Explainer
Creed
Psychology
5 min read

Should you be ashamed of yourself?

Shame powers cancel culture, yet its historic role is guarding community boundaries. Henna Cundill takes an in depth look at shame - and empathy.
The word 'SHAME' spray painted onto a grey hoarding in lime green paint.
Anthony Easton/flickr: PinkMoose, CC BY 2.0, via Wikimedia Commons.

“Put on this dunce’s cap and go and stand in the corner!” cries the teacher, and immediately we are transported to a scene that takes place in a schoolroom of centuries past. Likewise, if nowadays we were to see a woman being led down the street wearing a scold’s bridle, we might assume that there was a very odd sort of party going on; we might even intervene or phone the police. Why? Because these are not the scenes of 21st century Britain. We don’t do public shaming anymore – at least, we like to think we don’t.  

But the truth is we very much do; in fact, shame is essential, at least to a certain degree. For a group to survive with any sense of collective identity and purpose, something has to prevent each person within that group from becoming too greedy, or too lazy, or too dishonest. That something is often the fear of being shamed, not even punished – just shamed. It doesn’t feel nice to be judged and found wanting, or to fear that you might be. 

Think back to the last windy day when your recycling bin blew over – did you experience a passing moment of concern about the public pavement acrobatics of your wine-bottles, cake boxes and ready-meal trays? No need to blush – your neighbours probably rushed out ahead of you to hide their own multifarious sins. Studies have long shown that installing self-checkouts at supermarkets dramatically increases the purchase rates of “stigma items” such as alcohol and unhealthy foods. Oh, the things we do when we think no one is watching… 

So, shame is, on one level, a functional tool which does the essential job of guarding the life and boundaries of a community. Perhaps one or two of us still eats a little too much and drinks a little too much, but shame is one of the things that keeps most of us from going too far, too often – or at least the threat of shame tends to discourage. As Graham Tomlin has recently explored – we still live in a society that equates over-indulgence with a lack of virtue.  

It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. 

However, when an individual does step out of line, then the shaming process has two modes of presentation: exposure or exclusion, sometimes both. This is most clearly seen in a court of law, where an offender is first ceremonially declared to be guilty (exposure) and then is subsequently sentenced (exclusion) – often “removed” from society, at least for a while, via a custodial sentence or a curfew. In this very clear way, shaming plays a functional role for the well-being of society as a whole.  

But these two prongs of the shaming process can also happen in rather dysfunctional ways, some of which are dangerously subtle. We fear the recycling bin disgorging its contents because there is a certain social shame in being seen to consume too much junk. Fine. But what about the teenager who is compelled into a cycle of disordered eating because a schoolfellow has pointed the finger and said the dreaded word, “fat”? Likewise, many people love a chit-chat, and the fear of being excluded from a social group usefully prevents most of us from being too fixed on one topic, or from appearing inattentive or impolite. But in my research with autistic people, some have shared that they feel shamed out of social groups entirely simply because “chit-chat” is not right for them. Some have a language processing delay, others find “small talk” a bit confusing and inane and would rather talk about something specific. It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. Some of this shaming doesn’t sound very functional, not if the wellbeing of society is supposedly the goal.  

The inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. 

Perhaps the saltiest example of this problem is the now infamous “cancel culture”. I know – even I can’t believe I would risk bringing that up as a writer, that’s how charged this debate has become. But de-platforming, boycotting, or publicly castigating someone for the views that they express – these are shaming activities, an attempt to render an individual exposed and excluded. It can be a very tricky argument as to whether this counts as functional shame, guarding the wellbeing of society, or dysfunctional shame, guarding little more than social norms.  

We ought to try and take it on a case-by-case basis, but even then, sometimes what one person takes as a moral absolute another person sees as a social choice. At the same time, those who hold dearly to certain moral absolutes sometimes lose sight of the societal impact of what they say. The result can be a strange kind of war, one where there is virtually no engagement between two opposing factions, and the only weapons are a string of press releases and a whole lot of contempt. Eventually, often regardless of there being no engagement and no progress, both sides vigorously declare themselves to be the winner.   

Jesus once said a strange thing when he was talking to a crowd. He said: “Settle matters quickly with your adversary who is taking you to court. Do it while you are still together on the way.” In other words, “Just have a chat first,” says Jesus, “and see if you can’t come to terms.” It was part of a much longer discourse where he also told the crowd to “love your enemies” – and this with the kind of love called agape, a love which favourably discriminates and chooses someone – very much the opposite of shaming them.  

For my own research I have looked in depth at the shaming experience, and one of the conclusions that I come to is that the inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. Where shame exposes an individual, empathy draws them into discussion. To empathise with someone is not to agree with them, but it is to recognise they are human just the same, and that through openness and dialogue it is possible for people, even those who have very different experiences of the world, to explore each other’s perspectives. The end point of that exploration may not be agreement – it might still be everyone back to their corners. But in the process no one has been shamed, no one exposed or excluded, no-one othered or dehumanised.  

Of course, it is far easier to point the finger, to expose someone to the court of public opinion, and then to turn one’s face away, nose in the air, mouth clamped shut in an apparently dignified silence. On the surface this seems like the elegant response – live and let live – but in fact it is not: to designate someone as not worthy of attention is to very publicly inflict shame. We might as well clamp them into a scold’s bridle and lead them down the street. And, as we do so, let’s hope it’s not a windy day – or if it is, let’s be sure that we have firmly tied down the lids of our recycling bins.   

Column
Awe and wonder
Belief
Creed
4 min read

What brings us into bulwark cathedrals?

A band’s tribe trek to a cathedral that’s defied the dark for centuries.

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

A view from a floodlight footbridge towards a gap between office buildings which reveal a cathedral and its illuminated dome.

I went along to read some Genesis at a local Nine Lessons & Carols service, wearing the coat I’d worn the week before on my annual cathedral benefit tour with the evergreen folk-rock band Jethro Tull. 

The coat still bore the stick-on backstage pass, ‘access all areas’, that acts as some form of security for band, crew and instruments. I hadn’t had time, or the skill to be honest, to soak it off gently to avoid damaging the fabric. 

A number of congregants, both men and women – I hesitate, for contemporaneous reasons, to add “of a certain age” – noticed it. “Does Ian Anderson still stand on one leg when he plays the flute?” asked one. “I’ve still got some Tull albums from the Seventies,” added another. “Great band,” affirmed a third. 

It strikes me that more church congregants recognise Tull than Tull fans recognise the Church of England. That’s to be expected, given that this is a tribe that grew up with a prevalent post-modern atheism. I remember in the early days following a pair of increasingly hairless old hippies into one of these gigs. “Looks like a flippin’ church,” said one. “That’s because it is a flippin’ church,” replied the other (though naturally they didn’t say “flippin’”). 

These cathedral shows, of which there have been about 30 now, sell out easily and very soon after tickets go on sale in the summer. We played Bristol and Salisbury (again) last week. The larger cathedrals benefit to the tune of upwards of £25,000 for a couple of hours of Christmassy rock ‘n’ roll. They come because they like the sound of Jethro Tull and Anderson’s songwriting canon. 

But there’s something else going on. They come, these predominantly unchurched people, to take ownership of their cathedral. They may come because it’s Christmas and it’s the right place to be. They come to be together, if not as the Body of Christ then at least in some sort of communion, which is true of any rock concert gathering in a corporate way, but which is lent something transcendent in a gothic cathedral. 

This raises questions for me. The first is this: Come Christmas, what is it that they and we have all been waiting for, this crowd of people who seem strangely anticipative, not just to hear one of their favourite bands, but to hear something else in the air in a sacred, ancient place? 

I have a theatrical role, somewhere between master of ceremonies, band confessor and rocking retainer. Top hat, tails, leggings, codpiece, pixie boots and a knobbed cane. Oh yes, and my clerical collar. It’s the dog collar that connects me to a reality beyond the show business.  

In addition to cavorting, I deliver a Christmas blessing during the intro to the last number of the night (usually “May the joy of the angels, the wonder of the shepherds…” etc.). I’m struck by how moved many people are and remark on it afterwards in the crowd. There’s a real hunger for peace and goodwill in a broken world, not just an appetite for a thumping bass line to swing hips to, as they raise their eyes to a vaulted, lit ceiling far away, sometimes a thousand years old. 

My second question is relatedly this: What does a merry Christmas mean in this context? Quite often, Tull’s Christmas song from 1977 will be on the setlist, Ring Out, Solstice Bells. It’s pagan in theme (“seven druids dance in seven time”) but it engenders in this setting a strong folk memory of light and cheer in the darkness. There’s a defiance of the dark here and the cathedral stands as a bulwark against it down the centuries. Be of good cheer because all will be well – that’s what it means to wish a merry Christmas. 

A final question: Why do they come back every year, this motley band of ageing rockers (though there are youngsters too)? Part of the answer to that is the comfort of the familiar and eternal – and I don’t mean only songs that are up to half a century old. It’s a truth among other truths that religious observance is growing in some societal pockets, among Gen Z men for example.  

Cathedrals aren’t like parish churches, where you may feel part of a small community. Cathedrals are a part of the world, in all its harsh reality. Katherine Amphlett LINK has written here of Coventry cathedral (where Tull has played) and a feeling of how Christmas is far from twee in these settings – the Christmas story is hard and subversive. To my mind, it’s a story about persecution, homelessness, displacement, oppression, refugees and misogyny. 

A cathedral is big and strong enough to bring all that to. It always has been. We see some of that recognised in the audiences for these Christmas shows. Perhaps you’ll join us at a cathedral near you next year? Meanwhile, merry Christmas. 

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