Article
Change
Community
Development
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
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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