Movement-153

MOVEMENTPRODUCED BY
the magazine for christian students Issue 153. Summer 2016
the ARTS issue
Hagiography
Michael Dimitris Lekakis
discusses Orthodox Icon painting.
Peterson Toscano Interview
Peterson talks to Movement about
drama, comedy and climate change.

SCM is seeking to employ a
new development worker
in Manchester to engage
a generation of university
students with inclusive student
communities and local churches
in the North West of England.
The appeal is being match funded, which
means all donations will be doubled and
ensure even more students are welcomed
into communities that are open, diverse
and committed to justice. Please consider
making an online donation today to
support this work.
Thank you for your support.
contents
Make a donation at www.movement.org.uk/northwest

Pages 2-7 Editorial • COMING UP
• NEWS • international • GROUPS
issue 153
8-9 faith in action
10-11 Interview
With With Peterson Toscano
12-13 the theology of fantasy
By Taylor Driggers
14-15 Hagiography
By Michael Dimitris Lekakis
16-17 The Bard & the bible
By Ellie Wilde
18-19 three perspectives
on music in worship
With Feylyn Lewis, Mark Russ & Sarah Derbyshire
20 Faith & Art
Ruth Naylor
21 Groovement
12-13
10-11
16-17
14-15

Welcome to this issue of Movement, which takes a look at the arts.
For many of us, exams (sorry for mentioning the E word!) are just
about beginning to rear their heads at us, and I think that using our
own creativity can be a really relaxing way to spend time between
revision sessions. We might choose a colouring book, playing an
instrument, or appreciating others’ work; through listening to music,
going to an art gallery or reading a book. Prayer is also a good way
for expressing our inner artist: SCM has often been made up of creative types, and
those of us who would consider ourselves ‘artistically challenged’ have discovered
a different kind of creativity through the ways we explore faith.
We are really excited to have an interview with Peterson Toscano; who is a
playwright and actor. He talks about the intersection of faith and sexuality
through plays and workshops, and how he uses the platform that the dramatic
arts gives him in order to talk about his experiences of gay conversion therapy and
get his audiences thinking in a different way.
Another way in which Christians experience art is through icons, and Michael
Lekakis takes us through the Orthodox Church’s use of these and the process
of hagiography. In addition, we have packed this issue with a piece from Taylor
Driggers about fantasy literature and desert spirituality, and a feature on the use
of music in different worship traditions.
As if that wasn’t enough, we are also very pleased to bring the return of the
crossword. I for one am very much
looking forward to having a good go
at this while sat with a cup of tea!
Clare Wilkins
I really hope you all enjoy this
issue. For those of you with exams,
coursework deadlines, vivas, job
interviews and all the things that
come with this time of year – all the
best with these, and I hope that this
issue of Movement will
be just what you need
to help you chill out.
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Movement is published by the
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SCM is a student-led movement
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coming up
Movement 2016:
Stories of Faith
10–12 JUNE 2016
WOKINGHAM
Group Leaders’
Training
8-9 SEPT 2016, BIRMINGHAM
Are you part of your group committee
for the next academic year? Want to
learn more about making your group the
best it can be? There are two free places
per group, so look out for the booking
form in your mailing and return it to
the office as soon as possible!
For more information about the
training, visit
www.movement.org.uk/events
Join us in the beautiful Berkshire countryside for our mini-festival!
We’ve got an amazing line up, and more speakers and workshops
are being confirmed each week.
Our speakers include Professor David Ford, Padraig O’Tuama,
Revd Rose Hudson-Wilkin, Selina Stone, Richard Goode, Jake
Mahal, Jessica Dalton and Graham Maule from
the Wild Goose Resource Group.
There will be workshops from Christian
Aid, CAFOD, Church Action on Poverty
and The Esther Collective, as well as live
music from Clutching at Straws and
Mary Anna.
SCM FRIENDS Gathering:
Wokingham 11 June
Effective
Student Work
Training
8-9 SEPT 2016, BIRMINGHAM
Do you have a Chaplaincy Assistant
or Student Worker joining you this
year? Interested in chaplaincy
work, or have a heart for student
ministry? SCM’s Effective
Student Work training is a twoday
interactive and intense course
that covers everything you need to
know about student work. To find
out more and book your place visit
www.movement.org.uk/events
Come along to meet other SCM Friends and join with students to hear from our speakers at Movement 2016: Stories of Faith.
Children welcome! For more details, visit www.movement.org.uk/stories-of-faith
Like us on Facebook and follow us on Twitter for all the latest updates!
facebook.com/StudentChristianMovement
@SCM_Britain
Movement – Issue 153 Page 3

EWS
New partnership
between SCM and
Greenbelt Festival
SCM is pleased to announce it will become an associate of the Greenbelt
festival. The partnership aims to get more students involved in the festival
this year and provide more student-friendly spaces and content that directly
address issues that students and young adults are passionate about.
‘SCM are really excited to be partnering with Greenbelt,’ said Hilary Topp,
SCM’s National Coordinator. ‘As well as giving a voice to students at the
festival, we want to make sure students find a bit of the Greenbelt spirit near
them all year round, in every city and on every campus.’
‘We’re excited to work together with a grassroots student body that so
closely resonates with our theology, vision and values,’ said Paul Northup,
Greenbelt’s Creative Director. ‘Our hope is that this new relationship helps
strengthen our reach into student communities up and down the country.’
Further details of SCM’s activities at Greenbelt this year will be announced
in due course – keep updated with all the news by following us on Twitter
(@SCM_Britain) or Facebook (StudentChristianMovement), or checking
online at www.movement.org.uk
Mourning the
loss of Revd
Dr Andrew
Morton,
former SCM
Scottish
Secretary
SCM is saddened to learn of the death of
Revd Dr Andrew Morton, a former staff
member in the 1950s. Dr Morton, who
died aged 87 on 7 January 2016, joined the
movement in 1953 as Scottish Secretary and
was appointed chaplain at the University of
Edinburgh in 1964.
During the 1950s, SCM had a national
staff team of around 30 secretaries, working
in different regions within universities,
colleges and schools. Dr Morton was one of a
number of ‘travelling secretaries’, who moved
within the region to support and coordinate
grassroots student mission work that included
organising an annual conference in Scotland.
Revd Jim Wilkie, President of SCM
Aberdeen at the time, met Dr Morton at the
Scottish Council in 1953. He said, ‘Andrew
was a highly articulate, theologically well
trained leader who was especially good in
small groups of students such as those we
enjoyed in SCM. All his life he was totally
committed to persuading Christians from all
denominations to modernise their theology
together, and to relate it to social and political
issues. We miss him.’
SCM Friend William Farquhar, who joined
SCM Aberdeen in 1954 and met Dr Morton
during his involvement in the group, said,
‘He was a fine man and throughout a great
supporter of SCM.’
A service for Dr Morton was held at St Giles’
Cathedral in Edinburgh on Thursday 14
January.
Page 4 Movement – Issue 153

NEWS
Students
and SCM
members
join Stop
Trident Rally
Movement Issue 153 SUMMER 2016
Hundreds of students, including
SCM members, joined peaceful
demonstrations in London on Saturday
27 February, calling on the British
government to scrap the renewal of the
Trident nuclear programme.
Before the march, Christians joined
members of different faiths at an
interfaith service at Hinde Street
Methodist church at 11am. Christians
and Buddhist monks were among the
hundreds of people who packed the
church to hear readings and reflections
on the issues of peace and nuclear
disarmament.
Emma Temple, an SCM member who
attended the event, led the litany at the
interfaith service. She said, ‘I was so
encouraged to see thousands of people
coming together at the Stop Trident
march. It gave me hope that people feel
so strongly about the devastating effects
renewing Trident will have for so many
reasons.’
SCM and Taizé
gathering: a weekend
of learning, reflection
and action
What does it mean to be courageous
and merciful? This was one of
many questions at the heart of
SCM’s gathering in London on 4
– 5 March, in partnership with the
Taizé community and Oasis Church
Waterloo.
More than one hundred people
gathered on Friday evening for a
Taizé service that included Lenten
Prayer around the Cross. Participants
came from different walks of life,
including students and young people,
parents and children, musicians,
churchgoers, and volunteers from
the Taizé community in France.
Around 25 students and young
people met together on Saturday
to hear from Revd Steve Chalke,
founder of Oasis UK, and Brother
Paolo from the Taizé community.
Participants joined volunteers from
Harvest for Hope, a local charity,
to load an articulated lorry with
food and resources that will travel to
Greece and be distributed to refugees
fleeing conflict in the Middle East.
Debbie White, a PhD student who
came to the event, said: ‘I really
enjoyed coming together with
other students from across the UK
in London for the Taizé event.
Throughout the weekend, I felt a
strong sense of being surrounded by
a loving, Christ-centred community
as we shared worship, fellowship
and time together. I took part in so
many discussions about what makes
something a good community and it
was great to see that borne out not
just in our words but in our practice
as well.’
Movement – Issue 153 Page 5

International
Student Sunday 2016: SCM Colombia
On 20 February, SCM Colombia celebrated the
Universal Day of Prayer for Students (UDPS),
joining with hundreds of other students and
Christians around the world. The movement in
Colombia is one of the newest affiliated SCMs in
the World Student Christian Federation (WSCF),
created last year at the 35th General Assembly of
the WSCF. It has two branches – one in Bogota
and one in Barranquilla.
We asked Diana Cruz, a member of the movement,
to tell us a bit more about how SCM Colombia
celebrated Student Sunday.
‘Student Sunday was a very important event for
the SCM in Bogota because it was our first official
activity as an SCM. It was celebrated in a small
service on 20 February 2016. Around 15 people
participated and around half of them were college
or school students. We had a photo gallery on the
theme ‘student struggles’ around the world, with a
special emphasis on the struggles in Latin America.
WSCF Europe Staff and Officers’ Meeting
On 2 March I was lucky enough to be able to fly out
to Oslo for four nights in order to attend this year’s
WSCF Europe Staff and Officers’ Meeting.
On the first evening we spent time getting to know
one another, and had a time of meditation and worship,
led by Lutheran minister-to-be Are from Sweden, who
also invited contributions from other participants. I
found this a very helpful space for contemplation and
quiet in the midst of a very busy schedule.
Thursday consisted of educational sessions led by senior
employees from the Communications department at
the World Council of Churches (WCC). We learnt
about how we can use media, and especially social
People who entered the church could see the photos
and spend some time in reflection.
During the service we set up a few stations that used
different symbols and forms of prayer. For example,
we used a mirror in the station about students
around the world to recognise that students share
similar experiences and struggles. To talk about
popular education, we showed participants how to
make an origami crane, symbolising that education
also comes about when we make something.
Even though it was a small group it was a very
meaningful moment to pray for students in our
country, continent and around the world, and we
are glad we could be part of it.’
Student Sunday was also celebrated here in Britain,
with prayers and services being led at All Hallows’
church in Leeds, Holy Innocents Fallowfield
in Manchester, West Park URC, and SCM
Cambridge, among many others. Thank you to all
who participated this year!
media, to our advantage in our SCMs. On Friday,
we had more input from Marianne, the Director of
Communications at the WCC. Francois, an expert
in third sector volunteer management, led us on the
final day. I felt we came away from the sessions with a
better understanding of how to enable and work with
volunteers, and also how to chair meetings successfully.
Overall, it was a very helpful three days. I learnt new
things, networked and enjoyed the food which Gabi
from Slovakia kindly cooked for us. I would highly
recommend WSCF events to all students and staff in
SCM Britain!
Ruth Wilde
Page 6 Movement – Issue 153

GROUPS
Movement Issue 153 SUMMER 2016
Cambridge Methodist Society
This term has seen some subtle changes to Cambridge
MethSoc. We have been sharing several Friday evenings with
the other local SCM group following the recent re-start of
SCM Cambridge. It has been great getting to know everyone,
and sharing our social evenings shares the work of hosting
while also getting more of us together – a win-win situation!
Our weekly Bible study has looked at topics including the
cultural context in the parables of Jesus and the concept of
God’s omniscience as described by C. S. Lewis. Next term we
will be looking at the Pilgrim’s Progress by John Bunyan.
On the Universal Day of Prayer for Students one of our
members Sarah led the evening service at our local church,
with the help of many of the SCM resources. It was a thought
provoking day, as well as a time of strong fellowship for
students young and old.
The future of the Methodist Society in Cambridge at the
moment is uncertain. The national trend of decline permeates
even to our generation it seems, but we are praying that our
small university community can be inspiring and uplifting to
as many as possible and may spring into new growth.
William Collins
SCM Manchester
This term has been an interesting and thought provoking one
in Manchester as we have had the opportunity to explore our
faith and learn more about social justice issues.
This term we held Eat, Pray, Act evenings where we ate
together and learnt about different social justice issues,
discussing how we might act on them. The issues we focused
on this term included tax dodging and the effects of the palm
oil industry, as we considered how our shopping habits affect
the animals and people in Indonesia and Malaysia.
In February we welcomed Symon Hill as our guest speaker,
talking about his new book The Upside-Down Bible. We were
challenged to look anew at some of the most well-known
bible stories which led to some really interesting discussions.
In March we learnt more about the theology of St Francis as we
welcomed the Franciscans of the First and Third orders to speak
to us about what Francis had to say about the environment.
Overall, this term has been really interesting and we look
forward to what the new term will bring.
Sally Foxall
SCM Leeds
This has been exciting year for SCM Leeds! We
started up again in September after not running
last year, and the group has been really successful.
We’ve been running Taizé services every other
week, which have been great opportunities to
relax and enjoy quieter worship. We’ve also had
excellent workshops from SCM’s Ruth Wilde on
theological reflection, and Matt Carmichael on his
book with Alastair McIntosh, ‘Spiritual Activism’.
This term we have held an interfaith prayer
workshop, took part in activities for Christian
Aid week, and attended the Stop Trident march
in London. We’re also planning a trip to Taizé in
the summer. Please pray that the group will keep
going strong, and that more and more students
will find us. Emma Temple
Birmingham Methodist Society
This term has been quite a packed one for MethSoc! We have
been continuing to hold our weekly meeting with an increased
membership, mixing social action, spending time socialising
and worship. We have had curry nights, joint meetings with
the University Atheist, Secularist and Humanist Society
and we also hosted the Real Junk Food Project. Outside of
our weekly meetings we have continued to run our Food
Exchange Scheme, collecting left over food from campus on a
Friday afternoon and passing it onto the homeless. We’ve also
started a Sunday night Bible Study and have been increasing
our work with CathSoc and AngSoc, holding a joint wine and
cheese night and a board games night, which were a great
success. We are looking forward to the summer term and
everything it has in store!
Rachel Allison
Movement – Issue 153 Page 7

Movement Issue 153 summer 2016
Refugee
Campaign
Day of
Action
MARK
Going into the event, I was under the
impression that I had a moral duty
to make a difference, to act, in some way or another. I
was also under the impression that I could not make
a meaningful difference on my own. ‘I’ would have to
change into ‘we’ in order for any progress to made. I
may have a moral duty to act in the face of a refugee
crisis, but it is our collective effort, our togetherness,
which will bring about lasting change.
Many issues were raised at the event, which makes it
difficult to single out one specific issue to focus on.
However, my current status as a university student
means I am inclined to write about the issue of
education. Being in higher education and having
gone through a very good comprehensive secondary
school, I know that I am fortunate to be in the
situation I am in. However, I am also adamant that
this shouldn’t be a privilege, but a right.
Many times throughout the day, the problem of
ignorance and media bias (if the conscious spreading
of lies can be counted as bias) was raised. A lack of
information and a warped perception of the refugee
crisis have led to poisonous attitudes in our society;
attitudes based on fear and hate. It is vital that,
On 13th February, students from SCMs in Leeds, Birmingham
and Worcester came together at St Chad’s Sanctuary in
Birmingham to learn about the issues facing refugees. We
heard stories from refugees themselves, learnt about what
we can do, and reflected on what our faith has to say about
how we should treat people who are seeking asylum.
Sarah Derbyshire from Leeds SCM and Mark Birkett from
Birmingham Methodist Society reflect on the experience.
through education, we provide informed ideas and
represent genuine circumstances. A very simple truth
is that these refugees are humans, and vulnerable
humans who need help. The choice we have is very
simple: we either help them or ignore them.
As a student in higher education I am fully aware
of the benefits of attending university, and the
influence universities have on society. The University
of Edinburgh recently announced that it will be
providing fully funded scholarships and a ‘significant
reduction’ in costs to asylum seeking students. This is
a powerful and progressive action that will hopefully
influence more universities to take positive action in
the current situation.
Finally, I think that it is important to highlight the role
that Christianity has in shaping my own views and the
views of many Christians around the world. I believe
Jesus is explicit in how we should treat those who need
and ask for our help. ‘For I was hungry and you gave
me something to eat; I was thirsty and you gave me
something to drink; I was a stranger and you invited
me in.’ (Matthew 25:35). Jesus didn’t exclude people
from his message of hope, and neither should we.
Page 8 Movement – Issue 153

Movement Issue 153 summer 2016
Sarah
The past decade has been described
as one of the most quickly
advancing of all times, and some say that no other
decade in history has seen such rapid development
in the fields of science, medicine and technology. It
seems things are going from strength to strength,
but in the excitement of learning and researching
new areas, have we forgotten to look after the most
important things on earth: each other?
In the gospel of Matthew we see Jesus travelling to
new places teaching and proclaiming his message
to all people. When Jesus is told that his mother
and sister are outside, he replies ‘whoever does
the will of my father in heaven is my brother and
sister and mother’ (Matthew 12:50). Here, it is my
understanding that Jesus is making a simple but
crucially important point – we are all brothers and
sisters in Christ. We are all made in the image and
likeness of God. We are all equal and we should be
treated as such.
The SCM Refugee Campaign Day began with a tour
of St Chad’s Sanctuary, a place where refugees and
asylum seekers can go to get food, clothes and personal
welfare products. Walking through rooms filled with
blankets, cleaning products and other basic living
essentials we soon realised just how important it is for
people to continue to donate items, how important St
Chad’s and other similar projects really are, and how
little the government and housing agencies are doing
to help refugees and asylum seekers.
We heard from Shari Brown at the charity Restore.
Her talk started with a quiz, in which we learnt that in
2014 there were 59.5 million refugees and internally
displaced people in the world. We also learnt that
less than 2% of the world’s refugee population came
to Britain to seek asylum, making up only 0.23%
of our population in 2013. I found these figures
shocking, not only because of the enormous number
of refugees, but because we could clearly see the
extent to which the media exaggerates the number
of asylum seekers who are really coming to Britain.
Throughout the day we were extremely lucky and
privileged to be joined by two people who had fled
from their own countries and came to England as
refugees. Listening to their stories, we learnt of the
continuous struggles refugees face due to the hostile
asylum system, the difficulties of leaving everything
behind, including their careers and families, and how
hard it is to pick up and continue life in a completely
new country.
Despite all of these problems and difficulties, one
sentence stood out to me; a sentence repeated and
emphasised by both refugees: no matter which part
of England they go to, no matter what community
they enter, and despite all of the negativity from
the government and media, people are friendly,
welcoming and willing to help.
We ended the day with a theological reflection
activity, and it became increasingly clear to me that
people want to help, want their voices to be heard on
issues such as the refugee crisis, and, despite the lack
of urgency shown by the government, people want
to get active in making change happen, until the day
when refugees and asylum seekers are treated with
the equality they want, need and deserve.
Movement – Issue 153 Page 9

Movement Issue 153 summer 2016
Peterson Toscano
INTERVIEW
Peterson Toscano is a theatrical performance activist using comedy and
storytelling to address social justice concerns. Through his one-person
comedies and lively lectures, he has delighted audiences throughout North
America, Europe, and Africa as he humorously explores the serious topics of
LGBTQ issues, sexism, racism, violence, gender, and climate change. He lives in
Pennsylvania with his husband Glen, and blogs at www.petersontoscano.com
Why do you think that the dramatic arts are
a good way to pass on messages of faith and
inclusion? What makes this medium effective?
What is lovely about theatre and storytelling is that it helps
the listener to get outside of their head. Good theatre moves
the audience to feel about an issue and to not simply think
about it. It can create empathy, and reveals when we are in
collusion with oppressors. Also, we listen to stories with
a different part of the brain, one that is not as critical and
judgmental as when we listen to a lecture. We let our guard
down and hear messages we often filter out or reject. In that
way theatre can be a subversive art. I see the parables of
Jesus working in this way, opening up the mind to a greater
understanding, leading to critical thinking and deeper feeling.
Many of your performances employ humour
and comedy to make serious points about
LGBTQ+ inclusion, gender, climate change and
other issues close to your heart. How does
humour help you tackle these and other issues?
Humour relaxes the body and the brain. When we
experience fear and shame, we physically tense up. This
tension happens in the brain too – neural pathways close
making it harder to reason and retrieve information.
This is why when we begin to panic, it’s easy to forget
simple instructions. Comedy helps to loosen us up. This
is especially important when talking about hot topics like
sexuality, faith, gender, climate change, and justice.
You speak courageously and openly about your
experiences of conversion therapy and being
queer in evangelical environments. What would
be the main message you would want people to
take away from hearing you talk about these
topics?
Page 10 Movement – Issue 153

The main message I get back to over and over is that we
need to be concerned about people, not politics. Much of the
suffering I experienced in churches and ex-gay ministries was
from people who truly believed they were doing the right
thing, but they did it in an environment that insisted only
heterosexual unions were blessed by God, and anything
other was less than and needed to be destroyed. This in turn
dehumanised lesbians and gays and bisexuals and transgender
people. The political belief that it was wrong to be LGBTQ
caused good people to act cruelly in the name of God.
You are active in climate change activism and
awareness – what role does your faith play in
your work on this?
I am curious about climate change as a
pastoral care issue. Think of the emotional
and spiritual needs of a people on a planet
that is changing so rapidly. Consider the
risks we face and the existential crisis of
living in a world that seems ready to eject us.
There are of course moral issues to consider
too. I see climate change as a human rights
issue that calls on people of faith respond
with all the tools at our disposal.
You grew up in evangelical
environments and are now an
active Quaker – what differences
do you see between these
traditions and what is the most valuable thing
you can take from each?
In the evangelical Church I was reminded over and over
about how nothing particularly good lived inside of me. I had
to be wary of the old man, my flesh, and the devil. My heart
was deceitful above all things. Therefore, I needed to distrust
myself and instead look outward – to God, as God was
presented in the Bible as interpreted by the ministers. Perhaps
because of my own insecurities and self-doubts I distrusted
myself too much and trusted the ministers too much. This
perspective though kept me locked up in the closet unwilling
to raise any questions and terrified to come out.
My experience among Quakers has been radically different,
but actually not all that different from the teachings of Jesus
that I overlooked for years. Quakers stress that each of us
has the Light inside of us – that of God in us. Or as Jesus
teaches in the Gospel, we have the Holy Spirit to guide us,
the Kingdom of God inside of us. As St. Peter instructs, we
have a treasure inside a clay vessel. My spiritual focus is now
more inward, that the inner teacher Jesus instructs that inside
us. Discernment, therefore, has become an important part of
‘Gratitude happens
when some kindness
exceeds expectations,
when it is undeserved.
Gratitude is a sort of
laughter of the heart
that comes about
after some surprising
kindness’
Movement Issue 153 summer 2016
my spiritual life, and fortunately I have Friends to help make
sure I don’t come up with too many wacky notions.
My time in the evangelical Church was not all bad. It
was there I learned the Bible and studied it. While some
Quakers know and read the Bible, the rich history of Biblical
storytelling comes from my time in the evangelical Church.
As a Quaker, you come from a rich tradition of
spiritual activism and non-violence. How does
this influence your work?
I do comedy, and many people know comedy can be mean and
mocking and dehumanising. In fact, that is the easiest type of
humour and is in great demand. How better to bring low an
opponent than to make fun of them. But
this is not an option for me. Perhaps it is in
part because of my temperament, but also
because I worship in a peace church that
actively seeks to be non-violent. Through
the Quaker Advices and Queries, I am
encouraged to see the humanity even
in my opponent, which is very different
than just being polite to an enemy. But
this has challenged me to seek out new
places for humour and storytelling.
Who inspires you?
My husband, Glen Retief, inspires me
because of his discipline as an artist who
is willing to explore trauma. He published
a memoir a few years ago, The Jack Bank – A Memoir of a
South African Childhood. It is about growing up white and
gay during Apartheid South Africa. The book is a meditation
of violence, including the extreme bullying he experienced
in a government boarding school. His fearlessness to look
at suffering on an individual and a national scale moved and
inspired me. Now he is working on a novel about South
African history. His commitment to the artistic process,
the daily slog of writing along with the willingness to write
whole chapters over from scratch serves as a challenging and
encouraging model for me with my own art.
If you could give one piece of advice to students,
what would you say?
Cultivate gratitude. As the New York Times Columnist David
Brooks wrote: ‘Gratitude happens when some kindness exceeds
expectations, when it is undeserved. Gratitude is a sort of laughter
of the heart that comes about after some surprising kindness.’ 1
This is just a small part of our interview with Peterson.
Go online to read the whole thing, including more on
comedy and climate change, and what Peterson is up to next –
www.movement.org.uk/blog
1 www.nytimes.com/2015/07/28/opinion/david-brooks-the-structure-of-gratitude.html
Movement – Issue 153 Page 11

Movement Issue 153 summer 2016
Beyond the Walls of the World
The Theology of Fantasy
Recently a friend and I were talking about how surprised we both were that fantasy
literature and theology aren’t discussed together more often. While it’s true that as PhD
students both specialising in theology and fantasy we’re a little bit biased, I definitely
think it’s odd that whenever I try to describe my research, even to other academics, I’m
often met with raised eyebrows.
It’s no secret that some of the most popular fantasy texts of the past century have been
written by devout Christians. The works of C.S. Lewis, J.R.R. Tolkien, Madeleine L’Engle,
and J.K. Rowling (to name just a few) have not only captured the imaginations of millions,
but have sparked discussions on deeply spiritual themes in mainstream pop culture.
While it is encouraging to hear people outside of Christian circles discuss sacrifice, belief,
doubt, and radical acceptance and take these themes seriously, a question that’s not
so often asked is, why fantasy? What is it about strange fairy-worlds (‘secondary worlds,’
as Tolkien called them) and parallel societies that attracts authors
and readers of faith?
Could it be that fantasy is somehow inherently
theological? Taylor Driggers
Fantasy as recovery
I’m fascinated by the desert fathers and mothers of early
Christianity. Shortly after Constantine converted the
Roman Empire to Christianity, these devotees led simple
lives in monastic communities on the fringes of society as
an act of protest against the new church of the empire.
Every year during Lent, in reflection of Jesus’s forty days
in the wilderness, the brothers and sisters would venture
out into the desert alone, often experiencing mystical
encounters.
Even today, their reflections on these journeys read
as strikingly subversive; the encounters they describe
see them wrestling with more than just spiritual
demons. Whenever someone comes face-to-face with
a supernatural being, their entire understanding of the
world, its social-spiritual order, and where they stand in it
is also completely upended, turned inside-out. What was
traditionally seen as dark and unclean is revealed to be a

Movement Issue 153 summer 2016
trace of the divine, and what appears pure and spotless
is revealed to be harmful and exclusionary.
I think as readers, and especially readers of faith, our
experience of fantasy literature can be very similar.
Tolkien called this process – in which journeying into
an alien world reveals divine, but uncomfortable truths
about ourselves and the ‘reality’ we take for granted –
‘recovery’: the ‘regaining of a clear view.’ His novel The
Lord of the Rings dramatizes this beautifully; the simple
hobbit Frodo trusts a frightening-looking stranger
because, in his words, a servant of the enemy ‘would –
well, seem fairer and feel fouler.’ As those familiar with
the story will know, he is more than proven right.
This theme of recovery crops up even in less overtly
religious fantasies. Neil Gaiman’s Neverwhere and
Angela Carter’s Nights at the Circus both revolve
around underground collectives of people who have
been rejected by society because of their strangeness,
and in both novels, these communities offer profound
challenges to the main character’s worldview. As
Christians, we can understand these stories as reflections
of the incarnation: divine truth revealing itself in the
least likely of places. By embracing what is strange and
‘other,’ fantasy reminds us that our faith is in something
outside of ourselves, something that rarely fits into the
safe and tidy categories we try to construct for it.
Fantasy and creation
Tolkien called the worlds of fantasy ‘secondary worlds’
because he felt that the human artistic impulse mirrored
God’s own role as creator. As inheritors of the divine
image, we also must create, even though we largely have
to borrow from and rearrange elements of the world we
live in. Tolkien called this act ‘sub-creation,’ and it goes
much deeper than just making something new out of
existing elements. Instead, Tolkien saw sub-creation as
a relational act, born out of a desire ‘to hold communion
with other living things.’
As a result, his own fantasy and many other fantasies
concern themselves with the stewardship of creation.
In The Lord of the Rings nature seems almost
indistinguishable from myth itself; on entering the
forest of Lothlórien, for example, Sam comments, ‘I feel
as if I was inside a song.’ Later, the passage in which the
forests of Isengard rise up against the wizard Saruman’s
industrial military state has been interpreted both as an
ecological parable and as a metaphor for the mythic and
religious reclaiming a mechanised, violent modernity.
Similar spiritual-ecological themes are found in the
fantasy of Ursula K. Le Guin. The wizards in her
Earthsea series have to practice humility and sensitivity
in relation to their environment, carefully weighing the
consequences of their actions. Her experimental novel
Always Coming Home imagines a future society living
simply with reverence toward the earth, allowing for
greater sustainability. Just as the creation narratives in
Genesis foreground the interrelatedness of creation, so
the sub-creative impulse of fantasy can highlight our
duty to look after creation.
Fantasy, eucatastrophe, and
the Christian story
I want to conclude with what I think is one of the
most profound parallels between fantasy literature
and religious faith. Tolkien and many of his colleagues
believed that at the core of any good fantasy story
was the theme of radical, unlooked-for redemption,
‘a sudden and miraculous grace’ that Tolkien called
‘eucatastrophe.’ It was this that led C.S. Lewis to call the
Christian narrative ‘myth become fact,’ and for Tolkien
as well eucatastrophe suggested ‘a fleeting glimpse of
[…] Joy beyond the walls of the world.’
This, ultimately, is why I feel fantasy is at its core
profoundly theological. In broadening and
challenging our understanding of the divine, in
showing us alternative ways we might live
alongside creation and each other, fantasy
points us towards the hope against all
hope that constitutes the Christian
message. By reading, creating, and
experiencing mythic stories, we
can learn to see our own dayto-day
existence
as small parts
in a story that
God is telling –
one that is far
from over.

Movement Issue 153 summer 2016
Hagiography Orthodox Icon Painting
The art of religious icons in the Orthodox Church is called
hagiography as it depicts saints and religious scenes.
During the 19th and 20th centuries, the religious icon
paintings of Byzantium were considered primitive and
unrefined compared to western Renaissance painting.
It is only in the last few decades that art historians
are realising the true worth of icons and the thinking
behind them. The saying, ‘a picture paints a thousand
words’ directly applies to hagiography. From the early
days of Byzantium, icons have played an important role
in church life. The wall paintings in an orthodox church
are not purely decorative – they are there to assist the
faithful to leap up from the mortal world to the kingdom
of God during the holy liturgy. Many churches and
chapels built during the height of the Byzantine Empire
are still in use today. If you were to walk into one of
these temples you would find a sea of colour and gold
on every surface. You would be surrounded by a heavy
aroma of incense and the glow of candle light reflecting
off the golden halos and decorations that cover the
walls. The impressive wealth of art from floor to ceiling
cannot possibly go unnoticed.
In the Western church, the depictions of biblical scenes
became naturalistic, realistic and contemporary. In the
traditions of orthodox icon painting, things are quite
different. The style of icons and the depictions of holy
persons follows a strict set of rules and guidelines that
have been in existence for almost two thousand years.
Byzantine art has a spiritual element to it. The icon
painter strips away the human elements of the person
being depicted, presenting him or her as an unblemished
role model with pure spirit. According to the great 20th
century icon painter Fotis Kontoglou, Byzantine icon
painting ‘isn’t naturalistic, because its purpose isn’t just
to portray the natural, but also the supernatural’. Apart
from the minor changes in equipment, the techniques of
Byzantine icon painting have gone unchanged.
In today’s hectic world, hagiography still offers a
taste of a nostalgic lifestyle. When I began studying
as an apprentice to a Greek icon painter, I started to
understand what icons actually mean, and the amount
of love and effort that goes into creating them. Icon
painters won’t sit in front of a canvas and wait for
inspiration to create something. Traditionally they fast,
Page 14 Movement – Issue 153

Movement Issue 153 summer 2016
pray, and embark on the spiritual journey of creating an
icon. In the early days of icon painting, the works would
go unsigned as a mark of respect to God. In the last few
centuries the painter will sign the painting with ‘hand of’,
and their name and year. This is done to show that God
guides the hagiographer’s hand to create the icon just
as he guided the evangelist Luke, the first icon painter.
The process on which the painter embarks is just as
unique as the materials used. The materials used in
hagiography are the catalysts which enable the painting
to reach a divine quality; they come from nature and
have to be prepared with respect and care. The most
natural material used is wood. Wood tends to warp
and flex over time, therefore the application of gesso,
which is a combination of white chalk and hide glue, is
necessary before painting. This creates a buffer between
the wood and the pigments in the paint. If paint was
applied straight onto the wood, a few hundred years
later the paint would probably have cracked under the
stress of the warping. From a symbolic and theological
perspective, the colour of gesso enhances the divinity
of icons, as white is the colour of purity. By adding gold,
the painting takes on a spiritual quality that allows the
viewer to get closer to heaven.
Once the wooden panel is prepared the design gets
drawn out, traditionally in charcoal. If the hagiographer
were painting onto a wall, they would trace the design
onto a specially prepared piece of cloth called an
‘anthivolo’, and use this to transfer the design. This
would have been done by using a technique called
pouncing, which involved using a sharp tool to make
a series of tiny holes along the outline of the drawing.
Wall paintings are done in fresco technique, which
involves painting quickly directly onto wet plaster, as
the painting must be finished before the plaster is dry.
With the design laid out, the icon is then gilded using
a process called water gilding. Traditionally, the painter
would take red clay from Armenia and mix it with water
and hide glue before applying it to the icon in layers. The
gold would then be applied to the surface with alcohol.
When dry, the gold is burnished with a tool made of
agate. Although this method is very costly and laborious,
it gives the icon a beautiful shine and ensures the gold
is resilient to scrapes and surface damage. Nowadays,
the method for gilding is much simpler. A varnish is
coated onto the gesso and then a glue, known as size, is
laid onto the surface and allowed to activate. After the
gold is applied the surface is dusted and varnished. This
method is known as oil gilding.
Once the gold has been laid out, the hagiographer
prepares to paint by preparing the medium. According
to the Byzantine traditions, the pigments in the paint
were bound with a mixture of egg yolk and vinegar. This
type of paint is known as ‘egg tempera’ and is a very
strong medium that doesn’t discolour over time and
after a few years becomes water resistant. However,
this means that it cannot be used on a flexible surface,
and it is attractive to flies! Egg tempera is relatively easy
to make as the ingredients can be taken from nature
with little refinement required. It dries quickly, which
means that the painter doesn’t have enough time to
make the image too sensual.
Due to this process, Icon painting has survived hundreds
of years. The fact that some of the techniques used by
icon painters today are older than the Roman Empire
itself is mind blowing. John of Damascus claimed that,
‘an icon looks like the original, but it is also different
from it’. The divine is invisible, but the human idea of
divine can be visible and tangible, which is why icons are
still created today. The beauty of an icon is more than
just the painting itself, rather it is the combination of
techniques, effort and a way of thought that has lasted
for centuries. Byzantine icon painting harnesses art
and fuses it with faith. This beautiful combination has
survived for hundreds of years, and will continue to be
practiced as long as there is someone to appreciate it.
MICHAEL DIMITRIS LEKAKIS IS A HAGIOGRAPHER
BASED IN GLASGOW.
Images © Michael Dimitris Lekakis.
Movement – Issue 153 Page 15

The Bard
& the Bible

Movement Issue 153 summer 2016
SCM member Ellie Wilde explores what we can gain from reading the
bible in the way that we read the works of Shakespeare.
A
s an English Literature graduate, I have always
read the Bible and Shakespeare’s works in a
similar way. My degree has taught me to look
deeper at written texts; peeling away the layers behind
the printed words comes naturally. At the simplest level,
the Bible and Shakespeare are both written texts: or more
accurately, collections of works, which come together as
one exceptional whole. Both have shaped and enriched
the English language and culture and both are national
treasures of our country. As Robert McCrum observed
in The Guardian: ‘Shakespeare and the Good Book have
been informally linked as supreme expressions of the
English language.’1 Any level of analysis, especially with
words this precious, must be faithful to the spirit of the
text. This includes the intentions of the author and the
context in which it was written. So, how can we read the
Bible and Shakespeare’s works in the same way? How can
we search for the essential meaning behind these words,
after so many years?
Shakespeare’s England would seem a strange country to
us. Not just the sights, sounds and smells of 16th century
London, but the way the people understood the nature
of life itself. Kings were divinely appointed, and man sat
between angel and animal in a strict hierarchy. Reading
was a privilege of the rich, and Shakespeare was very lucky
to have the right social status to be taught how to read and
write. The ordinary Elizabethan received their education,
moral instruction and entertainment through stories,
songs, plays and sermons. They were highly attuned to the
sound, shape and rhythm of words. This is why much of
Shakespeare’s genius is lost in translation. We read from a
page rather than speaking on a stage. We don’t pronounce
words the same way, or know the same in-jokes and
cultural references that he grew up with.
So, if we are to read the Bible in the same way, what we
must really try to do is hear it. Certain parts of the Bible
are meant to be read out loud, or set to music. The Psalms
are one obvious example – there are even instructions for
which instrument to use included in the text. The Song
of Solomon compares to some of Shakespeare’s most
beautiful sonnets, and even perhaps inspired them. There
is a theory that Genesis was originally a Hebrew poem.
When translated we lose the rhythm of the words – and
perhaps, some of the meaning. Indeed, the Torah is sung in
the Jewish tradition, using special melodies to accentuate
the original sense of the words. Jesus used stories and
speeches regularly in his ministry, often ‘performing’
before a crowd, trying to communicate religious and
moral truths. Many stories in the Bible can be seen as
allegories or myths, and many arose from an oral history.
Some stories would have gone through countless retellings
before being written down; they were told in community
and committed to memory.
Each actor in an Elizabethan play only had their own
part of the script: it told them their cue to speak, their
lines, and nothing else. In the same way, the writers of
the Biblical texts couldn’t possibly have seen or predicted
their part in the whole text we now call the Bible. They
couldn’t have imagined the impact their words would have
on generations of believers. Paul was writing to specific
churches; David wrote prayers and songs for worship; the
Gospels document one remarkable man’s life. Keeping
this in mind, it becomes almost impossible to read the
Bible as one consistent whole. Many Christians believe
that, like Shakespeare’s plays, there was a guiding hand
bringing all these separate parts together – that God in
some way orchestrated the Bible as a whole. Even if we
believe this to be true, we must also recognise that each
book of the Bible came from a different context.
There have been years of speculation over the identity
of Shakespeare. We’ve formed theories about his social
status, his literacy and even his sexuality. Much has also
been speculated about the character of God. Reading the
Bible, we could be said to be searching for the identity of
God, the ultimate inspiration. As a whole, the Bible shows
us overarching themes and clues, a breadcrumb trail to
follow. To follow this trail, we should first acknowledge
that we only have one tiny piece of the puzzle. We live in
the modern world, with its own moral code, structures and
cultures. We bring this with us to any text, seeing through
the filter of our own worldview. Just as we will never truly
understand Shakespeare’s worldview, we are far removed
from the Biblical writers’ daily lives.
To really connect with the spirit of Shakespeare’s works,
English Literature students are encouraged to go back in
time, to study the context in which Shakespeare wrote.
They read aloud, listen, perform and engage with the
texts in an authentic a way as possible. Only then can
they truly grasp his meaning and intentions. If we are to
find the spirit of the Biblical texts, to truly connect with
their message for us as Christians, perhaps we should do
the same thing. Perhaps we can go back in time, to the
original language and context – and discover a whole new
dimension to the Bible we know and love.
1. Robert McCrum,‘What I learned from the word of the Bard, by Rowan Williams’ 28th Dec 2014, The Observer: bit.ly/shakespeare-bible
Movement – Issue 153 Page 17

Movement Issue 153 summer 2016
Three perspectives on…
Music in Worship
PENTECOSTAL
I hail from the southern state of Tennessee in the United States of America. I grew up as an active member in the Church
of God in Christ, a Pentecostal denomination started in 1907. Today, the Church of God in Christ is the United States’
largest predominately African American denomination. I come from a long line of Church of God in Christ pastors,
preachers, and missionaries — five generations, in fact. As a child I would help lead the Friday night worship service in
my great uncle’s church, beating a tambourine and singing off-key.
In true ‘black church’ tradition, the music played during our worship services utilises gospel and congregational
hymns. A choir is a main feature of the worship service and leads the church into an atmosphere of praise. Expressive
demonstrations of emotion are welcomed and encouraged, and you will likely see church attendees raise their hands
in the air, clap, and sing loudly. The music is meant to be inspiring and uplifting, offering a promise of eternal hope to
those who trust in God to deliver them from their earthly troubles. In reflecting upon the history of African-Americans
in the United States, the encouraging themes found in the music of the black church are both intentional and purposeful.
African-Americans have endured slavery and the Jim Crow era; the fight for equality continued through the Civil Rights
QUAKER
After pacifism and the man on the Quaker Oats packet, the next most common association with the Religious Society of
Friends is probably that we worship in silence. If you visit a Quaker Meeting House in Britain you won’t find hymn books
readily available. What is music’s place in a tradition where silence is a core component of worship?
From the beginnings of the Quaker movement in 17th century England, music was viewed with suspicion. Instrumental
music was avoided, as time spent striving for excellence on a musical instrument could be better spent on something
else. Solomon Eccles, a music teacher when he became a Quaker in the 1660s, burned and crushed his violins with an
incredulous crowd looking on because he saw ‘a difference between the harps of God and the harps of men’. George
Fox, an early Quaker leader, wrote that music ‘burdened the pure life, and stirred people’s minds to vanity.’ Singing was
more acceptable, as long as songs arousing inappropriate emotions were avoided. Singing had a place within Quaker
worship, but only when prompted by the Holy Spirit and never from a book.
Attitudes in Britain softened in the 20th century, with the formation of the Quaker performing arts group ‘The Leaveners’
in the 1970s, and music is no longer seen as a vain distraction. Music and song will often be found at Quaker gatherings
CATHOLIC
To me, the Catholic Church is unique in that no matter which church you go to, in any city or in any country, every
Catholic mass that is said on that day will have exactly the same structure; the same readings, creeds, prayers and
actions in exactly the same part of the mass. The only thing that differs is the music, the hymns and songs that are used
and whether certain prayers are said or sung.
I think this is why music has such an important role in my Christian identity. Music is the one thing that gives each church
its uniqueness, and is the one thing that all denominations seem to have in common.
When I tell people I’m Catholic, the first thing they usually ask is if the services are as long, boring and structured as
they’re said to be. And although the Catholic Church is known for keeping its structure and tradition, to me, mass doesn’t
feel like this at all – it’s a place of love, joy and freedom.
Page 18 Movement – Issue 153

Movement Issue 153 summer 2016
Movement of the 1960s and in many ways, the fight continues today. Throughout this history,
the church has played a monumental role in the lives of African-Americans, providing
refuge and sanctuary from the cruel injustices of the outside world. It was during the Sunday
morning church service that African-Americans received a re-filling of faith and motivation
to endure the week ahead. All parts of the service were directed towards this goal, from the
uplifting praise songs to the fiery, passionate words of the sermon. With this understanding
of the church’s connection to activism, it is undoubtedly fitting that Dr. Martin Luther King
Jr. delivered his final sermon, ‘I’ve Been to the Mountaintop’ at Mason Temple, the Church
of God in Christ church headquarters in Memphis, Tennessee, the day before he was
assassinated. In acknowledging the historical significance of the black church and specifically
the Church of God in Christ, I remain proud that the music powerfully sung every Sunday
embodies the spirit of resilience, hope, and a commitment to justice. FEYLYN LEWIS
and several Quaker songbooks have been published. The suspicion of ‘prepared ministry’
(planning what you’re going to say in worship beforehand) persists. In my experience, sung
‘ministry’ in worship is rare, and is always spontaneous and from memory. The worldwide
picture is somewhat different, with ‘Programmed’ and ‘Evangelical’ Quakers (who form the
majority of Quakers in the world) having a rich tradition of hymn singing.
I would love to see British Quakers embrace music more readily in our worship, and that
means finding more opportunities to sing together. Simple, repetitive chants (such as those
from Taizé), beginning or ending as the Spirit moves, fit well with Quaker practice. As in
jazz improvisation, we can only play around with material we already know. The richer our
musical vocabulary, the more readily we’ll be able to use song to express the workings of the
Spirit in our worship. To quote a song much loved by Quakers, ‘since love is Lord of heav’n and
earth, how can I keep from singing?’ MARK RUSS
For me, singing is an expression of joy. In my local church, mass seems to be incorporated
around the singing rather than singing being incorporated into the mass. With singing at least
three hymns and most of the prayers, and having a church choir, I can definitely say it’s music
that brings my church together in unity.
Whenever I come out of any kind of worship where there has been a lot of music or singing,
I’m always reminded of the time when, walking out of Church in Taizé, France, one of the
visiting nuns whispered in my ear ‘those who sing pray twice’. I later found out that this was
an ancient proverb, and I think it sums up perfectly just how important and special music in
the church really is. SARAH DERBYSHIRE
Movement – Issue 153 Page 19

Movement Issue 153 summer 2016
Faith and Art
The secular is seen as lesser in value and not as worthy of our
There is a tendency amongst
Christians to separate life – our
work, our hobbies, our relationships
– into that of either secular or sacred.
in the home, doing their jobs well to the best of their ability and
attention or energy, whilst the sacred is set above everything demonstrating the love of God to those they are in contact with
else and elevated to a position of importance. This mind-set is on a day-to-day basis.
no less prominent in the Arts, with many Christians believing
My faith informs my art as much as it informs every other
that unless the subject matter is overtly Christian, the object
aspect of my life and it is important for me to actively remember
or work is of inherently less value or even in some cases
this as I create – to invite God in to what I am making and ask
potentially dangerous as it reflects ‘worldly’ values or beliefs.
Him to inspire me, encourage me, and lead me in the right
As both a Christian and a self-employed Fine Artist I find this
direction. I strive to use the gifts that I believe God has given
way of thinking extremely unhelpful. I don’t view my career as
me in order to create ‘Good Art’ that will fulfil the calling I
an artist as something fundamentally separate from my faith;
have been given, serve and love others well, and, first and
rather I see the two as intrinsically connected. I believe that
foremost bring glory to the original Creator. Francis Schaeffer
the gospel permeates every aspect of my life as a Christian,
put it best when he said, ‘A Christian should use these arts
and what I do in the studio is just as important to God as what
to the glory of God—not just as tracts, but as things of beauty
I do in a Church meeting on a Sunday; He is as much involved
to the praise of God’. Whether indirectly or otherwise, I hope
in my painting process as my Bible reading. I believe that it is
that to some degree my paintings invite people in to consider
hugely important to have Christians working out their faith in
both creation and its Creator more deeply. I want my paintings
all areas of life, be that in cafés or in parliament, in schools or
to communicate something of the truth of God, and the true
hope, joy, and freedom that can be found in Christ.
We have been made in God’s image, and thus we are inherently
creative beings (though this may be truer of some than others!)
Through the act of painting I am mirroring on a small scale
what God initiated at the very beginning of time. I paint as an
overflow of God’s creative Spirit within me, and in response to
the world around me which is full to the brim with inspiration.
Having studied and lived in Cornwall for the last five years my
art, and indeed my faith, have been inspired by the stunning
coastlines and vistas of this beautiful county with its unique
and enchanting light. I hope that my work demonstrates
something of the beauty of the world we live in, and the joy
that can be found therein.
As a Christian I also recognise God’s presence and hand at
work throughout all of life, and as such the work I produce
is born out of this conviction. Artists often create work that
is an expression of the deepest part of themselves – for me
this deepest part is my identity as a Christian and so in some
ways, regardless of the subject matter of my paintings or the
message I may want to communicate, the work is emerging
out of this renewed life and personhood that I have in Christ,
making it inherently Christian in what I believe to be the truest
sense of the word.
Ruth Naylor is a self-employed Fine Artist and, as of February 2016, a part-time Administration Assistant at SCM.
She studied Fine Art at Falmouth University in Cornwall and now lives and works in Birmingham. You can find her
work at ruthnaylor.co.uk
Page 20 Movement – Issue 153

groovement
Across
6. Back for improvement - same again (7)
Movement Issue 153 summer 2016
7. This conducts a stream away (7)
9,15. Somehow, amazingly arty tiger gets 7 of 12 10 (5,9-4)
10. Plan on losing first of two earrings with band (9)
11 . Weirdly bloated, I replaced energy with something
like an iPad (7)
13 . See 24
15 . See 9
19 . Fresh secondary burns (6)
20 . Permitted marshmallow edible in part (7)
23 . A great egg scrambled whole (9)
24,13. Dubious tonal merits of 9, 15’s predecessor (5,6)
26 . Zero tax on charged particle gets a rousing reception (7)
27 . Keys that jingle when 11 overs bowled (7)
Down
1. Beats up in fight (4)
2. Japanese Emperor crazy about Indian King Oscar (6)
3. Taping band around electric cable (9)
4. Our elephant sounds apposite (8)
5. Reservists show disappointment in Wales reversing
acts of parliament (7,3)
6. Distant return section of route to merge (6)
7. False ridicule (4)
8. Arouse knowledge under central section of seawall (6)
12 . Bring ham, I’m cooking in the city (10)
14 . Tactical tiger acts strangely (9)
16 . An old blimp follows musical LED (8)
17 . Zero tax rises in business - you could write a book,
this size, on it! (6)
18 . Youthful beauty makes fuss over flipping
transgression (6)
21 . Reading class (6)
22 . Deserve to hear noisy extract (4)
25 . Principal aroma ingeniously concealed (4)
Crossword problems?
Don’t know where to start? Try
solving-cryptics.com or the
Guardian ‘Cryptic crosswords
for beginners’ blog.
This CartoonChurch.com cartoon by
Dave Walker originally appeared in the
Church Times.

Movement Issue 153 spring 2016
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Hope & social, a BaNd aNyoNe caN JoiN aKala Mike peters Pat tHoMas &
KwasHiBu area BaNd BetH rowley listeNer ella & tHe Blisters sHe MaKes war
sea & air taNKus tHe HeNge regiMe NgawaNg loduP lewis & leigH ecHo towN
Performing Arts al seed, oog pif paf, plaNetary saM HalMaracK & tHe
MiseraBlites craft tHeatre, daNte’s iNferNo VaMos tHeatre walKaBout Jack
deaN, graNdad & tHe MacHiNe actors for HuMaN rigHts, asyluM MoNologues
Half MooN tHeatre, fairytales goNe Bad tHird aNgel, 600 PeoPle
Literature leMN sissay Harry Baker KHulud KHaMis aNtHoNy wilsoN
JaN carsoN Breis Val BlooM fraNcis spufford fr. BegNiNo BeltraN
reBecca de saiNtoNge Paul cooKsoN MicHael raMsey prize
Ideas Nadia Bolz-weBer Bill MckiBBeN elaiNe storKey satisH kuMar
elizaBetH oldfield Mark oakley catrioNa roBertsoN Broderick greer
Magaret HeBBletHwaite Mark yacoNelli Jude waNga JoHN swiNtoN eVe
Poole Mark russell Meg warNer arcHBisHop of caNterBury JustiN welBy
Plus coMedy witH Josie loNg youtH, cHildreN & faMily prograMMe worsHiP
worksHops Visual arts MoBile plaNetariuM giaNt iNflataBles cliMBiNg
wall caMPfire grade 1 listed parklaNd & MucH More yet to Be aNNouNced
greenbelt.org.uk
a festival of arts, faith & justice
Page 22 Movement – Issue 153