Article
Advent
Attention
Christmas culture
Culture
4 min read

The Visitation and Wicked taught me about welcoming

See, behold, recognise, welcome.

Jessica is a researcher, writer, and singer-songwriter. She is studying at Trinity College Dublin, and is an ordinand with the Church of Ireland.

A Renaissance painting of Elizabeth greeting the Virgin birth show two woman reaching out to hug, while others look on.
Pontormo's Visitation, 1528.
Pontormo, Public domain, via Wikimedia Commons.

It is a gift when we encounter something — a walk, conversation, work of art — that gives insight into a story we’ve long held dear (or often, long wrestled with). Last week in a cinema in Limerick, a moment in the film Wicked did just that. 

For the last year or so, I have been thinking about an event in the Gospel of Luke traditionally called the Visitation. This is the moment when Mary, the mother of Jesus, after realizing she was pregnant, traveled from Galilee to the hill country in Judea where her cousin Elizabeth lived. Elizabeth was also pregnant with a son, who would be John the Baptist. When these two women see each other, the word ‘greet’ is used several times in quick succession: a moving ethos occurs of this very human act of greeting — seeing, beholding, recognizing, welcoming. In a moment of abundant overflow, they vocalize praises from the deep heart; Elizabeth calls out to Mary, and Mary responds back.  

This Visitation moment has captured hearts and minds through the centuries. One of my favourite examples is the sixteenth-century painting by Pontormo, and a 1995 work of video art by Bill Viola, which brings this painting to life. In both of these pieces, we see the kind of beholding that the Visitation involves. We see warmth enveloping warmth. We see the brightness of recognition. We see tender enfolding and embrace. We see welcome. I have come to believe that this greeting we humans long for.  

They see, greet, and welcome each other in an overflowing moment of beholding and recognition.

So, last week in the cinema. I am a big fan of Wicked and from the start of the film was thrilled with the cinematic version. But at the start of the scene when Elphaba (played luminously by Cynthia Erivo) walks onto the dance floor of the local disco, the film shifted. It was as if the whole movie slowed into something different: a kind of halved-open, shadow-light play of the heart. 

Elphaba, realizing how the hat she had put on was all too wrong, instead of running, leans into this electrifying space of vulnerability and exposure. As silence pounds, she lifts her hand to her forehead and bizarrely wriggles her fingers. Steps of a strange dance follow. Others look on, mortified and disgusted. Galinda (played incandescently by Ariana Grande) watches, her face stamped with distress. She had given Elphaba that hat, as a trick. Then, she decides and acts: she joins Elphaba on the dance floor and tries to follow the steps. 

Narratively, the moment is the hinge to their friendship, securing them together in scenes that follow. But, before the narrative arc moves on, it dips down and stretches out. The lens rests closely on the two faces, separately, and we are drawn into the slopes of Elphaba’s face and the shine in Galinda’s eyes — and in the way they are drawn into the reality of the other’s face.  

They see, greet, and welcome each other in an overflowing moment of beholding and recognition. Such seeing shapes both. Such seeing brings them to be part of something whole. Sitting there in the cinema, my breath caught: I felt I was watching an iteration of that moment in Judea’s hill country from long ago, when two women also greeted each other. 

Serendipitously, because we are in Year C of the Anglican Church’s Lectionary — as in, we are in the third set of scheduled readings from the Bible — this year’s fourth Sunday of Advent reading presents the Visitation. This Sunday, as we tip from Advent season (a stretch of time marked by waiting) into Christmas (celebrating the birth of Christ and God-made-flesh, God-with-us), the long-suffering waiting of Advent funnels through this stunning moment of recognition. As the nativity narrative unfolds around them, Mary and Elizabeth enact this mutual, abundant recognition, and we have the chance to behold them beholding each other, so that our own sensibilities for seeing and being seen are given a glimpse into how this kind of wholeness-making can happen.  

I think too their praises give us an even deeper glimpse into what makes this wholeness real. They rejoice in the God who comes to us, and is-with-us, who heals us so that we too can participate in this kind of greeting — with God, with ourselves, and with one another. And that healing is so needed; as Mary’s words ring out unfettered, she praises God for empowering the lowly, those caught in dreadful structures of power. The ethos of deep greeting can happen no other way. 

A dear thing happened right after that Wicked dance moment. In the dark theatre, I looked over to my friend, three kids between us, with a smile — and without missing a beat, she raised her hand to her forehead and wriggled her fingers. Her daughter and I followed suit. We were all wriggling our hands at our foreheads, communicating a new, just-seen signal for the abiding welcome that friendship means.  

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Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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