Article
Christmas culture
4 min read

Why a cultural Christmas sometimes struggles to celebrate

In the build-up to Christmas there's contrasting rhythms of ancient and modern ways to celebrate.

Alistair Reid is studying theology at Oxford University as part of training for Church of England ministry.

Looking down a red shiny christmas tree in the centre of a department store gallery.
Christmas at Galeries Lafayette department store, Paris.
Bing Hao on Unsplash.

Our lives dance to the rhythm of anticipation and fulfilment. The food in our fridge, the concert in our calendar, the holiday on the horizon. From daily pleasures to longer-term goals, we inhabit the familiar routine of journeying and arriving.  

The build-up to Christmas offers such a rhythm on a much wider scale, moving beyond the personal to a culture-wide experience. We receive our early warning alert in September as the mince pies hit the supermarkets. But by November preparations are in full swing. Retailer John Lewis has coined ‘the 45 days of Christmas.’ Their biggest day of sales for Christmas decorations is on November 10th. By December, the Christmas ads, Christmas lights and Christmas music become relentless. We make plans, buy presents, prepare food in a bid to deliver the promised Christmas cheer. And, finally, the big day comes – with turkey and trimmings. The length, breadth and depth of anticipation channeled into a single day.  

And then it’s Boxing Day. 

Boxing Day can have its own pleasures, but there’s also a sense of nostalgia, and even sadness. The wrapping paper left scrumpled on the floor from the night before, the leftovers in the fridge, the home emptied of guests, whether welcome or not. At best, we have the sad realization that the next Christmas is as far away as it could possibly be. But more likely, the realization that it wasn’t quite as good as we’d hoped, anyway. As Sylvia Plath memorably wrote in The Bell Jar:  

 “I felt overstuffed and dull and disappointed, the way I always do the day after Christmas, as if whatever it was the pine boughs and the candles and the silver and gilt-ribboned presents and the birch-log fires and the Christmas turkey and the carols at the piano promised never came to pass.” 

And so the cycle goes on. At least there’s New Year’s Eve to look forward to. Or Easter, as the supermarkets swap mince pies for hot cross buns. 

Our cultural Christmas struggles to wait. The joys of Christmas extend ever earlier, with searches for Christmas trees surging from immediately after the summer holidays. 

Our modern Christmas rhythm is, in many ways, parasitic upon an ancient Christian one. In Christian tradition, the four weeks building up to Christmas is known as Advent. The word means ‘coming,’ for Advent is a period of expectant waiting both for the birth of Christ at Christmas, and also the hope that Jesus will return to put all things right. As such, it is a time of preparation, self-examination and fasting, as Christians ready themselves to stand before the judgement seat of God. Advent is followed by Christmas, celebrated for twelve whole days (as in the famous carol), which is why Christmas decorations went up on Christmas Eve, and came down on January 6th, twelfth night. 

In many ways, the ancient pattern is similar to the modern pattern. Both are liturgical rhythms that mark and measure our years, as we inhabit cultural, familial and personal routines. Both involve anticipation and fulfilment, build-up and joy.  

And yet the differences are also stark. Our cultural Christmas struggles to wait. The joys of Christmas extend ever earlier, with searches for Christmas trees surging from immediately after the summer holidays. But, more surprisingly, our cultural Christmas struggles to celebrate. That might seem strange given the quantity of food, wrapping paper and presents that we get through. But rather than twelve days of Christmas, we barely make it through one.  

By contrast, the Christian tradition emphasizes the discipline of waiting. But not as an ascetic end in itself, as if joy is bad. Rather, the denial of waiting is replaced by the sustained joy of celebration. Twelve days of Christmas celebration is almost impossible for us to imagine – wouldn’t we get bored? Given our longing for joy, it’s somewhat surprising just how hard it is to sustain.  

More deeply, these two contrasting Christmases place their weight in very different places. Our modern Christmas expects Christmas to deliver what we’re looking for: through friends, family, food and fun. But while we catch glimpses of joy, we’re often disappointed: the turkey is overcooked, the presents are not what we wanted, the kids are bickering. It’s no wonder that sometimes Christmas can struggle to bear the weight put upon it. It’s no wonder that Christmas Day can descend into disappointment, self-pity, even acrimony. 

But the ancient Advent-Christmas rhythm, while incorporating these joys, deliberately seeks to place them within a larger story. The baby born at Christmas brings salvation from sin and death, turning Advent meditation on our future judgement from fearful cowering into confident expectation and present joy. This is hope and joy that does not depend on the perfect lunch, or the most sparkling of conversation. Instead, the greatest gift of Christmas is, well, Christ. And he can generate twelve days of celebration. In fact, he can generate joy for eternity. Rightly, C.S. Lewis described joy as ‘the serious business of heaven.’  

This is not to condemn our cultural Christmas. Who wouldn’t enjoy a cheeky mince pie in October? But what if it isn’t capable of delivering what we all want? Perhaps our capacity for joy is larger – and rooted deeper – than we thought. In this world of disappointment, sadness and suffering, perhaps the route to such sustained joy is through rhythming our lives to a larger story. 

 

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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