Article
Change
Character
Purpose
Virtues
7 min read

Why do people come into your life?

The meaning behind those chance encounters.

Emerson Csorba works in deep tech, following experience in geopolitics and energy.

In a coffee shop, people sit around a table, one holds their hands up in surprise.
Coffee in Madison, USA.
Kayle Kaupanger via Unsplash.

You are sitting in a local coffee shop and the person sitting next to you strikes up a conversation. This stranger happens to work in the sector you wish to enter. They make a valuable introduction, this leading to further conversations, an interview, a job, and in time, the beginning of a career. Or, to take another example, you are a lone parent working in a local supermarket. A work colleague happens to know someone hiring at a local family business. An introduction is made to a person hiring for a role in a profitable company nearby and, before long, the recent supermarket clerk is in an environment much more conducive to supporting a family. These connections emerged entirely out of the blue, yet opened life paths in line with what the two individuals in question had for long been searching.    

Why do certain people come into our lives, seemingly out of nowhere? In his paper ‘The psychology of chance encounters and life paths’, the celebrated Canadian psychologist Albert Bandura writes that some of the most important determinants of life paths occur through the most trivial of circumstances. These chance encounters can send individuals’ lives in positive or negative directions, based on the values and skills of the person being connected, the openness or closedness of the networks into which the person enters and of course, the intentions of the person with whom a connection occurs.  

To illustrate his meditation on chance encounters, Bandura shares the story of a weary graduate student who ends his research early one afternoon in favour of a round of golf with a friend. The golfing duo encounter two women playing on the same course, one of whom eventually becomes the graduate student’s wife. (This example, it turns out, is a personal one: the graduate student in question is Bandura.) In another example, Ronald Reagan, while President of the Screen Actors Guild, is contacted by the actress Nancy Davis, who is concerned that another ‘Nancy Davis’ on a government list of potential Communist sympathizers at the height of McCarthyism might tarnish her reputation and acting career. The are smitten with each other, later marry, and form what becomes one of the most dynamic President and First Lady duos in American political history.  

The recently inaugurated Chancellor of Durham University and renowned Russian politics and national security expert, Dr Fiona Hill, provides us with a more contemporary view into chance encounters. In her book There is Nothing for You Here, Dr Hill coins the term ‘infrastructure of opportunity’ to describe the networks that can help propel motivated persons even if living in what she terms ‘opportunity deserts.’ Dr Hill describes the ‘Family members, friends, schoolteachers, university professors and administrators, and professional mentors [who] helped me find scholarships and jobs and generally pointed me in the right direction’.  

One such individual is a teacher, Dr Marshall, who encourages her to apply to the University of St Andrews. The local MP Derek Foster follows up regularly to see how Dr Hill is progressing in her applications. And the Durham Miners Association, long-known for its support of miners’ and their families in self-governance and lifelong learning, provide the needed travel stipend for the County Durham student to make an initial study trip to Russia. It is as if these select individuals reached into Dr Hill’s life, pulling her onto new paths as part of the gradual forming of her vocation. Dr Hill’s interest in Russia was clear, but a community of individuals laid new paths one brick at a time.  

Individuals with these types of personal networks, in whatever the setting, receive better information faster than their peers 

It is possible to see the development of a personal network in utilitarian terms, in which an individual sets out to construct a network rich in useful contacts. The American sociologist Ron Burt finds in his pioneering work into social network analysis that the most effective networks are ‘structurally autonomous,’ in which a person has many contacts across different ‘social worlds,’ though with few if any of these contacts across social worlds knowing each other (it is important alongside this branching-out into different contacts that a person coordinates their own close contacts effectively, so that they cannot easily be replaced should this be attempted). A social world may be a particular political party, company, church, or community (each its own cluster in which most members know each other) – the point of a structurally autonomous network is that a single person branches into a variety of these.  

The advantages of a structurally autonomous network are material. Individuals with these types of personal networks, in whatever the setting, receive better information faster than their peers. They can share (or not share) information in ways that provide them with tangible benefits. Burt finds that individuals with structurally autonomous networks tend to be paid more, promoted faster and receive better performance reviews than those without these kinds of networks. In Burt’s work, it is the individual that goes out of their own way to actively construct a network conducive to new opportunities. In other words, this is networking borne out of strategic self-interest.  

Ellul... contrasts an ‘anxious self-centeredness’ with a ‘manner of being’ that ‘can light up relations as lightning does the night.’ 

But what are we to make of the individuals that come into our lives, often unexpectedly, as part of a more gradual structuring of a vocation or even life? On one hand, Dr Hill’s energy, proactiveness and palpable interest in Russia animated her, preparing her for encounters with figures such as Dr Marshall, Derek Foster and Durham Miners’ Association members. On the other hand, the encounters with these individuals were unplanned. They occurred seemingly out of nowhere, much like Bandura’s encounter with his wife-to-be, or the inaugural meeting between Ronald Reagan and Nancy Davis.  

We can take a less utilitarian, and more re-enchanting view in reflecting on why it is that certain people come into our lives. The former sees the individual at the centre of all networking, actively if not relentlessly searching for valuable new contacts in the pursuit of opportunity and incremental advantage. The other sees the individual maintain agency while nevertheless remaining open to the unexpected offering by God of connections branching into new social worlds. These offerings are borne out of considerable prior deliberation, ongoing practice preparing the individual for meetings they never envisaged.  

This openness to the offering of certain contacts by God follows on a prior faith in the constant working of God behind the scenes, introducing the right people into our lives at just the right time. These individuals renew us, helping to light up the various paths we walk as part of our worldly vocations. The French sociologist and theologian Jacques Ellul touches on this in his book The Ethics of Freedom, in which he contrasts an ‘anxious self-centeredness’ with a ‘manner of being’ that ‘can light up relations as lightning does the night.’ In the self-centered case, ‘I become the unique central, and essential person who lies behind everything. Only my destiny concerns me. For me I am the central thing in the world. We thus see the dawn of pride, of egoism, and also of worry and anxiety.’ This is the mindset of the avid networker making strategic connections to fulfill whatever they believe is their destiny.  

If we pay careful attention to the unseen within our lives, remaining open to the guidance of the Spirit, then the entering of persons into our lives can re-enchant us.

The alternative is an attitude of service, in which we see ourselves (and each other) as what Ellul terms mediators or vicariates for Jesus in living-out the victory he won for us in his resurrection. For Ellul, Jesus’ resurrection is victory in the war-like effort against evil, a victory which is followed by a ‘mop-up exercise.’ In this mop-up exercise, we nevertheless continue to resist evil by approximating the Kingdom of God on Earth. This approach transforms our thinking about networks, encouraging us to see the entering of new people into our lives as opportunities for mutual service, these encounters ‘lighting up the night.’ We must still live in a world of necessities and determinations – grappling with often adverse circumstances and with evil – but with the capacity to light up the world through personal encounter.  

Indeed, the mediators or vicariates described by Ellul renew us, lighting us up as we discern our respective vocations in service of God. Here, Burt’s structurally autonomous network is not a mere branching into new social worlds as part of the gleaning of useful information for strategic advantage, but rather a series of encounters with diverse individuals who guid us individually and collectively in the formation of our vocations. Bandura’s chance encounters become not mere serendipitous events but rather offerings from God, strengthening us as we strive to promote the good – while resisting evil forces – in whatever we do.  

If we pay careful attention to the unseen within our lives, remaining open to the guidance of the Spirit, then the entering of persons into our lives can re-enchant us. Yes, our individual agency puts us in a position to meet new people. But these encounters are not merely the products of individual effort; they are offerings by God to renew and direct us in our respective pilgrimages with Christ.   

Review
Art
Community
Culture
5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.
The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity. 

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.  

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions. 

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up. 

Artists can also create spectacles of togetherness and joy. 

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse. 

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity. 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.  

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life. 

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter. 

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.  

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could. 

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership. 

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.” 

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.” 

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew. 

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope. 

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