Article
Change
Community
Hospitality
6 min read

“We’re amongst everybody.” The novel communities serving London

The city's intentional communities live in, and love, particular places.

Robert is a journalist at the Financial Times.

 

A man stands in a relaxed way on the doorstep of a brick building.
Mark Bishop at HOP East.

Mark Bishop has an unusual view from his home in Stepney, east London, at Friday lunchtimes. Because the nearby Stepney Shahjalal mosque has insufficient space for worshippers at its busiest weekly service, neighbouring Shandy Park turns into an impromptu outdoor worship space. For the main Friday service, more than 500 men alternate between standing and kneeling in prayer in the open air. 

The scene has seized the attention of Bishop, an ordained Church of England priest, because his home is the House of Prayer for East London (HOP East), a community that he and Carrie, his wife, founded in 2023. From its base in Faith House, built as a 19th century mission outpost on the edge of Shandy Park, it is seeking to bring the power of Christian prayer to the same area. Bishop and Carrie live at HOP East with their children and another couple. 

The community is one of multiple Christian “intentional communities” worldwide engaged in concerted efforts to develop new forms of monastic or communal living to minister to an increasingly secular world. The trend has had particular attention in the UK because of the decision of Elizabeth Oldfield, a Christian writer and podcaster, and her husband to live in an intentional community with another couple. In Germany, Johannes Hartl 20 years ago in Augsburg founded a community called the House of Prayer where there is always at least one community member praying, 24 hours a day. 

HOP East was partly inspired by Hartl’s community. The Stepney community shares with many other Christian intentional communities both a strong sense of ministering to a particular place and a focus on the importance of prayer. As well as the residents, there are a growing number of non-resident members who regularly come to Faith House for prayer, worship and to eat together. 

The open-air prayer highlights both the contrast between HOP East and its many non-Christian neighbours and their shared commitment to prayer, according to Bishop.  

“We’re amongst everybody, to be good Christian neighbours,” he says. 

Kirsten Stevens-Wood, a lecturer in Cardiff Metropolitan University’s school of education and social policy who has a research interest in intentional communities, says Christians have a particular affinity for communal living. 

Stevens-Wood points out that sociologist Rosabeth Moss Kanter – better known for her later management writing – concluded after researching intentional communities that Christianity’s mixture of shared commitment and rituals was highly compatible with communal living. 

“It enables communities to be more stable and endure longer periods of time,” Stevens-Wood says. 

New communities such as HOP East coexist with the survivors of previous waves of idealism about communal living. In the UK, they include Northern Ireland’s Corrymeela Community, which seeks to heal the polarisation caused by the political conflict in the region. Bishop himself was born in the Lee Abbey community in Devon, a Christian community linked to Anglicanism founded after the second world war. 

The London outpost of Lee Abbey runs a hall of residence for international students in Kensington, on the other side of London from HOP East. 

“They definitely come in waves,” Stevens-Wood says of intentional communities. 

HOP East’s focus on prayer is manifested in multiple ways, according to Bishop. They include a commitment for members to say the Lord’s Prayer daily at noon, wherever they are, and to engage in “prayer-walking” – praying in the streets as they walk along them. 

“To our Muslim neighbours, it really helps to be more serious about how we pray, because they’re really serious about prayer,” Bishop says. “This is very much a neighbourhood where prayer is strong.” 

He and Carrie had long felt a calling to pray for London and East London in particular before setting up HOP East, he says. 

“We began, out of lots of different activity, to ask a question: ‘What would it look like to form a community as an expression of church?’” Bishop recalls. “We’re a new monastic expression. We’re living out, working out a rule of life and other things that might define what a new monastic community is.” 

Members of the community range in age from school-age children to older, retired people, Bishop says. He describes the community as “both gathered and scattered”, with only a few of the community members living in Faith House. 

But he says living in a relatively small number of East End neighbourhoods – including Limehouse, Mile End and Shadwell - unites them. 

“Everybody else has a level of proximity to us,” Bishop says. 

The points of contact between apparently contrasting communities are clear visiting the imposing Kensington townhouses owned by Lee Abbey London. 

Sue Cady, Lee Abbey London’s chaplain and deputy director, says the site is home to 150 international students and around 25 team members who form the community on the site. 

The students living at Lee Abbey London are mostly not Christians while the team members who serve them make up the community. Team members consist of a small core of longer-term workers like Cady and one-year volunteers who are single and share rooms. While Cady would like to welcome more British volunteers for the one-year positions, nearly all at present come from overseas on charity worker visas. 

Cady shares with Bishop the sense that a place where Christians live and pray together is special. Lee Abbey London expresses that partly by training up a new generation of Christian leaders, she says. 

“The young Christians are being grown and developed and then after their year with us they’re going all over the world as stronger Christians, grown in discipleship and leadership,” Cady says. 

She is also clear that the life of the community affects the students. 

“Our mission field is the international students, who are really open about UK life and asking us questions about our faith and the difference our faith makes to us,” she says. “They notice something very different about us that’s peaceful and kind.” 

At the heart of both communities, however, is a sense that prayer is a vital, sustaining, communal activity. 

For Cady, that manifests itself in Lee Abbey London’s distinctive atmosphere compared with other halls of residence. 

“People comment on the sense of God’s peace and God’s presence here, which I think is due to the fact that our team worship and pray daily for the residents that live here, and that the majority of our team are on gap years themselves,” she says. 

At HOP East, meanwhile, prayer is partly a manifestation of the members’ practical desire to help impoverished and disadvantaged people in their area. Community members pray for the area’s many refugees and those working with them, for victims of modern slavery and for many other social causes. 

However, the pledges to engage in prayer-walking and saying the Lord’s Prayer daily reflect Bishop’s conviction that prayer is a sustaining activity regardless of any practical need. Bishop insists prayer is a vital part of relating to God, of mission and ensuring people have opportunities to encounter the love of Christ. 

“We always try to remind ourselves… that prayer is always worth it, in and of itself,” he says. “We’re really aware of a hunger in this cultural moment we find ourselves in for healthy spiritual practice.” 

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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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