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.’ 

Column
Creed
Feminism
Monastic life
4 min read

Cancelled but not forgotten, the medieval heretic who still intrigues today

Despite erasure and desecration, Guglielma was a trailblazer.

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

A silhouette of a woman's face.
Seth Johnston on Unsplash.

Is it possible to be martyred years after dying a natural death? The question occurs to me under the Alps between Lyon and Milan and arises from a late thirteenth century story of Guglielma, a spirited 50-year-old to say the least. 

She arrived in Milan in 1260 like Ruby Tuesday. No one knew where she came from and yesterday didn’t matter, because it was gone. She lived in poverty, but gathered quite a following. Some said she was the daughter of the King of Bohemia (she was certainly bohemian in the cultic sense), others that she was the cousin of Elizabeth of Hungary or had been married to an English prince. 

Guglielma (we have no surname) claimed equality with God, a new dawn for womanhood, and according to a contemporary account stated she was “the Holy Spirit made flesh for the redemption of women” whom she baptised “in the name of the Father and of the Son and of herself.” 

Some 20 years after she died, Dominican agents of the Inquisition arrived in Milan and burned a top nun, Maifreda da Pirovano of the local ruling family, at the stake, for claiming that she would be made Pope. Then they pitched up at the Abbey of Chiaravalle, desecrated Guglielma’s tomb, dragged her mouldering remains to a field and burned her bones to dust, scattering her ashes to the winds. 

I resolved to embark on a little pilgrimage to Chiaravalle when I arrived in Milan, to pay my respects to Guglielma, my kind of heretic. I’d never heard of her before a short account from the podcasting historian Tom Holland, whose book Dominion, on “the making of the western mind”, I was finishing as I crossed the Italian border. 

Pilgrims used to visit her tomb twice a year in the Middle Ages before she was violently exhumed. But you’ll find no record of her at Chiaravalle now. Bizarrely, there were Italian supercars being photographed outside of the abbey when I arrived, but it’s peaceful and original, nonetheless. And Guglielma is, of course, missing. 

Speak to one of the Cistercian monks there and they will affect not to have heard of her, then murmur “heretic” and “Bohemian.” But a gentle monk called Davide sweetly told me he would show me her former tomb, in the private grounds out of bounds to visitors, if I returned in 20 minutes. 

We walked through the brothers’ vegetable garden and cemetery, where hares were nibbling around a statue of St Francis and the trees grew unruly. There, under a twelfth century arch, was her former grave, now marked with the names of local Milanese benefactors of the abbey. I wondered if they had known they would be laid to rest in heretical soil. The birds sang on. 

As such, heresy serves as a reminder not only to overthrow prevailing orthodoxies, but is also divinely owned. 

There are lessons to learn from the Gugliema cult. The first is that, as the author of Ecclesiastes has it, there really is nothing new under the sun. Women have been fighting the patriarchy perhaps since Mary Magdalene encountered “the gardener” outside an empty tomb. 

There was no word for “deaconess” in the early church, only deacons. The Gugliemites were heralding the dawn of a new age for the Christian Church run by women. That may not be wholly the ambition of today’s women priests, but let’s note in passing that it’s taken more than another 700 years for women to be consecrated as bishops.  

The second point is that she really might have had a point about the Holy Spirit. Claiming the third person of the Trinity as herself may have gone a bit far, even by today’s standards, but for a God who holds within “himself” all gender, there is a venerable tradition of considering the Spirit as female. 

The Hebrew bible often casts this spirit as female, as in the book Proverbs, where Wisdom is a woman who “shouts in the streets” and “cries out in the public square.” It was St Paul, much later, who said she must keep quiet in church. 

Guglielma is a saint only in Folk Catholicism, but women like her and Maifreda were authentic witnesses and trailblazers for women’s apostleship. We can still be too sniffy, even afraid, of heresy and we do well to remember the main charge against the Nazarene at his arrest and execution was precisely that. As such, heresy serves as a reminder not only to overthrow prevailing orthodoxies, but is also divinely owned. 

As I left Guglielma’s last grave, I knew it was empty of her, not unlike that other empty tomb. Her violators had liberated her into the world. She’d gone before me. 

It was fitting that her ashes had been thrown to the wind, like the wind that had moved across the waters in the act of creation; like the wind that had blown over other disciples at Pentecost. And like the wind that was now gently rustling the trees in this quiet monastic back garden.  

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