Article
Creed
Mental Health
4 min read

Have our worries changed over time?

A pep talk to teachers reveals whether our fears are age-old or not.
In an egg box sit two eggs with faces drawn on them with marker pen. One looks worried, the other looks on.

‘You’re not going to mention the psalms!’ my colleague said. ‘Are you?’ 

She was doing alarmed eyes at me, the sort which show white all round. I could see why really. We were on our way to give a talk at a big secondary school in Birmingham – multi-cultural, multi-ethnic, multi-faith. The sort where praying had been banned as divisive, and the wearing of crosses discouraged. Hijabs too, for that matter. Not the kind of place where you chat lightly about a part of the Christian bible, on the whole, unless you’re trying to be provocative. 

I did mean to mention them though. ‘I can’t think of another example,’ I said. ‘And anyway, it’s too late now – I sent the slides through last night.’ Deep breaths. 

Just to explain a little, as counsellors, my colleague and I had set up a programme of talks and workshops for schools in the area, aimed at improving mental health in the aftermath of the pandemic. We’d seen all the warnings about the ‘tsunami of mental health issues’ threatening to deluge the country and decided to take action. Recognising that we couldn’t get to every individual child who might need help, we’d focused our efforts on the adults in the schools. Steady the grown-ups and you steady the children, was our thinking. The young take their wellbeing largely from the pattern set by their elders, even in this age of smart phones and social media, and the levels of despondency were very high among teachers and school staff in our experience. Lots of people burning out and leaving the profession. Not a steadying influence then. Hence our topic for today: ‘How to feel better in difficult times’. 

I was nervous as I stood in front of the large hall full of people. Several hundred of them, all ages and stages. Some looking attentive, many expressionless, a few sleepy. I could see my colleague at the end of a row near the front. She had one hand up to the side of her face and was making herself small. Great, I thought. Very reassuring. But too late now, so on we go… 

I introduced myself. I introduced my colleague. I introduced our work. And then I mentioned the thing that needed no introduction. It was already familiar, a regular inhabitant – present here in the room, but also everywhere else we went: our homes, our classrooms, our friends’ houses, the streets, the supermarkets. Fear. Horrid fear, drifting through the air like smoke. I gave them some awful statistics I’d found, about the rates of anxiety and depression. About the levels of self-harm, about the fact that suicide is now the second biggest killer of children between 10 and 15. I let these sink in a bit. 

Then I asked, ‘So what are we afraid of, exactly?’  

It is accepted practice in all mental health disciplines to try to identify the causes of fear and face squarely up to them as that’s the only real way to defuse their power, I said. I was going to read them a list of potential causes – and while I was doing so, I’d like them to try and guess where the list had come from. Call out your guesses please. 

‘Getting old,’ I started. ‘Drinking too much. Tyrants swooping on other people’s countries. Teaching our children to be better than we are…’ 

‘Twitter!’ someone called out. 

‘Cutting down the forests. Loss of friends. Waking up sweating in the night. Other people saying awful stuff about us…’ 

This Morning!’ came another voice. 

‘Feeling very alone. No sign of things getting better. Envying the rich. Death. Food being short…’ 

‘The news this lunch time!’ 

‘Plagues and pestilences. Being in despair. Cruel words. The evils of the class system. Not having work. Feeling low. Feeling weak…’ 

‘It’s got to be The Daily Mail,’ someone else shouted. Laughter. 

I looked up. ‘Good guesses,’ I said. ‘All of them, thank you. Only they’re a bit out of date. By about four millennia, give or take!’ 

Surprise fizzed through the room. 

I had wanted to find out what people used to worry about, I explained. To see how that differed from our current worries. I hadn’t known where to look though, until I suddenly remembered the psalms. ‘Some of you might be familiar with the psalms,’ I said, ‘but for those of you who aren’t, they are 150 ancient songs full of moaning.’ They varied in age, but the oldest were thought to have been written the best part of 4,000 years ago – making them older than the pyramids. I’d taken twenty of these songs out of the middle of the book – Psalms 60-80 – and listed the things they were moaning about… as just demonstrated. 

A lot of the sleepy faces were looking more alert now.  

Since this ancient list is more or less identical to our own, we can draw two conclusions, I said. Both very good news. The first is that, clearly, these are the things we worry about – if we’re human. People from a totally different culture/ period in history/ part of the world/ ethnicity/ stage of economic development/ political system/ level of education and so on and on, worrying about the same things as us? Doesn’t it show that… er, it’s normal? For living, breathing, average, sentient human beings like us? 

And secondly it proves, surely, that we’re designed to survive this kind of worrying. We’re wired to cope. Our brains are built for it. Because – ta da! – here we all are, FORTY CENTURIES later, still moaning about exactly the same stuff! 

I looked at my colleague again. Not only were both her hands now down in her lap, but like a lot of the rest of the room, she was smiling. 

‘If we can clear fear out of the way, it’s much easier to get on with sorting out problems,’ I finished. ‘So now, shall we talk about where we can get started?’ 

Article
Comment
Paganism
Sport
8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.