Article
Art
Culture
Politics
5 min read

Art makes life worth living

Why society, and churches, need the Arts.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A choir sing at the front of a church while an audience looks on.
St Martin-in-the-Fields choir performance.

Arguing for the significance and role of the arts and culture during an election in an era where a cost-of-living crisis has followed austerity and a pandemic, may seem to be a hard task. The Arts being thought of often as frivolous and unimportant in comparison with the basics of survival. Yet it is essentially a task that the current government has attempted, as in June 2023, a ‘Creative industries sector vision’ was published which included a commitment to an additional £77 million in funding. 

At that time, the government estimated that creative industries generated £126bn in gross value added to the economy and employed 2.4 million people in 2022. A range of research has also been examining the way in which creative industries and the arts can positively impact wellbeing, for example through public health interventions.  

The foreword to ‘Creative industries sector vision’ stated: 

“Our creative industries are world-leading, an engine of our economic growth and at the heart of our increasingly digital world. From 2010 to 2019 they grew more than one and a half times faster than the wider economy and in 2021 they generated £108bn in economic value. In 2021, they employed 2.3 million people, a 49% increase since 2011. Their impact reaches beyond their borders to other sectors, with advertising, marketing and creative digital innovation supporting sectors across our economy. 

The importance of the creative industries also goes well beyond the economy. They provide the news that informs our democracy, the designs that shape our cities and the content and performances that enrich our lives and strengthen our global image. The sector has proved that it is an essential positive force for society, bringing joy, inspiration and opportunity to our lives. The creative industries form the national conversation through which we define our shared values.” 

The arts and culture help tackle social injustice as theatres, museums, galleries and libraries are the beating heart of our towns and cities bringing communities together and making life worth living. 

This positive view of the creative industries was echoed in a report ‘The arts in the UK: Seeing the big picture’ published in November 2023 by management consulting firm McKinsey. The report described the UK as a “cultural powerhouse” with a globally recognised arts sector and 91 per cent of UK adults engaging with the arts in the previous 12 months. 

The Arts Council estimates that art and culture contribute £10.6 billion to the UK economy as the UK has a creative economy worth £27bn and culture brings £850m to UK, through tourism, each year. They also contend that the arts and culture help tackle social injustice as theatres, museums, galleries and libraries are the beating heart of our towns and cities bringing communities together and making life worth living. In addition, our creative industries are successful throughout the world - our leading cultural institutions are a calling card worldwide and have important trading links from the US or Germany to China and South Korea. Last year our National Portfolio Organisations earned £57m abroad. 

Churches feature within these arguments because they often host or organise cultural events, exhibitions, installations and performances which contribute towards the economic, social, wellbeing and tourism impacts achieved by the arts and culture. The Arts are actually central to church life because, as well as being places to enjoy cultural programmes such as concerts and exhibitions and also being places to see art and architecture, many of the activities of churches take place within beautiful buildings while services combine drama, literature, music, poetry and visuals. 

The artist Makoto Fujimura has suggested the creation of cultural estuaries in churches, schools and informal associations as a strategy for enhancing culture. Estuaries are where salt-water mixes with fresh in a confluence of river and tidal waters. They are environments not of protection but of preparation as critical nursery areas for fish that come downstream after hatching.  

This suggestion has been taken up by Sam Wells, Vicar of St Martin-in-the-Fields, who advocates for churches to minister in and through the 4Cs; commerce, culture, compassion and congregation. He writes in ‘A Future that’s Bigger than the Past’ that: 

“… the image of an estuary is helpful for a church regarding itself as a meeting place of human and divine, gospel and culture, timeless truth and embodied experience, word and world. 

Churches work hard to make themselves inspiring locations where people are drawn into a sense of the presence of God; but they can work equally hard to make themselves hospitable locations where people of varied backgrounds may gather in a spirit or mutual appreciation, generous regard and constructive challenge. The two purposes of church need not be mutually exclusive.”  

The arts, he suggests, provide a perfect example of how such an estuary space may flourish with participatory, aspirational and commercial activities all taking place in the same space. In a short time, he suggests, “a secluded, secretive space may be opened out to become a centre of community activity, energy, and creativity.” All that’s needed “is for a church to let go of the need for direct outcomes and linear trajectories and to let the Holy Spirit govern the interactions and catalyse its own surprises.” 

The Bible adds to this missional assessment of the importance of the arts. At the point we are told of human beings as having been made in the image of God the one thing we know for certain of God is his creativity, making our own creativity central to our understanding of how we live in his image. Later, the very first people to be spoken of in terms of being filled with the Spirit of God are the artists and craftspeople who make the Tent of Meeting for the people of Israel as they journey through the wilderness. The Bible, itself, is a library of various genres of literature with many of its texts having been preserved through oral performance, whether spoken or sung.  

Given these theological, missional, social and economic reasons for seeing the arts and culture as central to personal wellbeing and to national life, in this election period it surely makes sense to check the commitment of politicians in all parties to maintaining and developing the cultural industries and the vital place that the arts and culture have in the life of our nation. 

Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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