Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Vicar of St Michael's Chester Square, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

Explainer
Creed
Death & life
Monsters
Paganism
5 min read

Will the owner of ‘Halloween’ please come and collect it?

A mutant festival of saints, spirits, and supermarket costumes resists belonging to anyone
A witch, a priest and a druid stand in a store and look quizzically towards a halloween pumpkin
Nick Jones, Midjourney.ai

The trouble with modern Halloween is that it’s hard to say who it really belongs to. Our contemporary public holiday – 31 October, when people dress up as skeletons, light jack-o-lanterns, and go ‘trick-or-treating’ – has a few prospective owners.  

Perhaps Christians could claim it. The term “Halloween” is a shortening of ‘All Hallow’s Eve’, which is the day before All Saint’s Day (1 November) in the Church calendar.  

But this doesn’t fit with a few things. Don’t Christians dislike all that dressing up as evil spirits, and summoning up misrule and revelry? Instead, the case is made for a pagan ownership of Halloween: it was all due to a Celtic festival called Samhain (pronounced ‘sow-in’). This was a day for appeasing evil spirits, contacting the dead, and acts of mischief – all better fits for modern Halloween, surely? 

Sadly, we just don’t know enough about Samhain to say. We only have evidence about it from centuries after the Christian era, and in limited scraps like: “Samhain, when the summer goes to its rest”. It is unlikely the Christians invented this, to be sure – but none of the data tells us how it was celebrated.  

In fact, there is no evidence at all that All Saints Day was a churchy attempt to ‘take over’ a pre-existing pagan festival. From the get-go, Christians commemorated their dead on the basis that they were still alive in heaven, and able to bring prayers to God. A quick peek at the Book of Revelation (the final book of the Bible) gives a behind-the-curtain look: “and the smoke of the incense, with the prayers of the saints, rose before God from the hand of the angel”.  

Over time, it became more official which ‘holy ones’, or saints, should be honoured at which times. This was not about making dead Christians into gods, though. A famous theologian called St Augustine explains the proper view of the early Christians as they kept hold of bones and clothing from their dead: “We do not build temples, and ordain priests, rites, and sacrifices for these same martyrs; for they are not our gods, but their God is our God”.  

Gradually, a date was set to celebrate all those great men and women in heaven – from this came All Saints, or All Hallows Day. A tradition in northern Europe set this on the 1 November: “As a jewel worn on the brow sparkles time and again, so November at its beginning is resplendent with the praise given to all the saints” reports an English calendar from around 800AD.  

It is all well and good celebrating those who have made it to heaven. But what about the majority of Christians? Those who had died unrepentant and lukewarm – what on earth could be done for them? Here came another separate development: offering prayers and worship on behalf of those who had died as forgiven sinners, but who were still, if you like, serving their time for their bad choices.  

It gradually became the norm to tack that practice onto the pre-existing All Saints Day, so that the souls of regular Joes could have powerful heavenly intercessors close by. And so, All Souls Day became an established part of the Church’s year too, falling on 2 November.  

 

But here’s the twist. This season of ‘Hallowtide’ (All Saints and All Souls together) carried on for centuries, until England suddenly and violently abandoned it all in the sixteenth century. Seemingly overnight, the Reformations of the Tudor monarchs ended All Souls Day by scrapping all mention of a purgatory for the dead, and attempts to pray for them there. All Saints Day limped on in the new Established Religion as a remembrance of Christian exemplars – but they were not to be thought of as in radio contact from heaven anymore.  

Some people tried to carry on as usual, in illicit gatherings on hilltops, where they would burn straw, and gather to ask for help from great saints and pray for loved ones. But the majority followed the new religious settlement and tried to forge new communal rituals as best they could. The night still had a ‘supernatural’ afterglow thanks to centuries of the now-absent All Saints and All Souls. 

Then, in the nineteenth century, there was a comeback. Irish immigration to the USA and Great Britain plonked a fully formed Hallowtide into English-speaking culture again. It took like a duck to water. Perhaps this was to be expected. Here was a civilisation which had been rapidly deprived of its ordinary way of expressing connection to their deceased loved ones, as well as a sense of protection from heavenly guardians. They were clearly starving for some way to communicate feelings about ‘the beyond’, and to find hope in the darkening, colder days.  

‘Halloween’, really a modern döppleganger of All Hallow’s Eve, quickly became a popular national custom – a world custom, indeed, due to US influence. It took from Christianity that otherwordly atmosphere – but it did not jettison any of the customs that had arisen since the Reformation, and which were themselves continuations of folky responses to the coming of Winter; Samhain is almost certainly a part of that background here, even if it is not a direct connection, as we have seen. 

This Halloween mystery has a twist, then. Here is really a mutant of a festival that belongs to no one in particular - and that is the point. One could really call it one of modern pluralistic society’s great achievements. It has taken over management of this eerie season from the church, and arguably made a successful shared custom out of it. On the other hand, it is arguably consumeristic, tacky and frequently immoral: it was only a few years ago that supermarket costumes allowing people to dress as ‘mentally ill’ showcased this shallowness. 

So, as a Christian, I have some regrets that Christianity does not really ‘own’ modern Halloween, anymore. Because the original All Hallows, as well as All Souls, seem to me to be a historic high point of confidence about our human fate. Here was a whole civilisation that seemed to announce to itself, every November, that death, human wickedness, and the Devil, were not in charge here – those who had died in Christ were now more fully alive; that no one is so beyond hope that they are not worth praying for. The darkening nights and colder air must have seemed less daunting to them.  

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