to the wellbeing of the others. This is not to say it Open Space can’t work without this but it takes more time to see the benefits of Open Space without them. The principles shape the character of people but it helps speed up the process if the character is modelled. If used by an unbridled individualistic spirit then Open Space can quickly become ineffectual. All the principles require, I think, I genuine humility and commitment to the common good to work most effectively.

As I said when I spoke of latecomers, time-keeping is about ensuring no one controls his/her brother/sister by turning up when they feel like it. Lateness creates power play and it is unhelpful when sharing life with others. One must always be looking to prioritise the desire of others above one’s own. The time of another should be more precious then mine and if I waste it then I am not treating that gift with due reverence.

Reflection

Within the life of a community there are some set times for certain activities, activities that everyone needs to be at. Setting the times for these activities can be impossible to ensure everyone can be there. As I continually wrestle with arranging gathering times for people I have come to realise that sometimes a time must be set and people choose to prioritise it or not. If they don’t then that tells you a lot about their commitment. This is not to say that some people have genuine reasons why they cannot be present but that there is often a sad realisation when people would rather be somewhere else and do not share your interest in the activity.

In the Benedictine community, prayer is an absolute must. If you do to turn up to it you are failing to see the centrality of prayer and are denying your vows of obedience to God. In any community there needs to be an articulation of the activities which are central and those which are more optional. To decide on which activities are central a community must ask itself; what is going to shape us into the kind of character we want to be (in Christian contexts this should read ‘the character God wants us to be’, to which the answer is always Jesus!)

In the busy-ness of life outside the cloister walls, community rhythms and times together are tricky to police. How many times must someone miss out on gathering together before it becomes difficult to be genuine community? What are non-negotiable activities and what are up to the free-will of the community members? How far does the abbot figure ‘force’ community members to participate for the training in obedience and character? Where is the role rebuking and challenging fit within a community?

Within parish churches, the Sunday services remain an open house event where anyone, whether they are an active member of the church community or not, can turn up and be present. I feel there needs to be another space which is for those who have expressed a desire to be more committed. This seems very clique-y and the establishing of a different class of membership but, through the experience of many monastic and new-monastic communities, the presence of overt and public statements of commitment is helpful in the transformation of a person. Baptism should be this action but, for many reasons, this is no longer the case in most Anglican churches. The point of these public commitments is the placing of one’s desires and wills under the authority of God, and therefore His Body, the Church. The community then is the place where you are discipled into the character of that community: Christ.

Loving Father, you call us to obedience within your family, the Church. Help us all to hand over our time and priorities to our brothers and sisters. May we learn through obedience to so shape our lives that we may be used by you as you see fit.

Come, Lord Jesus.

Chapter 31: the cellarer

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He will take care of everything, but will do all under the abbot’s orders.

How then shall we live?

I have been a public critic of the isolated, CEO-styled leadership within the church for many years. Even when a leader ‘builds a team’ around them it can remain under their power and responsibility; no decision of any importance is made without them knowing of it. It seems sensible enough: if the buck ends with you, you’d want to be aware of the risks. A church can be a large ship and, therefore, needs decisive and visionary captains to steer it through decisions and strategies. This cannot be done through committee as disagreement costs time and and can divert the ship off course to their ultimate goal. With this understanding of ministry the pyramid structure of leadership is the most efficient and effective.

What if that wasn’t the aim of Christian ministry? What if the church wasn’t meant to have a five year plan because it had an eternal plan? What if the plan was not to have a militaristic styled strategy of ‘take-over’ the world because the plan was to simply live as if this world was of no threat in the light of the resurrection? What if the church was meant to be a gathering of people who were committed to living more like Jesus together and establishing a Kingdom which played by completely different rules to that of the world in which they find themselves?

In this sort of community there is no need for a head because the direction is not one person’s possession which he/she allows others to be a part of but the direction is set by a Spirit which is discerned collectively and owned collectively. In this model the community is like a family. What kind of family sits down and discusses their five year plan? Would they choose, at a family gathering, which of them is going to ‘lead’ the family? Is a father more important than a mother, one sibling more important than another? The one who cooks, are they deemed more responsible than the one who washes up?

In the Rule of St. Benedict, the role of the abbot is clearly a ‘leader’. I’ve read many articles, theses and books that use the role of the abbot in a monastery as a model for spiritual leadership and I’d agree with most of them but what is interesting is the role of cellarer; are they a leader or not? if a leader then a lesser one than abbot? The cellarer is under the authority of the abbot, for sure; it clearly says that but what kind of authority does the abbot wield over the cellarer? A humble oversight of the spiritual health of each and every monk. The role of the abbot is to ensure that, on the Day of Judgement, the monks can stand before God pure and holy in his sight. The spiritual health of the monks will be the measure of the abbot’s faithfulness to Christ. It is a heavy responsibility. The abbot is a teacher of the faith,

he should show them by deeds, more than by words, what is good and holy.

The abbot is an overseer and is entrusted with the task of ensuring the ethos and character of the community is that of Christ. He is not to be the decider of action; that is left to others. Although there is a complex relationship between character and action there is a distinction between the two. Whether our actions drive our character or the other way round it is clear that character is ‘being’ and action is ‘doing’.

I saw this this week and it made me smile!

In this understanding the abbot is the overseer of the community’s ‘being’ but it is the role of someone else to oversee the community’s ‘doing’. In St. Benedict’s understanding the ‘doing’/action must come from the ‘being’/character but it is not his role to decide what that ‘doing’/action is. The abbot establishes a partnership with others. This partnership is entered into by humble servants who are focussed on the weight of their respective roles. They must not be mistaken that their role is the highest but rather the lowest being always aware of the fallen nature of humanity and the insurmountable, unending task that lays before them; how to be the Body of Christ in the world.

The monastic call has always developed in times and places when the church is asking one question,

How then shall we live?

In the dust clouds of the falling worldly empires and structure, godly men and women have fled to the edge lands and asked this question. This question has led these gathered survivors first to silent mourning,confession, repentance and prayer; in this they strip themselves of the ways in which they were caught up in the dying empire and dismantle the inner constructions of the empires within themselves. After this confession and repentance they begin, slowly, to live out the basics of faith; to live simply, not to complicate things or move quickly. At each step they ask this one question. How do they discern what is right and wrong? by asking ‘Does it look like Jesus?’

Looking like Jesus is a character issue – pure and simple.

In order to answer, ‘What Would Jesus Do?’you must first ask ‘What Is Jesus Like?’; it is easier to decide what to do if you know what it is you want to be.

How easy it is to say,

Just be like Jesus.

But we all have a different understanding of who Jesus is… This is where the community becomes the most important factor: The Spirit of God points to Jesus and leads the people of God to know Christ and Christ crucified. It is the Spirit that tells us “Jesus Christ is Lord”. The Spirit moves in the Body of Christ not in one part of it. The Spirit is the life blood of the Body and flows to each part giving vitality and movement/action.

Wisdom and discernment takes time for us fallen humans but we are nowhere without it. We are like all other empires and worldly groups doing lots and being nothing. St. Paul has this advice to a Christian community,

Do nothing from selfish ambition or conceit, but in humility regard others as better than yourselves. (Philippians 2:3)

“Do nothing,” says Paul, “from a place of ‘electioneering’ or when you are focussed on your office, nor empty pride, but, from a place of knowing of what you are made and to what you can quickly return to, lead others to be superior to yourself.” It is interesting that what is translated here in NRSV as ‘regard’ is the greek word ‘hegeomai’ which means ‘to lead’. Don’t move until you have the character and the Spirit directs you.

In the theatre an actor is given a character, then they are given a space in which to perform and to play, then they move and are shaped by the director. It’s a beautifully creative and surprising activity of playing and moulding. The same is true of the spiritual work of faith; we need to get to know the character, through reading the script. Then we attempt small movements and vocal trials all the while looking to the director for guidance and encouragement. In an ensemble model of theatre practice the director is not the dictator but a fellow artist; their role is to observe and ask questions. In the spiritual work the director is the Holy Spirit who prompts, challenges and encourages us to become more and more truthful portrayers of the character of Christ.

Reflection

Parish ministry is set up so the minister is the management and the spiritual director although they are different tasks and roles. As the leader with sole responsibility you are called upon to not only have oversight of the spiritual wellbeing of your community, vast and varied as that is, but also to make decisions as to what sermon series to do, organising events, setting up for services, making sure the rotas get done, managing PCCs with all the bureaucracy and business.

Imagine what could be achieved if the day to day running of a parish was established as a different role to the role of spiritual guide? I wonder what that might look like. Imagine if that was the expectation.

What I mean is, what if ‘leadership’ roles was more like St. Paul’s use of it in Philippians 2 as the raising up others and not drawing attention to the office. That discipleship was the desired office to have and the model of ministry was structured round the development of discipleship.

Heavenly Father, you call us all into your kingdom to be transformed into the character of Christ. help us by your Spirit to be formed daily into his likeness. May our actions reveal his character and may his character inform our actions that all of our being will reveal him to the world, for your glory!

Come, Lord Jesus

Chapter 17: the number of psalms said in the Day Office

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If the monastic community is numerous, the Hours shall be sung with antiphons; if small, without.

What is the place of artistic expressions within a community?

I have been on a community weekend away with Burning Fences where I was privileged to be able to organise/lead the input. I was acutely aware that, we, as a community, are experiencing some of the natural friction to life in relationship. There are multiple desires and visions to balance and contend with, there is the encouragement to bring brokenness and struggles into the public sphere in order to be known more deeply. All of this brings a highly volatile space and one that has, simultaneously both great potential for liberation and great risk of suffering and pain. We are not the first nor are we alone to experience some of this; it is the natural risk of relationship which commitment demands you fully enter and grasp.

I introduce this week’s reflection like this merely to highlight how this beloved community, who I consider to be the place from which I speak, the people with whom I speak and the situation to which I speak, is continually leading me into an deeper understanding of what a monastic apostolic community looks like. It also is proving to be the practical out workings of my reflections on the Rule of St. Benedict and I find that both inspiring and encouraging.

The other reason I begin by discussing Burning Fences is because, on the weekend away, we used Open Space Technology to hold conversations about that which is important to us as a collective. One of those discussions was on the place of creativity in community and explored (for the parts I was there for) the specific part of Burning Fences’ life; artistic expression/performance.

All of Burning Fences appreciate art in it’s many forms but not all of those who gather are able to contribute or, feel that they would like to. For some, Burning Fences is a place where they can explore new artistic endeavours, to try out and collaborate, but for others they don’t feel they are ‘creative’ in this way. Although I would not use that word for what they are expressing, choosing rather to use the word ‘artistic’, I do agree that there are some who are more competent and able to perform/present art in our group while others question what they have to offer to feel a part of Burning Fences.

On the Friday evening of our weekend away we held a ‘community circle’. This ‘community circle’ is a combination of haflat samar, story circles (traditionally held in the old celtic church) and Caedmon Evening (currently practiced by the Northumbria Community). The framework of the evening is everyone is invited to bring something to share as an expression of any kind. This contribution can be a simple joke, an epic poem, a song, a quote, anything that they think will inspire or facilitate reflection. I, as host, began by reading a story to frame the evening. I read a rewriting of Bede’s account of Caedmon who, loved listening in on such evenings but never felt able to contribute until, one night, he found himself dreaming about God giving him the gift of song. When he awoke he was able to sing beautifully. After this story, the group then participate in a collective act of art/liturgy. In this context liturgy acts as a binding together and bringing people together and encourages the group to express a shared desire or identity.

After this shared act the space is open for anyone to speak into it. People are encouraged to listen and respond how they feel is appropriate. The order of presentation is completely self-governed and each person places their contribution where they feel it fits best. By the end of the evening everyone had contributed something and it had flowed beautifully. There were some performances which may have been judged ‘better’ than others but in the light of day I could not tell you which was which because in that space of community it was not the objective quality that was important but the way in which we (and our offering) interacted with others. (You can read a poem which I wrote during our ‘community circle’ here.)

So what is the place of artistic expressions within a community?

For many communities the use of music and song is central to their community gatherings. Rituals and liturgical frameworks use music and rhythm. A community at its most basic is a social group whose members share a commonality of some kind. In order to maintain a cohesion to any community there needs to be an expression of that shared commonality, be they beliefs, locality, ideas or any other identifiers. This most profound way of doing this is through the evocative and emotive use of music. Artistic expression, therefore, takes an important part of many communities.

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The place of art

What I find interesting about this chapter in the Rule of St. Benedict is the directions for when a community is small.

If the monastic community is numerous, the Hours shall be sung with antiphons; if small, without.

This is music to my ears (excuse the pun). I do not have a strong singing voice and I am very self conscious. I love to listen to singing and particularly choral harmonies but I struggle to participate. I join in singing if there is enough noise to drown me out and I am confident no one can hear my unstable voice. If I am leading a small group and I would love to worship in that context then I must rely on others’ abilities to lead in sung worship or otherwise we don’t get to enjoy that experience. Even when there is someone else leading the singing I struggle to join in and end up mute hoping no one notices that I am singing and feeling concerned that I am distancing myself from the group.

One phrase that stands out from the discussion on the place of creativity in community, particularly a group like Burning Fences, was that,

Artistic expression is affirmed/valued but not enforced.

We, as a community, appreciate artistic expression and will encourage anyone, whatever level of competency they have, to contribute but we do not enforce it as a necessary part of membership. This does mean that the more experienced artists are more prominent when it comes to the times for artistic expression but that does not equate to being more valued within the community. We appreciate that offering because, for some, we cannot make it but we want to enjoy it as a gathering activity but that does not mean that those members who can are in some way more important. If there is no offering in this way then you adapt, for the act must primarily be a communal expression and only then must we consider the practicalities of how we make it happen.

Artistic expression is appreciated but it is not a marker of your place in the community.

Reflection

Community should be a space where people feel safe and free to let down forced personas and be vulnerable. This makes community a difficult place because there is a high risk of it getting very messy very quickly and this kind of life should not be entered into lightly. It does require a level of commitment from a number of people or it will never achieve the level of trust and intimacy required for this vulnerability to be life-giving. It is only in a safe, trusting, committed community where people are free to explore new expressions of themselves and embrace the risk of failure in working out relationships and connection. This can be done through artistic expressions and, indeed, it is a special kind of expression, but it is not the only way.

We at Burning Fences, appreciate and affirm the musical and poetic expressions of beauty and we enjoy them together, even though not every member can directly contribute. We, the more experienced/confident artists are only able to express our shared commonality by listening and knowing all members. Membership is not measured by the artistic contributions one makes but by the depth of relationships you participate in.

Creative God in Trinity, you make us to know and enjoy beauty with others. We thank you for the ability of some to create beautiful music and song, images and poetry. We thank you for others who create beautiful relationships with equal skill. We thank you for others who support the beauty of life in their skills to construct order and stability in practical ways. We thank you for all of this as expressions of your immeasurable creativity in all things.

Come, Lord Jesus.

Chapter 5: obedience

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The first degree of humility is prompt obedience.

Why should I listen?

There is a myth that ‘millennials’ (my generation who have grown up saddling the millennium) have no respect for authority. In reality I think we do have respect for authority but the authority must be earned before it can be trusted. This does lead to many of us dismissing first instances of authority, particularly if it is enforced with rigor; this is a dangerous tendency. Our primary authority is no longer in older figures, previous generations but rather in peers; this is an even greater danger for what it leads to is a narcissistic, blind belief in our own power, understanding and un-walked wisdom.

Blogger, Anna Mussmann, has written a really interesting critique on culture using the young adult fiction which is popular. The article is called ‘Millenials Think Authority Figures Are Untrustworthy Idiots, And Modern Culture Is To Blame’ and takes stories such as Hunger Games, Finding Nemo and Splendors and Glooms to explore what these books have taught and continue to teach us growing up in this culture. Mussmann argues,

…when young adult fiction encourages reliance on transitory, peer-based relationships, it casts off the unifying role that classic literature once played. Our stories no longer bind multiple generations together. Instead they divide them… we even structure young people’s lives in ways that decrease adult influence and increase peer culture: our children are separated by age at school and attend age-specific youth programs at church (often never participating in traditional services that are designed for all-ages). They listen to their own music and text in their own language. The qualities which unify a culture, such as music, etiquette rules, and stories, are all things of which youth have their own.

This article is fascinating when considering my own attitude to obedience to authority figures of older generations. The issue, in my eyes, is always with them. This is an unhealthy reaction to many older people who have lived and experienced many things. I don’t want to dismiss my generation too quickly though. I do feel there’s always been an earning of trust and some blame must fall onto the previous generation who, after dismissing their parents for the mess of two world wars and the violent climax of enlightenment and modernism, felt they should never impose obedience on their children. In this context is it any wonder that young people today have little to no moral compass to guide them through the chaotic adolescence.

If you are a regular reader of my blog then you will know that over the last two or three years I have been increasingly vocal about ethics and virtues and the nature of moral discussions (read On Secularism, The Hunch, The Compulsion and The Overwhelming Pain, The Pope is Dust Just Like You and There is No Majority). The heady mix of my generation with my parents’ generation when running a society, is a cocktail for increasingly isolated people with highly subjective opinions to right and wrong trying to co-habit a claustrophobic space which leads inevitably to an increase in violence, physical and political. Our politic is broken because we have taken a shared narrative away and allowed a vacuum to be created. We now happily worship the absence in true nihilistic fashion.

Many young adults, especially those from the less affluent backgrounds, feel that they live in a world where family and community have eroded to the point of dysfunction. Personal loyalty may be their only hope in a dark, chaotic, and existential world. This kind of loyalty is the same moral value on which both gangs and tribes are built, and in many ways, our culture encourages a new kind of clique-like tribalism. Paradoxically, however, such loyalty is also constantly mutating, because our peer-oriented relationships (friendships and marriages) are self-chosen and therefore dissolvable. In real life the group loyalties break and reconfigure under strain. Such single-generation tribalism is also incredibly narrow. G. K. Chesterton argues that families are far more broadening than self-chosen companions because they force individuals to learn to understand many kinds of people. (Anna Mussmann, ‘Millenials Think Authority Figures Are Untrustworthy Idiots, And Modern Culture Is To Blame’, The Federalist, February 4th 2014, http://thefederalist.com/2014/01/23/millennials-think-authority-figures-are-untrustworthy-idiots-and-modern-culture-is-to-blame/)

Through this millennial lens I read St. Benedict’s words on obedience. I have explored in the previous weeks the role and nature of the abbot and have wrestled personally with my own attitude to the leader figure. I would argue that it is right, at this time, to reshape our understanding of leadership to fit the culture. In order to do that a leader must become an advocate to the people under his/her authority and we should embrace a more flat leadership model, organic in nature. This does not mean that the leader must become a friend, homogenous to the group, for that complicates the role of wisdom and obedience needed in order for personal and communal growth to occur. Authority is needed and it must remain external to the self. Tribalism is not a healthy way to exist but there are elements of it that should be encouraged; togetherness, sociality, loyalty but in Narnia this balance between friendship and authority is beautifully portrayed in the character of Aslan who remains aloof and separate from the children who must negotiate the strange and dangerous world of Narnia. I return again to the model of the ensemble theatre company; there is a sharing of leadership and direction but the role of the director becomes one of facilitator and ‘story-keeper’. This role ensures that authority is named and placed in a specific place. The challenge comes when the person who takes on that role mis-uses it. This is why the selection of such a person must come from the group and is placed on them through a sense of vocation and discerned calling.

Aslan’s style is to be alongside, encouraging but at times to demand the respect and authority to, enigmatically at times, to guide the children into strange and unknown experiences. The children do not understand why at the time but they are encouraged to trust the authority of figure to do it anyway. My generation would instinctively baulk at such suggestion,

Why should we?

Who does he think he is?

He doesn’t know me. He doesn’t know what’s good for me.

When I think of my personal authority figures, the ones who know me and guide me and whom I respect and obey, most of them are of a previous generation. They have earned my trust but remain separate enough from me to be able to command me and my will.

The church, I feel, must reflect on this cultural issue seriously when we discuss the nature of leadership and authority. There needs to be an overhaul of our images and models of leadership and I am increasingly convinced that we must return to a ‘priestly’ model where reconciliation and spiritual depth are primary roles. Obedience is demanded like Jesus demanded it; not by His words first but by His character. He was obviously a man who commanded attention but where it came from, no one could tell. Jesus, of course, is unique but as priest’s we are called to be His ambassadors in His Body, the Church. We are called to stand in His place between people and places, heaven and earth. We are to follow Him closely to encourage the people of God to do likewise. We must commit our lives to being lead by our Master in obedience and to speak the commands we follow to those whom God calls us to.
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Sacrificial Obedience

Not satisfied with calling the monks to obedience, St. Benedict takes it one step further and asks them to do so ‘without fear, laziness, hesitance or protest.’

Orders should be carried out cheerfully…God will not be pleased by the monk who obeys grudgingly, not only murmuring in words but even in his heart.

I am guilty of saying that I am happy to obey authority but doing so questioningly and with reservation. I act, in line with commands, suspiciously or creatively twisting the will of my superior to fit my own desires and will. St. Benedict is clear that true spiritual growth will occur when ‘These disciples must obediently step lively to the commanding voice – giving up their possessions, and their own will.’

I’m not sure if what I am about to suggest is skewed by my generational attitude to authority but I wonder if there’s an understanding here that the abbott himself is under the authority of the Rule and, prior to being called to the role of abbott has shown himself obedient to it. Thus his authority has been proved through his own discipleship. I wonder if his own discipleship and obedience must remain the hallmark of his leadership. The abbott must, in this understanding, follow and imitate Jesus, his Master, who followed and imitated His Father.

Reflection

This week’s chapter has cut to the heart of some personal issues for me and I am convicted to pray through my attitude. There is a sense in which it is a nudging back in line with God’s will and not a whole hearted overhaul. In parish ministry at this time there is a large confusion about right and healthy distinctions between ordained ministers and laity. In the past there has been some devastating situations caused by those in authority in the church and this has destroyed much of the Church’s authority. To destroy the whole thing and dismiss the tradition is too risky and dangerous and is akin to throwing ‘the baby out with the bath water’. There is such a call to wisdom but, unfortunately, my generation in this culutre will struggle to find wisdom for we no longer ascribe to a shared cultural narrative and to any virtues of character. The characters we share are story-less, peer-guided and self selected. With no wisdom this self-selection is vacuuous and vapour and we will lead ourselves ever darker into the abyss of nihilistic existence.

Lord have mercy upon us all.

Come, Lord Jesus.

keno charis: ruptured for you (a liturgy for Burning Fences)

(Burning Fences is a small community based in York which is exploring how to sing a new song in the rubble of an old world. I led this as an evening exploring the Trinity for my
fellow ‘sparrows’.)

People enter a small upper room above the city. there is a low table and cushions surrounding it.

On the low table are three bowls each with a question by it and there’s a chalice and plate set up. People are invited to write on scraps of paper responses to the following questions and put them into one of three bowls:

What is your ultimate question?

What is your biggest doubt?

What is missing?

When all are settled drinks for the evening are ordered. This often individualistic action is challenged with the following, seemingly restrictive commands: Everyone is to be responsible for one drink order, it cannot be their own. They, therefore, must take responsibility for another’s order. That other person cannot be the one who is responsible for their own order; the two must find a third who then links to another group…

The evening begins when the drinks order is sent downstairs.

Three people begin by reading the following,

Person 1: In an upper room, not unlike this one, the Lord stood amongst friends and shared.

Person 2: In another upper room, not unlike this one, the Lord stood amongst friends and breathed.

Person 3: In a third upper room, not unlike this one, the Lord stood amongst friends and transformed.

Narrator: Tonight we’re going to explore a mystery through three stories of upper rooms. Three and yet one. It’s one story but three points. It’s three ideas that make up one narrative. Three parts to this one mystery…

Story 1. In a tight, cramped, claustrophobic space, in a darkened corner above the city, the prophet rabbi Jesus sat amongst friends. They would meet regularly and share stories, questions, songs. There was no pattern, no formula, no entry requirement, just a desire. It was not a shared ideology or philosophy that bound them together but a shared desire… to know what it was about this rabbi who had chosen to be with them.

Despite their doubts, despairs, disillusionment, they desired, above all, to discover. To discover a way to be free. Self help, private thoughts, individualism had led to self imprisonment and they were tired of being alone. They were like sparrows desiring a hedge to call home.

Liturgy of the Sparrows

We are the sparrows who are claiming back the hedges.

Response: We are the sparrows that will not be satisfied with twigs.

We are the sparrows that are crying out for our hedges.

Response: We are the sparrows that are weary from singing lonely songs.

In our hedge, where we feel safe again,

Response: we seek our social life back, and the sooner the better.

In our hedge, where we talk things over,

Response: we make decisions, laugh if we want to and sing.

This is our story, this is our song,

and we’ll live it till it’s our reality.

A song about home is shared.

Narrator: Story 1. In a tight, cramped, claustrophobic space, in a darkened corner above the city, the prophet rabbi Jesus showed them how to be a holy community…

The narrator gets a bowl and pours warm water into it. He invites someone to have their hands washed. The act of hand washing is a more culturally applicable version of foot washing in the near east culture of Jesus. There’s an element of cleansing and preparation for food as well as retaining the intimacy of foot washing. As the narrator washes the other’s hands he says,

You have to let me wash your hands in order for me to show you love. If you refused I would not be able to show you my care for you. Allowing me to bless you with this gift is a gift to me. You have allowed me to have a relationship with you. Thank you.

The narrator passes out bowls of water and invites others to sit and receive from one another.

During all of this music is played.

When all have been washed one has left and returned with food and the drinks. Each member should pay more attention for another’s drinks than their own. All are invited to eat.

Who’d like to tell a story of a time when have you felt closest to someone else?

A time of storytelling.

Story 2. In a tight, cramped, claustrophobic space, in a darkened corner of the city, the friends sat. Huddled together in fear. Bereft. Present in body only. Absent in other respect. They had lost. Lost their nerve. Lost the fight. Lost the will. Lost Him. The prophet. Their rabbi.

He had said to them, when he was in the upper room, that he would give everything he had; he would give his life for them. He would not withdraw from the consequences of his love for them. He would be taken and drained of life. He would allow it to happen. He chose to allow it to happen. He chose to allow all people to do what they desired most because he loved.

And now he’s gone. They had lost. The thing that had brought them all together; the person who had called them to each other had left. They had hoped it was forever but he had disappointed. A vacuum now existed in their midst like empty plates where once was food. An absence where once was presence.

A song about loss is shared.

Story 2. In a tight, cramped, claustrophobic space, in a darkened corner of the city, the friends sat and embraced the abyss with all their questions:

One of the bowls that contains the responses to the question ‘What is your ultimate question?’ is passed round and the answers are read out.

The friends sat and embraced the abyss with all their doubts.

The other bowl with the responses to the question ‘What is your biggest doubt?’ is passed round and the answers read out.

The friends sat and embraced the abyss with all their emptiness and lack.

People are invited to read out the responses to the question ‘What is missing?’ from the third bowl.

Story 2. In a tight, cramped, claustrophobic space, in a darkened corner above the city, the prophet rabbi Jesus appeared to his friends. That which was lost had been returned but now a paradox… the friends still felt an absence but it felt like a presence beyond all presences; richer more fuller presence. It was like the last time he was with them but there was a deeper reality to him, to them.

He had been emptied; given all of himself. He who had said that he was God. God had given all things to him and he freely gave it all away to show them how much he loved them. His generosity knew no bounds. He had given everything, even his very self. Now he was back amongst them and showed that He was, in some way, unknowable to them, mysteriously, he was God, eternal, abundant source of all things, of life itself.

“Now do you see?” he said “All that I have I give to you… and I have a lot. I want to be emptied, again and again of all I have so that you have. All that you’re missing I give to you but the real trick is to discover that life is found when you empty of ‘having’ and satisfy the other’s need.”

“God gave to me,” he said “I give to you, but I can’t stay with you in bodily form, it’s too limited. I will return to my home and send to you the key to the Divine store cupboard. He will come and grant you access to the gifts but do not hold onto them for they, like manna in the wilderness will rot if kept in your grasp. Give, give away, give until you have nothing left and your hand will be refilled.”

“This is the secret to community. Each giving until they have nothing but, of course, this dynamic generosity creates from nothing. This is how the universe was built; generous, abundant, emptying love; love that seeks to have nothing so the other will have everything. God the Father showed His love for me by giving me the whole cosmos and more besides he continues to give until there is nothing left to give, when space and time has run out and beyond that. I showed my love to him by giving all I could and I still give… And now I give to you and call you to live with us, participate.”

“You’re all interested in what makes good human community? Humans are made in the image of God and when you live as if that were true, your actions and lives sing of eternity. You’ve dreamt of a place, a way of living that feels like the home you’ve always desired? I have considered your niche needs, disjointed designs and contradictory commands of communal contentment and this is what I offer; an urban landscape sprawling out to scenes of symbiotic existence; spaces of intimacy seeming epic. Small spaces stretch out into space unimaginable.”

“In the centre of this city is a stream sourced from a singular washing space where you can willingly wash away the weeping water from your eyes; wash away all the lies which twist distort and chastise; wash away the pain of missed goodbyes, the long held hurt when a loved one dies, all that contributes to our cries, from the inexpressible silent sighs to the African skin crawling with flies, the countless millions caught in disguise to those imaginations that devise instruments of torture that lead to our demise.

This washing water has supplies for all generations to surmise, from the one who accepts to the one who denies, yes, all are asked to step in and be baptized.”

As the friends looked at the Great Designer’s two dimensional doodles depicting detailed designs for districts of dreams; they were transported from 2D to 3D and they stood at the heart of this great project, this divine concept of collaborated dreams of home. As they scanned the scene with their senses searing with celestial resplendence, they saw it was their terrestrial city with its burnt out building bordered up, barren, broken, brittle skeletons, shells of second rate, suppressed statements of habitations, empty, abandoned, bereft of life. This vacuous void is all they’d envisioned, their vital improvements to the divine construction.

“All these buildings won’t be obstructions.” the rabbi said as He pointed to the destruction. “All of you will be part of this production; we’ll need some more. Can you get introductions? It won’t work if we resort to abductions but paint a portrait of perpetual seduction; Lilting lullabies of love. Meandering melodies of mercy. Holistic harmonies of hope. This is how we will win people to our cause. Sing to them simply of the Son who was sent to your city to speak out against injustice, racist hostility and stubborn statuses. “Sacrifice self” He said. Die to all you think defines, distinguishes, differentiate and divides. Die to all that makes you think ‘me’. That’s not how you are to be, its ‘we’, you see, us constantly, lovingly, eternally relating looking out celebratorily at creation, the manifestation of Our imagination which speaks of salvation. Stand against temptation. Participate in incarnation. Join Our nation.”

They were still in that upper room but now it seemed foreign. The rabbi was gone and they were free. They felt… called, with all creation, to participate in a Divine dance, dwelling with Him, deliberately drawing and deliberating over the debilitated definitions of themselves.

This divine creativity is now innate and it is to participate in a state where every breath is to create because the truth is we, humans can do nothing, we are pathetic, we are fragile, fragmented, foolish and frail. If it was down to us failure would frame our every fumbled attempts at life. But God doesn’t limit His giving of good gifts generously gathering His grace getting offspring and giving, blessing them with boundless benefaction and the ability to beautify the broken, black globe we abide in.

Creativity is the choice to catch the vision of His passionate parade of perpetual pleasure as He paints pictures in the palette of the sky and proclaims praises powerfully in proud oaks. Problem solving, parenthood, pottery, plumbing, all is creative in Papa’s production.

Do we care too much on product and not on process? Capitalism capturing our capability in creation. Yes, creativity is innate, equally distributed, designated, dished out. If we decide to delegate in this divine dynamism we decide to die for it is participation with His soul saving Spirit that gives life. Creativity is cooperating with our curiosity in creation, creating collaborations in community, making mutual memories made in mirth and misery shared. Stories singing through souls, sewing us, sculpting us, shaping us, scripting us into the narrative of the non-conforming Nazarene whose never-ending life and love lulls us into lucid lovers and alighting a light in our hearts, little wisps of wonder wilting the winter inside. All of us part of the process to paint the playground, perform the eternal play and promote partnership in people un-praised but packed with potential.

A song of hope and community is shared.

Story 3. In a tight, cramped, claustrophobic space, in a darkened corner above the city, Simon, who they called ‘Peter’, one of the group was stood amongst outcasts. This foreign group had not been a part of the original group of sparrows in that first upper room. They had gathered from elsewhere but he saw in them that sparrow song. He stood amongst them and remembered the night he had sat with the prophet rabbi Jesus and he had showed them God, divine community, love unadulterated and emptying of gift. Peter stood and spoke, he modelled love as he had known it, pure, from the heart of God Himself. The group were sparrows in a hedge; just for a moment. They sang, they laughed, they shared, they lived the life of communal God right in front of him.

I have shared my stories. I share them till I am empty, bereft.

Keno Charis means ‘emptying of gift’. It is the mystery at the heart of the Trinity; God in community, Father, Son and Holy Spirit; each one giving to the other attempting to be empty of all they possess in order that the other has more but in some mysterious way this creates more. God, the source of all things trying pass on all of it is the secret to life. When we live and participate in this activity we are caught in the basis of life itself and we experience God. Trinity. The Communal heart of creation from the Creator.

Liturgy of the empty and healed

Person 1: I have my music,

I give it to you,

I give it till I’m empty.