Category Archives: Ideas

Image 1: Graffiti in grounds of Cypriot church. Photograph taken by Theodoros Kyriakides

Anti-authoritarian unbelief: or, not being told what (not) to believe

Richard Irvine and Theo Kyriakides

Walking through the old town of Nicosia, perched between two olive trees, Theo encountered graffiti of a snarling creature with red eyes in the grounds of a church. Besides the illegible signature of the artist there is no text accompanying the image, but the demonic imagery and its strategic placement – directly facing the north façade of the church – leaves little room for interpretation. Surely this is an act of resistance and opposition to the yellow limestone and hagiographies of the aging building?

Such imagery serves as a background to the everyday discourse of unbelief, especially among the youth of the city. But why would non-believers revel in such apparently occult imagery? This might seem contradictory, given that unbelievers, by their very nature, are thought to tend towards rationalism as a set of logical ideas and assumptions about the world. Yet, as we write in our previous blog post, part of what we need to grasp here are the grounds on which people reject mainstream religious beliefs.

As we progress with our fieldwork, we often find that the association between explicit declarations of unbelief does not necessarily go hand in hand with an emphasis on rational scientific explanation as the only basis for knowledge. On the island of Rousay in Orkney, where Richard is based, abandoned kirks punctuate the landscape, and only a tiny handful of the island’s population of 200 attend the regular service in the church centre set up in the old manse (a manse is where the Kirk Minister lives, or in this case, would once have lived). As Richard was told early on when attempting to find the church, “you’ll find folk are no very religious here”. People who wanted to ‘sing Kumbaya’ were welcome to do so if they wanted, but they shouldn’t for a moment think about leaning on others to join in.

When people explain their unbelief, the starting point is very often the rejection of authority and particularly of religion as a ‘means of control’. A key theme in people’s accounts of why they consider themselves atheists is precisely the idea that religion exists (in the words of one) to “keep people in their place” or (in the words of another) “to tell us what to do as though we don’t ken ourselves”. Indeed, some would go further in locating religion as historically being in the pocket of government interests and rich landowners. (Interestingly, this was precisely the motivation which led to the Disruption of 1843, a schism in the Church of Scotland where those who opposed the interference of landowners’ right to install a minister of his choice in the Kirk seceded from the Established (i.e. the state) Church of Scotland to form the Free Church of Scotland – so this kind of dissent actually has a key role in the history of religion in Scotland.)

Likewise, in Cyprus, the formation of the state and the stratification of Cypriot society closely dovetail with the becoming of the Cypriot Christian Orthodox Church as an important and powerful force in the island’s political landscape. The fact that Cyprus’ first president, after becoming a republic in 1960, was a clergyman – Makarios III – who went on to serve three consecutive terms in office, succinctly conveys the close relationship between religion and politics in Cyprus. Makarios’ time as president was tumultuous, and his involvement in the Cypriot problem and the 1974 Turkish invasion is fiercely contested and debated amongst Cypriots even today. 40 or so years later, public opinion surrounding the Church of Cyprus’ spiritual standing is waning as a result of stories such as its involvement in the 2013 Cypriot IMF bailout, or its recent ambition to invest in the tourist industry. “I don’t believe in the Church or what it stands for”, is a reactionary statement which permeates my conversations with Cypriots, and which denotes their distaste against the authority and relevance of religious structures.

Nevertheless, if we take the rejection of authority as the starting point for unbelief, it doesn’t necessarily follow that unbelievers automatically favour modes of thinking that rationalists might deem ‘magical’. In an alley behind the service exit of a bar, much less visible that the creature staring down the church, one finds a stencil of Christ wearing a gasmask. Over the stencil, the artist or someone else wrote “God doesn’t exist.” Below the stencil, a reply to the previous provocation, or perhaps a question to the person witnessing the image, in Greek: Εσύ; – “Do you [exist]?”

Image 2: Stencil of Christ in back alley in Nicosia. Photograph by Theodoros Kyriakides.

Can one exist without belief in something? As the above image suggests, opposition, resistance and unbelief to dominant religious discourse often does not lead to certainty about what one knows about the world. Rather, unbelief opens up an ambiguous grey zone of self-doubt, and a quest as to what one should or shouldn’t believe in. This grey zone is not one of rigid distinction between belief and unbelief, but rather a cognitive and social space where relations between the magical and the rational potentially proliferate.

Dowsing provides an interesting case in point here. In late November a minor controversy bubbled up in the British media after an evolutionary biologist, Sally Le Page, enquired via twitter whether major UK water companies routinely used divination to detect water leaks – only for 10 out of 12 companies to reply, often in a very matter-of-fact way that yes, some of their technicians did use dowsing rods. For some rationalists, this was a cause for uproar – how dare British water companies waste money on such superstitious methods in the 21st century: in the words of Sally Le Page, “I can’t state this enough: there is no scientifically rigorous, doubly blind evidence that divining rods work. Isn’t it a bit silly that big companies are still using magic to do their jobs?”

Yet when Richard discussed this with people in Orkney – even with those who defined themselves as non-believers and who vehemently rejected religious belief as ‘nonsense’ (or far, far worse) – it was generally met with a shrug. Especially in rural areas and outlying islands where farms and households need to drill wells for groundwater supplies, divination is routinely employed to find the find the best place to bore for water. Hence the frequent reply: “But it works.” One important thing to note here is that ‘magic’ is an externally applied term for what is simply considered practical knowledge. “No, I didn’t say anything about it being magic. I just said it works” – though crucially, it only works for those with the ability to do it. Some have it, some don’t. Here, the sense of what is ‘magic’ can be turned on its head, as in the following conversation with a contractor: “You turn on your tap, oh look, there’s water! That’s magic. You don’t even think about where it comes from, do you? But where do you think we get the water from? We have to drill for it. And you think we’re going to stop finding the water the way that does the job just because someone says so who’s probably not got the first clue about where the water comes from and how you get it?”

Here, we see clearly how anti-authoritarianism can also be deployed to reject those authorities who would deem particular practices “magic” and seek to apply abstract rules to everyday life. In this form, unbelief is not about subscribing to a new (rationalist) framework for belief: it’s about not being told what to believe.

Humour, Concealment and Death Mindfulness in Romanian Funerals

By Maria Nita (University of Wales, Trinity St David)

Death in the West vs. Romanian funeral practices

The modern funeral in the West is increasingly a celebration of life, marked by a depletion of ritual. The French historian Philippe Ariès (1974) claimed that in the West a reduction in the ritual associated with death and dying reflected an inability to accept death caused by the progressive growth in the importance of individuality. Thus ‘the death of the other’ – which was expected and accepted in the Middle Ages as a sort of reintegration in the ancestral community – becomes in modern times, according to Ariès, an unbearable occurrence which can no longer be mediated by ritual. In contrast, the Romanian funeral is still heavily dominated by folk customs, despite some studies suggesting a recent decrease in ritual due to various social factors, such as men taking up a more active role in organising funerals, an area largely considered the domain of older women, who act as expert maintainers of these traditions. (Popescu-Simion, 2014) Also in opposition to the Western emphasis on remembering the past by celebrating the life of the deceased, Romanian funerals are defined by a focused attention on the present, on the moment by moment developments of these rites and also, by an intense relational exchange with the dead body itself. I would like to explore here this engagement with the dead body as a sort of ‘death mindfulness’, leading to an identity transition of the deceased.

Mortu’ as a transitional state in Romanian funeral customs

In Romanian funeral customs, ‘the deceased’ is cautiously talked about as mortu’, a Latin-derived word also meaning ‘the dead body’. ‘Mort’ is, of course, the root word of many English words in this connotative field, such as mortuary, mortality or mortify. Family and friends, all dressed in black, sitting around a traditionally open casket coffin for a three day wake will adopt various attitudes towards mortu’ – from wailing at the head of the coffin, when overcome by grief, to quiet and even jolly conversations, whilst reminding each other to observe all the relevant customs. The customs range from smoky ‘ablutions’ of the body, circling the coffin with frankincense three times a day, to protecting oneself from mortu’ and its potentially dangerous, contaminative and unstipulated rapport with the living: ‘you mustn’t turn your back on mortu’ and if you do, find a small speckle on your clothes and put it on the coffin’, ‘we mustn’t let the candles burn out’, ‘you must put a black scarf on top of the main entrance’, and so on. This could be interpreted as a kind of funeral mindfulness – a practice that focusses one’s attention on the present moment. Towards the end of this process, as the body is taken out of the home or chapel and ‘sent on its last journey’, women rush to cover it with flowers and sometimes jewellery, or even makeup, giving it a puppet-like appearance. The transition is now complete and the frequent relational exchanges of the last few days come to an end.

Humour, death and hidden identities

The ambivalent nature of these interactions seems to have, to some extent, a historical basis. Marina Cap-Bun (2012) shows that in Romanian culture we can identify two concomitant attitudes towards mortality: a pious reverence and abstract idealisation of ‘the departed’ – which Cap-Bun claims to be a later Roman influence, and an older indigenous attitude marked by an irreverent and humorous attitude towards death. This latter is embodied by the Merry Săpânța Cemetery in Romania, which, as the name suggests, abounds in funny and rude portrayals of the deceased. This attitude is also present in old funeral games in which mortu’ was the subject of concealment and trickery; in one extreme example the body was tied up with ropes and used as a puppet to startle unassuming visitors. Like with some shamanic practices dealing with disease, illness and death – laughter and mockery seem to become a gate for plural meanings through which a change or transition of identity is mediated. These polysemic funeral customs are also a constant reminder that one is engaging with mortu’, a transitory and ambivalent ‘being’, in a cocoon-like state.  By focussing the attention on the dead body and the present time Romanian funeral rites and customs appear to provide a death mindfulness practice that seems largely forgotten or absent in the West.

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A very ‘Christmassy’ research project!

By Lucinda Murphy, PhD researcher at Durham University

Well, here we find ourselves again in the depths of January; a new year well under way, and the realities of ‘the everyday’ forced back upon us. It feels somehow hard to imagine that, just a month ago, we were all immersed in an utterly different world. It is, as Shakespeare’s Caliban would have it, a world “full of noises, sounds and sweet airs”; a world in which realities are suspended, if not strangely magnified. It’s a world in which time stands still, dreams are indulged and escapist utopias entertained. It’s a world in which no expense is spared; a world of intensity in which expectations press, and emotions run high; a world in which everything seems to have that extra little bit of sparkle; a world which feels just a little bit ‘Christmassy’.

This annual shift into the world of ‘Christmas’ is of course second nature to most of us. Some dread it, some have fun laughing or even complaining about it, whilst others just seem to naively or feignedly ‘wish it could be Christmas every day’. Whichever angle of the spectrum you personally fit into; it seems clear that Christmas is a cultural event, and we might even say, phenomenon which can’t simply be ignored. Quite the contrary; the whole world seems to close down for it. In the UK, as in many other parts of the world during December, it’s pretty much inescapable. It is plastered across billboards, shop fronts and TV adverts; reinforced and cultivated by institutions of industry, public service and leisure; and physically adorned over and around both public and private spaces.

The very hint of even the word ‘Christmas’ conjures up a rich thought-world of symbol and meaning. Father Christmas; mince pies; snowy scenes; peace and goodwill; Christmas crackers; nativity plays; robins; carols; Quality Street; Christmas trees; candlelit churches. Quite clearly, the cultural symbolic resources for the weaving of such ‘webs of significance’ abound (Geertz, 1973). However, as Chris Deacy has recently shown in his 2016 book Christmas as Religion, these various weaves are neither distinctively personal or cultural, nor distinctively religious or secular. At Christmas, perhaps more than at any other time of year, many seem able, or at least willing, to balance multiple identity commitments, multiple emotions, and also multiple parts of their lives into one syncretic community spirited sparkly mixing bowl. And all the while, the perennial search for ‘the true meaning of Christmas’ hovers somewhere in the midst, casting hints of seeming authenticity into a festival which many fear often appears to be losing its ‘magic’ to empty commercialism and the outrageously ‘naff’.

What could be a more fertile window for the exploration of meaning making in Britain today; and more specifically into the complexities of ever-blurring religious and cultural identities? And yet, when I tell people I’m studying for a PhD on ‘Christmas’, I am met more often than not with astonished looks of incredulity. It’s often seen as too frivolous, too ‘fun’ to study (God help academia!). It seems as if this particular cultural world is perhaps a little too close, too special, for many of us to step outside. But it is of course exactly this intimacy that I believe is so worthy of study, and which I have been striving to capture in my ‘Christmassy’ fieldwork over the past few months. What is it exactly about this utopian dream-like world of stockings, magic dust, innocence, truth and fun that seems so personal; and perhaps more pertinently, how does it any of it relate to our ‘everyday’ January lives?

If you think you might be interested in pursuing some of these questions, do join my research assistant @MyElfGelf and I in our Christmassy musings by logging your own Christmas story as part of our online questionnaire, or by following our Festive Log Research adventures at lucindaslog.com or on Twitter or Facebook using #TheFestiveLog.

Student Sets Up Print Your Own Custom Headscarf

Stefanie Mros, a former student on our course “Why is religion controversial? (A332)” got in touch recently:

That was one of the most interesting courses during my history degree, and lots of these topics we discussed still accompany me in my every day life. One of the most impressive ones was the discussion around headscarves, that it’s not only a cliché that women are forced into, but that it means protection for them, or a way for them to express themselves in conjunction with their religious beliefs. It opened my eyes and I’m thankful for that.

Stefanie works in marketing for www.contrado.co.uk, a custom printing company. Inspired by the discussion in A332, she set up a way for women to print their own custom headscarves with their own designs. You can read all about it at the company’s blog, here.

cultural beliefs don’t have to get in the way of having some wardrobe fun, as you can design your own headscarves using unique prints. This is the ultimate compromise between faith and fashion.

 

 

3 Minute Theory | Actor-Network Theory, with Graham Harvey

In three minutes, our very own Graham Harvey tells us about Actor-Network Theory, an approach that suggests that everything exists in networks of relationships, including not only humans, but objects and ideas too.

What inanimate object are you in a relationship with? Let us know in the comments!

3 Minute Theory | The Individual with Stephen Quilley

In three minutes, Stephen Quilley tells us about the idea of the individual. Are we really free autonomous agents? Where does the idea of the individual come from, and how does it relate to modern systems of government?


3 Minute Theory | The Individual with Stephen… by religiousstudies

Are YOU an individual? What theories or theorists should we cover in future videos? Let us know in the comments!

Three Minute Theories | Paul-Francois Tremlett on Max Weber

Welcome to a new video series here at the Open University – Three Minute Theories! They’re the punk rock 7-inch of critical thinking.

To kick us off, here’s our very own Paul-Francois Tremlett on why Max Weber remains an important and highly relevant thinker today.

New videos every two weeks. Share widely!

3 Minute Theories | Max Weber with Paul… by religiousstudies

Why is Weber important to you? What theories or theorists should we cover in future videos?

Expertise and engagement

The following article is by a Ph.D student in the department:

My name is Theo Wildcroft, and I’m currently undertaking a doctoral research project looking at unusual forms of modern yoga practice.

One funny thing about doing a PhD is that you enter into the status of An Expert. By the end of the process, you should know more than anyone about this one tiny area you’ve studied in a very specific way. And PhDs can be very tiny and deep in scope. So one of the first tasks of the research project is to draw a line around what it’s possible and interesting for you to study, and in what way.

theo 1

 

 

 

 

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Art, Pilgrimage and London Stations

Among the many interests of the researchers on the AHRC funded project Pilgrimage and England’s Cathedrals, Past and Present [http://www.pilgrimageandcathedrals.ac.uk/about] is the role of art and material culture in English cathedrals: what sort of art is displayed in, and commissioned by, cathedrals, and how do people react to and interact with such art? I was fascinated, therefore, to learn of ‘Stations of the cross’, described on its own website as a

‘unique exhibition—held in 14 locations across London—[that] uses works of art to tell the story of the Passion in a new way, for people of different faiths. In this pilgrimage for art lovers, viewers will travel across London, mapping the geography of the Holy Land onto the streets of a “new Jerusalem”.’ [http://www.coexisthouse.org.uk/stations2016.html]

In some denominations of Christianity, the Stations of the Cross depict and reconstruct the last journey of Jesus through Jerusalem, from being condemned to death to being laid in his tomb. Around Easter especially, this relocation and replication of sacred time and place can take on a particular resonance. The rationale of the London Stations of the Cross art trail is to break up the traditional grouping which miniaturises the last journey within one space.  Instead, it spreads the 14 stations across London.  Artworks in a variety of locations (cathedrals, art galleries, churches, outdoor sites) are designated as particular stations, inviting contemplation of the works of art, their locations, and their contemporary resonances with each station’s traditional story.

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