Durham Cathedral's 'Open Treasure': a Big HLF Award

It is immensely heartening that in the latest round of awards, the Heritage Lottery Fund is supporting Durham and Peterborough Cathedrals. We are not the only two cathedrals to be grateful for the HLF’s generosity in recent years. No doubt it is a coincidence that both these famous and beautiful cathedrals are Romanesque, and that both their profiles are well known to travellers speeding up and down the East Coast Main Line.

The first thing I want to do is to pay tribute to the great team here at the Cathedral who worked up the bid and worked with staff, volunteers and community to prepare for its submission.  We have had great support from the officers of HLF itself, from the Cathedrals Fabric Commission and many other bodies and individuals along the way. And of course we want to say thank you to the HLF for this great news. It is a wonderful way of beginning Advent.

This £3.9 million award will mean that we are within sight of achieving our long-held dream of displaying the Cathedral’s marvellous treasures in some of its equally marvellous medieval spaces. The buildings round the cloister constitute the unique (for England) survival of an intact monastic enclosure that is still used for the religious purposes for which it was intended. Their treasures include relics associated with St Cuthbert such as his coffin, pectoral cross and portable altar. Not only that, but the Cathedral Library has retained more of its monastic collections of medieval manuscripts and early printed books than anywhere else in the country.

The collections are of international significance as a witness to the civilisation, culture and history of Christian North East England particularly in the Saxon and early Norman periods. They more than do justice to the landscape and architecture of the World Heritage Site that has been their home for so many centuries. What we have lacked are facilities to exhibit them properly. In the 21^st century, this means creating environments that conform to the highest conservation and security standards in which they can be safely displayed and interpreted. To adapt medieval buildings for this purpose while at the same time enhancing their beautiful interiors in their own right is a formidable challenge.

After years of planning, we are now poised to realise this dream. Called Open Treasure, the development will create a large exhibition space in the monastic Dormitory (which will still retain its 19^th century function as a library). Its focus will be the shaping of church and cathedral in medieval Northumbria, and how this story of a faith community has continued beyond the Reformation into the present day. A newly constructed gallery will house some of our most important and precious manuscripts together with our Saxon stones and artefacts, while the Great Kitchen will have as its focus St Cuthbert and the relics associated with his memory.

Why Open Treasure? Because we shall be opening up what has been largely hidden from public view in the past: incomparable medieval spaces, and the equally incomparable treasures they will contain. This year’s highly successful Lindisfarne Gospels exhibition, in which the Cathedral has been a partner and to which we lent no fewer than 14 items for display, has shown that there is a real appetite for Christian heritage that is beautifully displayed and intelligently interpreted.

There is another purpose to all this. We want to maintain free entry to the Cathedral itself. By opening up our ‘Treasure’ as a revenue-earning exhibition, we hope to stabilise the Cathedral’s finances so that it will never be necessary to levy an admission charge to such a fine sacred space. When we held a press call to announce the news, I was pressed hard on this point: it is hugely appreciated in North East England that the Cathedral does not charge for admission to the church itself. We want to keep it that way and we rely on Open Treasure to achieve this.

For our biggest treasure is the Cathedral itself, so much loved and admired across the world. Not just the building and what it contains, but its community that has its origins in 7^th century Lindisfarne and its saints such as Aidan and Cuthbert. Like the Benedictine house that it became, the Cathedral is still a living place of worship, work and learning and this adds contemporary human, Christian texture to the place. Our invitation to visitors to experience for themselves this rich past and present is part of our mission both of hospitality and of interpretation. We hope all our guests both young and old will not simply come here as sightseers or observers but become participants in the Cathedral’s life of prayer, community, arts, learning and outreach.

Thanks to HLF and other funders, this vision is close to becoming reality. We want to begin the works in 2014 and already have significant funds raised and pledged. Thank you to everyone who has supported us generously so far. If there is anyone reading this blog who can help us match the funding so that the project can begin all the sooner, that will be wonderful too. Call me night or day!

This is a revised version of my piece on the HLF Blog to coincide with the announcement of the award.

The Scottish Referendum: a simple question

Earlier this year I attended a ceremony to mark the 500^th anniversary of the Battle of Flodden in 1513. It’s a stone’s throw from the River Tweed which marks the present Anglo-Scottish border. This was the last of a long line of Anglo-Scottish battles, and it was one of the bitterest. Its outcome changed the history of Scotland, and arguably paved the way towards the Union of the crowns in 1707. The memorial cross on the hilltop that overlooks the battlefield says simply, and movingly, ‘to the brave of both nations’.

In North East England we have been a border people for centuries.  These marcher lands have long been fought over as their array of castles and fortifications show. The Durham Palatinate ruled by its powerful Prince Bishops was a buffer state within a state set up to guard the rest of England from invading Scots. Yet all that belonged to the middle ages. It’s odd to think that we were still fighting these battles on the threshold of modernity in the early 16^th century.

I write this on the day the SNP publishes its vision for an independent Scotland. It’s a milestone on the long journey that leads up to next September’s referendum. It’s obviously a matter of keen interest to all Scots. But here in the borderlands, it’s a matter of concern to the English too. The decision Scotland makes about its future will have effects south of the border. If Scotland votes for independence, there will be consequences for the North of England that are economic, political and social. But these wouldn't merely affect the North. They would affect the whole of England, Wales and Northern Ireland as well. Independence would radically alter the way the surviving peoples of the Union saw themselves. It would need us to re-group in order to face a future that could be very different from what we know at present.

I happen to think that the Union is a good thing, and so far, the evidence is that a majority of Scots feel that way too. The Union as a federation of peoples is one of the world’s most successful nation-states. There is no doubt room to re-calibrate the precise ways in which our nations, provinces and regions relate to one another within a united whole, but that is no argument for dismantling it.

But this isn’t my principal concern right now. What baffles me is very simple. Why is the future of the Union, which is the business of all UK citizens, to be decided on our behalf by the Scottish people alone?

The more I try to get my mind round this question, the more puzzling it seems. I can’t find a flaw in the argument that the future of the Union is the business of the whole Union, not just part of it. It may be that in North East England, because of our violent history, we feel the force of this particularly keenly. What matters at the border, what kind of border it even turns out to be are as important to us south of it as to those on its north side. But as I’ve said, it affects all of us who are citizens of the UK. Profoundly and probably irreversibly. I am not sure we have woken up to this yet.

I can’t see that it is good politics, let alone justice, to delegate the dismantling of the UK to the say-so of 10% of its total population (fewer than 6 million out of more than 60 million). Whichever way it goes, it does not look like a well-founded plebiscite that acknowledges the legitimate interests of all UK citizens. I'd like to be clearer what the role of the Westminster Parliament is in this watershed constitutional decision. I am not comfortable about being disenfranchised, relegated to the role of onlooker gazing at a drama acted out on the Scottish stage that will have far-reaching consequences for the large audience sitting impotently in the rest of the UK.

For the avoidance of doubt let me add that I honour the Scots for many things, not least their intellectual rigour, their love of fairness and their strong sense of common purpose. We need all these qualities in the Union. But if there is a decision to make about the future of the Union, it should be through a process that is rigorous, fair and that has regard for the purpose and flourishing of all its peoples, not just some. I am sure the Scots don't dissent from that.

In a Nutshell: infinite space in Durham Cathedral's light show

Lumière has come and gone. Durham’s festival of light brought 175000 people into the city over four dark winter nights. The city was filled with beautiful, inventive light shows that revealed how sophisticated technology can serve art. For many, the Crown of Light installation on the north face of the Cathedral was (forgive the word) a highlight. It painted a vast colourful canvas in images and music encompassing the northern saints, the Lindisfarne Gospels and the building of the Cathedral.  Although I had seen it many times, it never failed to work its magic.

We don’t yet know how many tens of thousands of people found their way into the Cathedral: the queues were so long that not everyone made it inside. Those who did may have found themselves bewildered at first. The blacked-out nave communicated darkness and mystery like a huge cave. Narrow beams of light swung rhythmically back and forth across the width of the church, so focused that the surrounding darkness remained almost impenetrable. Clusters of very fine wire hangings, looping invisibly down from the vault caught the beams as they passed through creating an effect like a myriad of dancing fireflies. As the rays hit the architecture opposite, amazing geometrical patterns formed converging and diverging, expanding and retracting, picking out for an instant capitals and arcades, flutings, striations and chevrons in an ever-changing dance of light. It would need a poet to put it into words. It was hard to photograph too though I have posted some images on my Twitter feed @sadgrovem.

As I watched this celestial drama I wondered what made it so beguiling. It was as if I was looking out across the vastnesses of a dark empty cosmos to stars and galaxies millions of light years away, reaching back across the aeons of a far distant past.  The Cathedral had become a mass , a container that was re-shaping time and space.  Hamlet says: ‘O God, I could be bounded in a nutshell and count myself a king of infinite space’. The title of the light show designed in France by Atsara was [M]ondes: ‘worlds’ with the ‘M’, ‘waves’ without it. Light at work in the cosmos creating worlds, light both making waves and being waves: a whole theology of creation was suggested by what we were seeing.

The 12th century Abbé Suger said of his masterpiece, the Abbey of St Denis near Paris, that a cathedral should encapsulate heavenly worlds. It should be a casket for the infinite, a beautiful container in which to glimpse what lies beyond human understanding. The created materials of stone and glass should become a window on to the Eternal. For him, the essential quality was light and how it irradiated the building, and how the building in turn influenced and shaped the light pouring through it. 

To me, [M]ondes was an extraordinarily subtle, complex, many-layered work. It was not in your face, exhilarating like Crown of Light. It was more reflective, and understated, needing time to do it justice, penetrate its textures and touch its mystery. Yet I heard people remark after walking through it for a few minutes that there was something tantalisingly effective about it. Perhaps they experienced it as thought-provoking, suggestive, putting questions to us that were not just interesting but even important.  If art succeeds in getting us to ponder, perhaps touching and changing us in some way, helping us to glimpse God, it is realising a deeply human and spiritual purpose.

Poppies

I’ve read a couple of articles during the past week by people who have fallen out of love with the poppy. I don’t mean the flower itself, but the symbol most of us wear at this time of Remembrance. The argument is that its meaning has been debased into unthinking support for a narrow nationalism and the militarism that goes with it. Wearing the poppy is to collude with assumptions that drag our world back into the mind-set of conflict between nations rather than forward towards a global community of reconciliation and friendship.

I admit I have reservations about enforcing the wearing of poppies or regarding them as a kind of fashion accessory. The meaning must surely have something to do with what it symbolises for the wearer. For instance, on tonight’s Strictly Come Dancing, contestants were all sporting them over every conceivable kind of costume from ball gowns to tight leotards and skimpy outfits. It was no doubt well-meant, but it did not always look like a personal choice, more an expression of BBC policy that it is de rigeur not only for its own staff but everyone who takes part in a show.

That said, let me try to defend the poppy. The Great War gave our Remembrance rituals their defining shape. ‘In Flanders fields the poppies grow….’  The poppy seemed to resonate with the instincts of ordinary people to memorialise war in a simple way through a blood-hued flower, beautiful as a life laid down, prolific as millions of victims, short-lived as the young men who fell. There are not many invented symbols that are as eloquent as this. Its popularity speaks for itself.

It’s true that like any symbol, the poppy carries many meanings: loss, grief, the pity of war and the tragedy of wasted lives. But it also stands for pride and gratitude for sacrifice offered and service rendered. It is both honourable and necessary for every people to cherish its common memory of war in this way. Yet because the poppy focuses on the debt we owe to the armed forces, and because it is largely they and the ex-service organisations that keep remembrance alive, it is susceptible to a narrow militaristic twist. But this is not the poppy’s fault. The answer to the abuse of a symbol is to use it properly. That is to say, we need to learn how to remember accurately, and then ‘remember forward’ to a world in which we have learned the lessons of war. In such a peaceable world, there will be no place for the divisive nationalisms that inevitably lead to conflict. Ultimately the poppy is a symbol of our humanity, our ability to remember and to care.

Perhaps the poppy is like the Christian cross. That too is the reddened memory of suffering, pain and bloodshed. But it is also a redemptive symbol of sacrifice offered and new life given. Like the poppy, the cross has at times been grossly abused by being turned into a sign of blood-filled destructiveness in, for example, the Crusades that took their very name from it. It has taken the church a long time to wean itself off its addiction to coersive force. If it is doing this, it is through a deeper reflection on what the cross truly means: self-emptying, vulnerable love and the reconciling peace that flows from it.

Might a deeper reflection on the fragile poppy help recover the richness of its symbolism?  I stood in the Cathedral tonight at the annual Festival of Remembrance and watched the poppies drift down from the lantern tower during the silence. I was moved as I always am, by this simple but powerful ceremony. I do not think I was being seduced by it, nor was I colluding with anything. The awfulness of war, the honour of those who served, our mortality, the 'heartbreak at the heart of things', our agonised longing for a better world – all this seemed to be there. I doubt if this marriage of the collective and the personal could be done in better.

Good rituals and symbolism reminds us who and what we are as peoples and as individuals. They open the doors of perception, enlarge our vision and imagination.  This is more and more necessary with every year that passes if we are serious about re-making the world as a safer, wiser, kinder place. In that spirit I shall go on wearing the poppy.

On Going to See Shakespeare

Last week we went to Sheffield to see The Winter's Tale. The Crucible Theatre has a thrust stage and we had seats close to it. It always takes me a few minutes to get used to Shakespearian language, but in this environment so near to the action we could hear everything clearly. It was a great performance: such a pity that the theatre was half-empty.

Winter's Tale is a favourite play of mine. It's one of the late dramas that are not easy to classify, as if in his maturity Shakespeare is reaching beyond straightforward categories. It starts out as a classical tragedy where, like Othello, the tragic flaw is jealousy. Leontes imagines that his old friend Polixenes is having an affair with his wife Hermione. The drama vividly depicts a man eaten up by self-absorption jealousy, his rapid disintegration bringing about the collapse of a family's whole world with the deaths of his wife and his young son.

But then comedy breaks into the hopelessness. The famous stage direction  'exit, pursued by a bear' seems to introduce a note of parody, hinting that nothing is quite what it seems. There is a clown and lots of flirtatious dancing, and all is set for a happy ending with paradise restored and broken relationships mended. But (spoiler alert) Shakespeare gets there by using a device that has puzzled critics because it seems as if it resorts to trickery. At the climax of the play Paulina brings the statue of lost Hermione back to life. It's a tease, for we don't know whether she was ever really dead or had simply been hidden away and looked after by Paulina. Anyway, in a beautiful recognition scene she and Leontes are reunited and the drama achieves its resolution.

Does the play itself 'lose its mind', disintegrating from the high art of tragedy into what at times feels close to farce? Does the comedy, following hard on the heels of so much grimness, mock what went before as if to say, don't take any of this too seriously: it's just illusion, a ceremony to mark the passage of the seasons? Perhaps it's a parody on both tragedy and comedy: the scarcely believable speed at which things go wrong at the beginning, the sudden lurch into an apparently careless comedy complete with songs, ballet and pick-pocketing slapstick and a miracle (if that's what it is) to end with and undermine belief still further.

Or is Shakespeare, far from being careless, showing his mastery of dramatic form by merging the two genres in one art-work and making what is unbelievable at one level credible at another?

Here's where I find the drama especially telling. As a theologian, I see profound resonances in The Winter's Tale of the central Christian story of the passion and resurrection of Christ.  It's not that any one figure is an image of Jesus (unless it is Paulina whose action in the drama is to bring about both judgment and redemption). It is the drama itself that feels irresistibly Christological, taking us through a passion-like experience of suffering and pain into a realm of laughter, reconciliation and dancing that suggest resurrection and the kingdom of God. So the play is a great transformation scene, leading us out of winter into spring and summer, bringing colour into the sombre monochromes with which it began. This is one way in which the movement from tragedy to comedy is not just credible but ultimately necessary. (See F Buechner,  The Gospel as Tragedy, Comedy and Fairy Tale.)

Paulina says near the end: 'it is required you do awake your faith'. Which is why, when the statue comes to life (and who envies the actor who has to stand there so still for so long?), you can smile at the ludicrousness of what is happening, or else find yourself believing in it and being deeply moved. Theatre is always an act of faith for playwright, actors and above all, audience. In The Winter's Tale, we seem to be summoned into an act of faith that draws us into the life of things, into God. Either parody or gospel - or maybe both, because in an important way the gospel parodies the silliness of self-important human lives and says: look beyond this and see something that is not transient but eternal. Shakespeare is always big enough for there to be endless possibilities in the way we respond. And by keeping us guessing, he always has the last laugh.

Marvellous theatre. Why don't I go to see Shakespeare much more often?

'People are saying...': on being criticised

A few days ago a fellow priest tweeted that she was having a tough time in the parish because she was finding herself criticised and misunderstood. Which of us hasn’t been there, and not just clergy but anyone who has a public leadership role of any kind?

I can’t pretend to be an expert on how to deal with these difficult experiences (ask my wife!). However, age does bring a certain perspective which I find helps. So I thought I’d reflect on what I’m trying to learn about this. Here are eight points, offered tentatively because this is a lifelong journey in the making. 

1              Accept that criticism is a completely normal part not just of public life or parish life but life. Don’t think of it as unusual or exceptional. It’s the consequence of having views, making decisions and acting on them, being your own person and not subject to other people’s whims, fancies and directives. If you are not being criticised, take it as evidence that you are not making an impact, are subject to others’ power over you, and have not yet begun to live as an autonomous grown-up.

2              Stay in role. Try hard not to begin by taking it personally, but see if you can discover what aspect of your role is under scrutiny here. A leader is a symbol of the institution or community of which she or he is the visible representative. Symbolic people always attract unconscious projections and transferences, especially in the church which is itself a richly symbolic environment. It may be that whatever is being criticised may have more to do with what you represent than with you personally. It may have historical dimensions you are unaware of. There may be unacknowledged authority issues for your critic. Sometimes you can distance yourself and say that this genuinely has nothing to do with you personally.

3              Don’t let your natural hurt or resentment get in the way of your emotional and spiritual intelligence. Being self-aware is all-important.  Ask yourself whether the issue may have something to do with your personal style or attitude in leadership. If it does, you may still be entirely content with how you are, and how you handled whatever it was that provoked the criticism. On the other hand you may want to ask yourself if there was anything you could have said or done differently, or some way in which you could have been different in the way you exercised your ministry. That's always a good question to ask.

4              Don’t be rough with your critics. Try not to be defensive. Above all, show that you are listening carefully.  Look them in the eye. Answer with questions that will help you to clarify what is at issue. Don’t get into a heated argument if you can help it, especially if the language of right or wrong starts creeping in. Don’t raise your voice, even if you are angry. ‘A soft answer turns away wrath.’ If there is a genuine disagreement, by all means debate it, and don't apologise for having your own views even if they are unpopular. But stay in your head and don't shout.

5              Identify accurately when you need to apologise. If saying sorry is necessary, then don’t delay: say it as soon as you can. But don’t apologise for something you know in your heart you shouldn’t apologise for, even if others are exerting considerable emotional power over you. You must never sacrifice your own integrity. But when you apologise (not ‘if’ - who doesn’t have to say sorry from time to time?), resist the temptation to explain yourself. ‘I’m sorry’ is often completely disarming. ‘I’m sorry, but I need you to know why it happened’ less so.  

6              Reflect on the experience of criticism. It’s not comfortable to do, but we have a lot to learn from it, both about the dynamics of relationships and organisations, but also about ourselves and how we cope with negativity in our roles. If you got angry, notice it and ask why. If you have a supervisor or someone in an accompanying ro le towards you (maybe call them a ‘critical friend'?), take it to them for discussion. Hearing ourselves talk about bad experiences with a skilled listener can be both healing and informative.

7              Don’t indulge in feeling misunderstood or criticised. Nothing is more destructive of good leadership than harbouring grudges, especially when you are up against the same few (and it’s usually a few) who want to find fault time after time. In the psalms, the antidote to resentment is gratitude. It’s good to foster the habit of finding things to be thankful for in the workplace despite the challenges.  One day it may be possible to be grateful for what you learned through others’ criticism of you: despite what it felt like at the time, it may have given you insights you didn’t have before, and helped you to learn.

8              Finally, always cherish your integrity. It is the most important gift we bring to leadership. It’s vital that we can way when criticised that we meant it for the best and had at heart the welfare of others. When I mess up, this is what I come back to. Most people will forgive our mistakes if we acknowledge them, and they believe that our motives were altruistic and not self-serving. The psalm speaks about ‘truth in the inward parts’. It’s not that we can’t deceive ourselves (‘and the truth is not in us’), but taking seriously our human and spiritual development will help us recognise self-deception when we see it. And own up to it where we have to.

Like I said, it’s work in progress.  In leadership, in ministry, it always is.

The Students are back in Durham!

I walked into the town centre today. The streets of Durham were thronged with young people enjoying an afternoon out in the balmy October air. For the students are back at the start of another academic year in the University. This little city of ours is awakening out of a long dreamy summer ready for the bracing air of autumn and winter.

Last weekend the freshers arrived, many accompanied by bewildered-looking parents trying to navigate large cars through the narrow streets of the medieval city (on the Bailey we call it 'Volvo Sunday').  This week over 6000 of them have streamed into the Cathedral college by college for University matriculation ceremonies. It's interesting to look round the Cathedral during these occasions. Some freshers look a bit baffled by it all ('how did I come to be here?). Others put on a big and not altogether convincing show of bravado. Many have already started to hunt in packs: for security in this new kind of world, better to stick together. A few seem determined to be solitary.

This ceremony of being admitted to the register (matricula) is a big rite of passage into adulthood for those who have come straight from school. It's a chance for me to welcome them to Durham and say a little about the Cathedral and what it offers students. I always get a laugh when I talk about this medieval cathedral having a FaceBook page, whose ageing dean tweets from time to time. The president of the Student Union speaks about student life, and the Vice-Chancellor makes them feel good about having got into one of the nation's top universities.

It's slightly trying to drive or walk up and down the Bailey and Sadler Street in October: new students take a few weeks to get the hang of how pedestrians and road traffic have to befriend each other as we thread our way gingerly along. But the leisurely pace allows time for unexpected and pleasant encounters. Today I have had three long and interesting conversations on the pavement. I have been smiled at by one or two teenagers I'd not knowingly met - no doubt freshers who'd seen me in the Cathedral or, if they were from St Chad's, at the College's welcome ceremony last Sunday.

These brief encounters are among the pleasures of Durham life. On a Saturday, it's no use trying to get down to town and back in half an hour for a quick visit to M&S or Waterstones.  When you are the dean in a miniature city, a lot of locals know you by sight, including students. It's an enjoyable opportunity to mingle, bump into others (sometimes literally), open conversations, notice people. Who knows where these unlooked-for meetings and conversations may lead? Especially when, like freshers, you are new to the place?

Students bring great liveliness to our city. I see this as a gift. Sometimes there are stresses and strains between town and gown, and residents become grumpy. But I want to emphasize the benefits students bring to Durham. It's good to have them back. Here's wishing freshers the best of times at university. And a good new year to all students.