Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

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Article
Change
Community
Justice
Sustainability
5 min read

Everything is a movement – and that’s as it should be

They’re powerful when they are marked by love, dignity and justice.

Juila is a writer and social justice advocate. 

A digital billboard on top of a London building reads: Make Earth Day Everyday.
An Earth Day billboard, London, 2025.
Le Good Society.

I keep accidentally joining movements. In one instance, I had a go at submitting an essay for a competition; when it was (happily) selected to be part of the published book, the blurb told me that I was part of a movement of people embracing messy motherhood stories. At the same time, I am not parenting – and this apparently pulls me into a ‘sisterhood’ of women without children. These could seem contradictory, but I recognise that they are calls to togetherness. And yet, as I go about my life – trying to pay my bills, navigate community, play my part as a citizen of this world that is partly marked by climate crisis and conflict – I have to confess that my gut reaction at being called part of them is to feel tired. I don’t know if I have the energy for another movement in me.  

Movements seem to be having a moment. Open the news or social media, and there will be stories of communities of people speaking up together. And yet movements are not new. History reminds us that they have long been one of the best ways to counteract unchecked or disproportionate power. The anti-slavery campaigners of the eighteenth and nineteenth centuries, the US civil rights movement, the influence of anti-apartheid and land rights activists… when we participate in a movement for justice, this is the heritage we are locating ourselves in.  

What makes a movement? It’s a group of ordinary individuals, and it’s so much more than that. It’s marked by people trying to live the change they seek, but it doesn’t end there. There is something about a movement that is emergent, more than the sum of its parts. Groups of people taking collective action to see change happen. Crucially, the movements that bend the arc of justice are those that are centred on the voices and priorities of those most affected by their cause. In this, they reflect God’s heart; an invitation to us all to participate, with a particular emphasis for those on the margins.  

The other week saw Earth Day, an annual event which celebrates the environmental movement. While for some, it can be co-opted to suggest green credentials that don’t bear out the rest of the year, but for many it is an entry point, a chance to meaningfully participate. What began in the US on 22 April 1970 is now marked by around one billion people – one in eight of us – around the world. It’s a particular moment to highlight action for this world that we share. This world with boundaries that are being tested and breached. Just a week earlier, communities in India and Pakistan were experiencing heat that tested the limits of human survival. Our bodies were not made for this kind of weather.  

The theme of this year’s Earth Day was ‘Our power, our planet’, with a particular emphasis on scaling up renewable energy. But I have found myself thinking about other kinds of power: the influence of people when they come together. Do we greet moments like this with cynicism, self-interested opportunism, or genuine expectation for change? In the face of horrifying headlines and lived injustice, what motivates people to keep going again for change? There are many likely reasons, often personal. To understand a few of the common ones, we need to go back to the beginning.  

“Much of my life goes irrelevantly on, in spite of larger events.” 

Nora Ephron 

In the opening passages of the Bible, the world was called ‘good',and the rest of the story is one of restoration; what has been broken being made whole and new. This articulates for us what we often intuit: the world was made to be better than this. Where cynicism offers a casual invitation to give up on change, when we look at our daily lives, we see the myriad ways that we demonstrate a quiet hope for tomorrow. Sowing seeds in spring is an act of faith that the summer will bloom. 

This conviction might manifest differently for each of us. For some of us, it means carrying a persistent hope in spite of the hurt we see and feel. For others, it might feel grittier. Like the irritation of a grain of sand in your shoe; you can’t walk on until you do something about it. Either way, it is a longing for something that is brighter and fairer and kinder than what we have right now. Something more resonant with the deep cries of our souls.   

Underlying these instincts is our God-given purpose. He made humans to draw even more goodness out of that which was baked into this world from the beginning. We were shaped to partner with God to see order brought out of chaos, freedom from captivity, a seed of renewal out of the grave. Allowing this to take root in our hearts can save us from a sense of nihilism, that nothing matters. 

Like many women of my generation, I am a fan of Nora Ephron’s writing. She famously wrote about taking part in movements and yet “Much of my life goes irrelevantly on, in spite of larger events.” There is welcome honesty in acknowledging how privilege can insulate against the impacts of injustice. But there is also a provocation in these words. When we respond to God’s invitation to participate in his restoration work, we find our relevancy in the work we were always made for. In other words, our choices can be meaningful.  

I may have stumbled into some movements, but I can see that these are invitations to move closer to each other. Acting for justice can require sacrifice of lifestyle, time, comfort. But outworking this together can also bring growth, empathy, joy. When we are weary, there is life to be found with others. God is inherently relational: three persons – Father, Son and Holy Spirit – co-existing as one. In this relationship is unity, service of each other, appreciation of each other’s gifts. With God’s likeness in each of us, we too made for this kind of community. Our movements are powerful when they are marked by such love, dignity and justice. Glimpsing this induces us to look beyond ourselves, to step towards people and circumstances. Being part of a movement is to choose to be in closer proximity with each other and the world we dwell in together.  

I remind myself that in such community, there is room to acknowledge weariness. At the same time, there is also an encouragement to move beyond disenchantment about days like Earth Day, about gloomy headlines, about discouragement or setbacks. It can be tempting to let our lives go irrelevantly on, but being part of a movement reminds us that we don’t have to settle for that.  

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