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7 min read

To a house on the hill

Why did a New York lawyer move to a Brazilian slum? Jane Cacouris talks to Luke Simone about his extraordinary story.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

an aerial view of a shantytown on a steep hill side in Rio, Sugerloaf Mountain is visible in the distance
Morro da Providencia, Rio de Janeiro.

It was a hot and humid evening in 2015 and Luke had just moved into a tiny house in Morro da Providencia, Rio de Janeiro’s oldest favela, a shantytown located in the heart of the city. His new home was near the top of the hill, sandwiched between two loud and rampant drug dens. He could hear the parties and orgies happening above and below him twenty-four hours a day; his neighbours regularly firing bullets out of the windows. The noise was draining and constant. It was dark outside, and Luke sat frozen in fear, staring at a blank laptop screen by his window facing the street… waiting and praying. He had just been informed that the bandidos (drug traffickers from the main drug gang in the favela) were on their way to pay him a visit. Gossip on the street had spread that he was an undercover police officer. Why else would a white British gringo in his thirties choose to buy a house in one of Rio’s poorest and most dangerous communities?  

“After about five minutes I saw a glint out of the corner of my eye… I looked around and a number of drug dealers were arriving on the porch.” 

Faced with ten heavily armed gang members, they asked who he was and what he was doing in their community. Luke took a breath and explained that God had called him to Brazil from New York, and that he was choosing to live in Providencia because he loved the neighbourhood, and wanted to serve the community and build something for them; for their children and their young people. The gang listened. Then remarkably they lowered their guns, said “ok then”, and walked away. Luke was stunned.  

“I know what happens to people… It was a very violent time. I thought I was going to die and it was terrifying. But God turned it around...” 

The relief that he was alive quickly turned into disappointment; a realisation that despite all the sacrifices he had made to be there, he wasn’t wanted by the people he had given up everything to serve. 

Armed police patrol the favela.

Armed police stand on steep steps between shantytown dwellings

Five years previously Luke was living in New York working as a finance lawyer with a corporate law firm. He was single, his firm paid for his Manhattan apartment, and he had so much disposable income that he saved half his pay each month. Originally from the UK, he grew up going to a local church in Surrey with his family, but he’d fallen far away from God.  

“I was in a favourable position to go off the rails. And I did go off the rails.” he says. 

In 2009, the financial crash hit and having spent five years living and working in New York, Luke began to question the premise and direction of his life. Through a family member, he was put in touch with a Christian association working with street children in São Paulo in Brazil, providing living accommodation to homeless children, who were disenfranchised from their families and/or victims of abuse and neglect. The aim was to reintegrate the children where possible with their families. During a weekend visit to São Paulo, within fifteen minutes of being shown around one of the shelters, Luke had a deep conviction that this was where he was meant to be.  

 “It was not this Damascus Road moment,” he says.  “It was a familiar voice. Not someone who was needing to twist my arm or convince me. I felt I was in good hands. Even though change was going to mean going from a six-figure bonus to zero salary…. I was suddenly ready to risk everything knowing I was in these safe hands.” 

A few months later Luke moved from New York to Brazil and went on to live and work in one of the shelters for street children for several years. He talks about a particularly bleak time when one of the boys in the shelter took a dislike to him, the relationship becoming so acrimonious that Luke even began fearing for his life. Emotionally and mentally drained, feeling rejected by the children he was trying to care for, he went away for a couple of days to regroup and called his sister. He recalls, 

“She said to me, ‘Just come home Luke. Just come home.’” 

Her words made him realise that he had life choices the street kids simply didn’t have. He could choose to leave them and “go home” at any moment; home to people who loved and cared for him. The children he was working with were born without options or choices. So, Luke decided to stay, and by making that decision, hoped to model a love and commitment to those who perhaps had never experienced it. A love that doesn’t diminish or disappear, even when we turn our backs. 

Luke Simone.

A man sits on a concrete path with one leg splayed out in front.

What is intriguing about Luke’s story is not the desire to “re-purpose” his life. So many of us feel at times in our lives that we are drifting without purpose or meaning but when we look for more purpose, it tends to be either seeking fulfilment in our work - towards more wealth or influence or social legacy - or through our relationships. What is intriguing is that Luke chose to follow God’s purpose, rather than his own.  

Luke’s story is one of sacrificing comfort, wealth and status to simply do life alongside the people that society in general has given up on, and, at times, in return getting hostility and death threats from the very people he is walking with. The story is a little reminiscent of the gospel story of Jesus Christ. Although, of course, Luke will be the first to say that he’s certainly not Jesus - “unqualified”, “unprepared” and “broken” are words he uses to describe himself – but perhaps this self-awareness of his own flaws has given him the ability to rely entirely on God rather than himself, in a place where he simply has to. 

Missionaries, like Luke, are perceived by many to be the outworking of a colonial interpretation of the “Great Commission.” This refers to a number of passages in the gospel of Matthew where Jesus tells his apostles to “make disciples of all nations.” People assume this means going to far flung places and preaching about Jesus. But when I asked Luke about his work in Providencia, for him, mission is far more integral and encompassing than “straight evangelism.”  

As theologian Christopher Wright points out, Jesus was concerned with responding to the needs of people - both materially and spiritually - in the power of the Holy Spirit. The two go together and are integrated. The Book of Acts and letters of the apostle Paul in the Bible show a commitment of the followers of Jesus to preach the good news and bring others to faith, but also to live with compassion as a loving community seeking to address the social and material needs of those around them. In fact, Paul’s first of many missionary journeys was to provide famine relief to prevent starvation of the people in Judea.  

So where is Luke now thirteen years after he first left New York? He still lives in Providencia and together with his team of volunteers and a local church in Rio, he has built and runs a community house, Casa Cruzeiro (House of the Cross) and adjoining educational annex at the highest point of the favela.  

Casa Cruzeiro.

A group of buildings jostle together at the summit of a hill in a city.

On entering Casa Cruzeiro during my visit to Rio a few months ago, I was struck by the sense of peace. The community around the house is far from calm. It’s poverty at its crudest and, as Luke will say, at times depicting humanity at its darkest. Murder, rape, incest, drugs, extortion, prostitution, abuse, neglect… the list goes on. Life at the margins doesn’t get more marginalised than this. Casa Cruzeiro is a light in the darkness, a stillness in the chaos. It operates an open-door policy where anyone is welcome, drug traffickers included (as long as they behave), for a meal, to hang out, to talk, even to stay if someone needs a roof over their head. About 200 children, adolescents and adults pass through their doors each week, and some of the activities include an afterschool programme, adult literacy support, a communal vegetable garden, career counselling, guitar lessons, bible studies and prayer groups. Material and spiritual needs met seamlessly and uncomplicatedly together as part of a whole.  

A  Providencia family.

A mother sits with a toddler standing in front of her. The father appears from the side lying on his back reaching an arm out.
A family play in a Rio favela.

If you could rewind the clock by thirteen years, and make a different choice, would you? I ask Luke. He pauses, and says no, but is clear that it hasn’t always felt like an easy choice. He’s often pondered over the comfort and wealth that he left behind. But at the moment he has no plans to leave.  

And what has he learnt about God over these years in Brazil?   

When he relies on God he feels a deep sense of peace, and a conviction of God’s love in a way he hadn’t known before.  

“When God called me to Brazil, he was saying, ‘You need to know me again. I want to reintroduce myself to you. This is who I am. And this is how much I love you.”

Jesus said to His father, “Let thy Kingdom come, on Earth as it is in Heaven.” And as I walk around the safe, clean space of Casa Cruzeiro… chat with Iam over lunch, who became a Christian five years ago when reading a passage of scripture with Luke… hear about Monique, who with the team’s help, has been accepted onto a youth apprenticeship programme… look out from the roof top past the carefully nurtured community vegetable garden to the dark winding alleys and mish mash of favela shacks sprawling down the hill and into the city beyond….and watch Luke’s eyes lighten as he tells me about the young people that he and his team look after and walk through life with…  

I realise this is what Jesus meant.  

Review
Community
Culture
Film & TV
Monsters
7 min read

I came for the demon-fighting pop stars and stayed for the existential crisis

A Netflix kids’ film made me rethink shame, friendship, and my Spotify algorithm

Harry Gibbins  is a doctoral researcher at the University of Aberdeen. His PhD concerns the intersection between autism and Christian ministry.

K-Popm Demon Hunters lean forward wielding weapons
Rumi and friends.
Netflix.

I am not the target demographic for the hit film K-Pop Demon Hunters. My knowledge of K-pop is incredibly limited, and I’m pretty apathetic about musicals. In fact, my only real encounter with K-pop was as a youth worker, where I distinctly remember its first ‘wave.’ Suddenly, groups of mostly teenage girls were eager to tell me all about BTS, a boy band that rose to popularity the late 2010s. Their dancing was impeccably choreographed, their lyrics a mix of English and Korean; for as much as it wasn’t my thing, I got the appeal. International media finding a place within the British zeitgeist has happened before. I’m of the generation where Pokémon did an excellent job of distracting me from learning my times tables. Yet, the seven very handsome boys that made up BTS seemed to cast a spell over my young people like I’d never seen.  

Flash forward seven years. Much has changed. A global pandemic is in the rear-view mirror, and I’m trying to find my place in the north-east of Scotland. I’m sitting in the car trying to simply transport my two wonderful daughters from Point A to Point B. Many parents will know of the strange hypnotic effects of children’s songs in the car. A fifteen-year-old Harry would be mortified to know that Metallica no longer feature in the top spots of my Spotify most-played artists. Now, upon that throne sits an assortment of Disney Princesses, and they rule with an iron fist. Today is different, however. “What do you want on today?” I ask, ready for that day’s third rendition of ‘Let it Go.’ “K-Bop Bear Hunters”, replies my youngest eagerly.  

Here, my daughter is trying her best to remember the name of a song she’s heard at gym class. I work it out eventually, K-Pop Demon Hunters, amused by the swapping out of ‘Demon’ for ‘Bear.’ My wife puts it on, and to my pleasant surprise, the songs are like a breath of fresh air. I read a bit about K-Pop Demon Hunters, working out that it’s an animated film on Netflix, and I get the general gist. However, I’m surprised to hear that it’s recently become the streamer’s most-watched film ever. My wife and I decide to watch it together that night, and I’m blown away. I’m seriously not the target demographic for this film, yet it has me completely hooked.  

The film follows the three members of a K-pop girl group, Huntr/x (pronounced hun-tricks). We quickly learn that Rumi, Mira, and Zoey, use the power of music to fight off demons, many of which are based on real Korean mythology. Their singing empowers a magic barrier, the Honmoon, that keeps the demons at bay; yet, trouble emerges when a demonic boy band arrives seeking to stop Huntr/x and allow demons to take over the world. High jinks ensue, there are some cracking songs, and, of course, a surprise romantic subplot.  

As the film ends, I find myself left with an unusual feeling. Ever since I was told as a boy that the big lion in Narnia was really Jesus, I’ve been intrigued by stories that tell me something of faith. Now, to be clear, I do not think the writers of K-Pop Demon Hunters set out to create a story about Christian faith; it would be very naïve and quite inappropriate to suggest a film so heavily inspired by Korean culture was actually about Western Christian values the whole time. However, I am still personally challenged by the themes it brings up, especially considering the film’s emphasis on belonging, togetherness, and authenticity.  

‘What It Sounds Like’ 

Rumi, our protagonist for this story, hides a secret, a secret which propels the events of the film. It is established early on that you can tell a demon in disguise by the intricate patterns on their arms; sharp tattoo-like symbols that resemble lightning bolts coursing across their bodies. As Rumi gets to the bridge of the song ‘Golden,’ we see her looking at herself in the mirror. The sleeves of her jacket sloping off her shoulders to reveal that she too holds these patterns; Rumi is part demon. This all happens in the first few opening scenes of the film. The audience holds onto this secret alongside Rumi as she tries to hide these patterns from her bandmates. She believes that her job is important, crucial even. The Honmoon must be protected; the barrier to the demon world must be strong. However, Rumi’s secret becomes a thorn in her side, risking their mission. This was where I saw the potential of the story roll out in front of me. What started as a colourful, poppy, sickly-sweet kids film developed into a tale that demonstrates the power of friendship, community, and love. To try and illustrate this more clearly, I want to pick up on some of the lyrics from the song sung at the film’s climax, ‘What It Sounds Like,’ tracing Rumi’s journey as she deals with the secret she hides. 

If ‘Golden’ was to set the stage, illustrating the juxtaposition between the song’s words and Rumi's insecurities, then ‘What It Sounds Like’ is the fulfilment of Rumi’s wish. Whilst Rumi originally sang of a duty that provided her strength, “cause we are hunters, voices strong and I know I believe,” now she recognises that she relies on her friends to go her through, “I don’t know why I didn’t trust you to be on my side.” The suspicion Rumi holds that her friend won’t understand the quite literal patterns she hides has only led to division; now, through the authenticity she has learnt to value, through the support of her friends who cast away their prejudices, a new reality is found where Rumi no longer holds shame for who she is.  

I am not surprised at all to hear that queer writers have acknowledged the allegory for the shame many queer people hold around coming out. Needing to hide a part of herself, Rumi demonstrates the philosophical cornerstone that has caused this story to resonate with queer folk. This is most potent at the crescendo of ‘What It Sounds Like,’ where all three girls come together and sing as one, “why did I cover up the colours stuck inside my head? I should’ve let the jagged edges meet the light instead.” What I believe is demonstrated here is a rejection of the thin understanding that ‘Golden’ prioritised. Originally, these bandmates came together because of a responsibility that has been placed on them; demons are bad, get rid of them. Now, a more nuanced reality emerges. As the light spills out of them, meeting these “jagged edges” of life like a prism, the world no longer seems as black and white as they first believed. Rumi, being part demon, is not in conflict with their desire to love each other. 

Carrying and caring 

Fantasy writing does a good job of using a physical object to represent the philosophy of the story. The One Ring in The Lord of the Rings both represents the burden Frodo carries and is literally the burden he carries. K-Pop Demon Hunters takes a similar approach, just not physically. As Huntr/x sing of the scars they carry, of covering up things they thought would lead to discrimination, they acknowledge that they have “listened to the demons, we let them get between us.” The fight they have is with magical creatures from the underworld, yes. But these demons also represent the division between Rumi and those she cares about. However, this shame is rooted in reality; we see early on that Rumi’s friends probably wouldn’t understand her part-demon heritage. What is needed here isn’t for Rumi to simply rip the plaster off and be honest. The shame she feels might well be internal, but it is still projected upon her by the attitudes of others. Instead, as demonstrated by the lyrics, it is only through a genuine life-giving care for one another that these three friends can come together to conquer darkness.  

To summarise, K-Pop Demon Hunters spoke more to me about the human experience of community, friendship, and togetherness than most so-called ‘grown-up’ films have ever managed. I am pleased that a film that, I imagine, my children will watch over and over again holds such a comforting message. Against a backdrop of children's media that only exists to empty my wallet, K-Pop Demon Hunters—against all my assumptions—truly demonstrates the artistic value of animated films. I look forward to the enviable barrage of sequels and copy-cats. 

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