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
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