Religious protest at arts events is often seen as polarising artists and religious believers. But Abid Hussain argues that the two can support each other.
The much-publicised religious hatred bill, violent protests surrounding Behzti and the objections to Jerry Springer The Opera have highlighted the intensity of debate, viewpoint and feelings towards the portrayal and representation of faith within the arts. Censorship is at the heart of the debate: the arts thrive on freedom of expression, the opportunity to explore, challenge and redefine; faith, in comparison, is deemed restrictive and closed to alternative interpretation. The gulf between the two communities is both predictable and played out in news bulletins on a regular basis.
Providing perspective
Faith and the Arts is one initiative being developed to help bridge this gulf. The project provides an online resource exploring the relationship between faith beliefs and the arts sector. Providing a guide to seven UK faith communities, the website at www.faithandthearts.com explores the impact of faith on programming, audience development and making venues more accessible. The purpose of Faith and the Arts is to provide an overview of faith beliefs and practices for arts practitioners that is relevant to their work. No doubt a greater diversity of interpretations exist in each faith group than is covered in the research, but the purpose is to provide snapshots from a number of perspectives that need to be understood in the sector to stimulate further dialogue that encourages collaboration.
The Church has an established artistic tradition, displaying some of the worlds finest architecture, sculptures and stained glass. Art in churches has shifted dramatically from the days when the Church served as principle commissioner for new works predominately themed on Christian teachings. Much has changed in the intervening years. The Renaissance resulted in increased recognition of the arts outside of the Church and the pushing of the creative envelope by artists. Artistic expression became bolder, and the separation of the arts from one of its traditional patrons, the Church, began in earnest. In more recent times, the influence of the Church has begun to decrease politically and congregations have dwindled across many parts of the country. New faith communities have become an established and visible part of the UKs architectural and spiritual landscape; in many urban centres across England, mosques, temples and gurdwaras outnumber churches.
Rural influence
In adapting to the changing social and political landscape, the arts are once again becoming an increasingly important element of the Church, not only as a part of worship but also as a means to engage with wider audiences beyond its congregations. In many rural communities and market towns, churches are often the only venues that can provide space for theatre performances, arts exhibitions and participatory arts activity. The success of such initiatives is dependent on a combination of factors, from the willingness of churches to engage with non-worship led activity, physical access to churches and the flexibility of the spaces available.
Many rural communities have remained traditional in their values and this is often reflected in their churches. The Church in rural communities has a significant influence on the success or otherwise of rural touring companies, community theatre and youth arts initiatives. Increasingly, churches are engaging more widely with the arts sector to increase engagement with rural communities but also as a source of revenue at a time when many churches are facing crippling costs of maintenance and repair. In urban centres, the Church is undergoing a significant shift in positioning in relation to the arts. This is epitomised by Saint Martins Arts, which was established in 1997 by a group of volunteers to ensure the arts played a role in the development of the Church and to extend its programme of outreach work to incorporate the arts at the heart of its mission.
Today the Church of St Martin in the Bull Ring is the focal point of Birminghams bustling Bull Ring development: its magnificent gothic architecture stands out at the heart of a regenerated, modern and vibrant city centre. In 2003 the church recognised the potential for Saint Martins Arts to make a contribution to the Church and the citys cultural life and employed a full-time Arts Co-ordinator, Cheryl Homer. Saint Martins Arts is now a fully registered charity and programmes year-round arts activity, including exhibitions, concerts and workshops, yet it remains a church first and an arts venue second. The programme of work over the past 18 months has been innovative but has also been required to be in keeping with the values of the Church and Christian beliefs, thus limiting the nature of work that is suitable to be presented.
Islam and the arts
The challenge of achieving equilibrium between faith and the arts goes beyond Christianity and the Church. Islam prohibits the depiction of animate beings in the visual arts and this has a significant bearing on how galleries engage with Muslim audiences. Muslim participation in the arts as a proportion of the UK Muslim population is amongst the lowest of any faith group in the UK. This may be through choice and proactive disengagement with specific artforms and spaces that result in a conflict with faith beliefs. For example, many Muslims would not attend events at venues where there is a prominent bar providing alcoholic refreshments; few venues in the country cater for halal or kosher dietary requirements. All these kinds of things contribute to the reduced appeal of a venue to prospective visitors from the Muslim or Jewish faiths.
There is also a distinct difference between cultural and religious values. Many works of art, including the Madonna by visual artist Chris Ofili and Piss Christ by Andres Serrano, have been accepted as forms of artistic expression from a Western and European cultural perspective but have been frowned upon from a faith perspective. Artistic traditions embedded in North African, Middle Eastern and South Asian cultures can often sit uncomfortably with the teachings of the dominant Islamic faith in the regions. Islam does not necessarily equate to an expression of Arabic culture or vice versa. Knowing this is vital to understanding the influence sometimes conflicting values can have on an artist or an arts attender.
The faith and the arts debate continues to intensify. Through dialogue, common ground and partnerships can be developed to bring the faith and arts communities together to explore ways of reaching new audiences and developing challenging arts commissions. Through valuing and respecting difference there is significant potential to chart new territories that can bring faith and the arts together.
Abid Hussain is Development Officer, Diversity at Arts Council England, West Midlands.
t: 0121 631 5710;
e: abid.hussain@artscouncil.org.uk