Column
Change
Community
4 min read

Reform votes: what really matters in the end

Two votes, three decades apart.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A grand dinner table set for a meal sits within a large room with paintings on the wall.
The dining room of the Garrick Club.

I was this week one of several hundred members of the Garrick Club, with many more attending online, crammed into a central London conference room to vote on whether women could be admitted as members for the first time since our founding in 1831. 

We Garrick members rather fancy ourselves as a secret society – and it was a rich irony that our vote was held in the same block as the Freemasons’ Hall in Great Queen Street.  

Actually, I rather like the tradition that what’s said and done in the Garrick stays in the Garrick. So this isn’t about our club’s internal wrangling and politics, beyond the now widespread news that women were voted as eligible for membership by a majority of 60 per cent. 

Rather than go further into that, I want to compare it with another well-fought fight for women’s inclusion: The admission of the female gender to the priesthood of the Church of England, more or less exactly 30 years ago in 1994. 

Much of what was going on in the Church then was being rehearsed again in London WC2 this week. You might call it long overdue dismantlements of patriarchal institutions, even if neither the Church nor our club would self-identify as such. No case could continue to be sustained for all-male preferment in our Church or in our club. 

To their great credit, the vote was won for reform by those who decided to work together, without rancour or resentment, in preference to further division and bitterness. 

There are two observations I would make of the Church precedent that may be of some comfort to my fellow club members, who may feel that nothing will ever be quite the same again. The first of these is quite a quick point. After a couple of weeks of women’s priesthood, almost everyone in the Church wondered what all the fuss had been about. Ordained women became a natural part of the priestly fabric of the Church really that quickly. 

Yes, provision had to be made for those who in conscience couldn’t accept women’s ordained ministry, so the process was not without its pain. But three decades on, women priests (and subsequently and inevitably bishops) are so much part of the weave of that fabric that most church congregations feel they’ve always been there. 

The second point I would make is that I know anecdotally of very many traditionalists opposed to women’s ordination who, at the General Synod, either voted for women or abstained when the result became inevitable. To have fought a last-ditch, hopeless defence  could only have lastingly damaged the Church’s reputation and ministry.  

To their great credit, the vote was won for reform by those who decided to work together, without rancour or resentment, in preference to further division and bitterness. My feeling is that a tranche of Garrickian votes were cast for similar reasons. 

These were women at the top of their game. It’s just taken a couple of millennia for our churches and clubs to catch up.

The comparison of a gentleman’s club and gentleman’s church is an imperfect one. Members of a church could be male or female; only the clergy were strictly male. There were profound theological and ecclesiological arguments (though I don’t share them) made against the prospect of women priests by Anglo-Catholics, which aren’t available to fans of men-only clubs. 

But the similarities between the institutions are founded on the principles of patriarchy nevertheless. The idea that men, in private circumstances, can behave and associate in the pretence that they are still in charge of everything, as they were in the nineteenth century, both at church and in clubland.  

This doesn’t matter much when it comes to the likes of all-boy or all-girl sports teams – though it’s a delight to see Woodlanders Football Club, Lioness-cubs to a girl, beat the boys to win their cup.  

It begins to matter very much indeed when the senior figures of professions and public institutions seek to associate only with their male colleagues. That’s as true of a boss who takes only the boys in the office to a rugby match at Twickenham as it is of gentlemen’s clubs. It may be patriarchy-lite, but it is rooted in the same hegemony that gave the Church its patriarchs. 

It’s an irony as rich as the location of this week’s Garrick vote that the gospel is far from patriarchal in its narratives, even though the language of Father and Son so ostensibly is. The Nazarene, scandalously for his day, freely associates with women.  The Jesus movement is radical in gender equality in a manner that its Church has failed down the centuries to emulate. 

Jesus gives full messianic attention to a despised and shamed Samaritan woman; he saves an adulterous woman (code for prostitute) from stoning; he stops to address a bleeding woman who just wants to touch him; as the risen Christ, he gives a woman, Mary of Magdala, the greatest apostolic mission in history to tell his dispersed disciples what she has witnessed. 

Little wonder women appear so prominently in the Acts of the Apostles. These were women at the top of their game. It’s just taken a couple of millennia for our churches and clubs to catch up.

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy
Beyoncé at the Houston Rodeo.
Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.  

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?” 

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.  

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.  

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts. 

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” 

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.  

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance. 

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.  

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.  

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”  

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.  

She challenges the present 

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another.  Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead. 

There’s anger in this record. The first song is “American Requiem” and includes the line:  

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?” 

Full of confidence and rage she asks over a bed of country music guitar chords:  

“Can you hear me? / Can you stand me?”  

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast.  The smashing of divisions makes way for the building of something new.   

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.  

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.  
 
Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds.  She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.  

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.  

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.  

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.  

 

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”  

16 Carriages 

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen) 

 Amen