I
Remnant of a ruin
beside fragments of walls
tracing a ground map
of the past in space
on Abbey Green.
Founded in 666 AD,
a spearhead to convert
the East Saxons, Barking Abbey
flourished until its dissolution,
with the parish church, St
Margaret of Antioch, left behind
to continue the mission.
A catalyst and confluence of
missional initiatives, both Cedd
and Erkenwald are celebrated here
as with the houses they founded –
Tilbury and Bradwell, Chertsey
and Barking. Climb the steps
in the Saints Chapel to see
the impact of female leadership
and spirituality as represented
in the grave slabs, originally
behind the altar, attributed
to the sainted abbesses Ethelburga,
Hildelitha, and Wulfhilda;
now the focus of the Orthodox
Pilgrimage to this saintly house.
A “double house” of nuns and
monks in separate quarters,
sharing the church and both
ruled by an abbess, this
influential and expansive place –
one of the most important
nunneries in the country –
which founded a hospital
on Ilford Hill, a Priory
at Monks Horton (Kent)
and All Hallows by the Tower
in the City of London,
was reduced to ruin
by a dissolution of
monasteries that was a
land grab and wealth grab
in the guise of a religious
revolution. What remains
is a church and a tower,
the Curfew Tower, a Fire
Bell Gate, now containing
the Chapel of the Holy Rood,
intact but disfigured
by that religious reformation.
In 2008, the tower and church
were illuminated by VJs SDNA.
‘Abbey Happy’, a temporary
artwork, turned the church
and tower into a blaze of light
and colour with moving stained
glass that showed a diverse
church at play. All part of
‘Love & Light’ which highlighted,
through projections, heritage
buildings in Barking Town Centre.
Digitally animated congregation
members and surrounding wildlife
and flora, from the Abbey grounds,
were set within delicate moving
imagery projected onto windows,
walls, roof and tower – dancing mums,
waving ladies, an eight-piece dance
group, the verger and curate racing
each other up the Tower, an imaginary
teenage rock band, and other spinning,
walking, waving, smiling members
of the congregation. This was the
church at play. Studding this
celebration of congregation were
reminders of Barking’s past.
Captain Cook’s ship, The Endeavour,
sailed again next to the window
commemorating Barking’s fishing
fleet. Motifs of sea horses, shells
and water featured in other
projections. The whole being a
joyful celebration of a special
history and a lively, diverse
present. The church seen truly
as a place of love, light and
laughter; the light and life
seen in God’s son.
II
George Jack, of Morris & Co,
architect, furniture-designer, wood
carver, stained glass artist, and teacher,
designed visual connections to the
heritage of Barking. His figures of
Captain Cook, Elisabeth Fry, Ethelburga
and local fisherman, stand proud
alongside disciples who were also
fishermen. All stand below Jack’s
vibrant window celebrating the
Short Blue Fleet and fishing trade
in Barking. Below, the Youth Chapel’s
altarpiece shows Jesus on the beach
with his disciples just after the
miraculous draught of fish.
An image to reflect the diversity
of a multi-cultural congregation
where over 30 languages are
spoken. Christ, surrounded by
people of every race, colour
and tongue, looks out at each one
inviting all to join the meal
he has prepared.
Tears of joy were shed by Eileen,
then a warden, when ‘Early in the
Morning’, a resurrection breakfast
painting, was unveiled, as a black
Christ was imaged and central
among a diverse collection of
disciples gathered on the beach.
In this space, where images of
white Christians had once
been the norm, she could now see
herself represented and affirmed.
Jack’s daughter, Jessie, painted birds
and butterflies for a font cover
with the words ‘God hath given to us
eternal life and this life is in his son’
marked around the rim. The ornate
font on which it sits dates from
the Spanish Armada and was given
by grateful sailors as a gift to God
for ensuring safe passage
through that battle. The life Jessie
Jack celebrates is also to be seen
in Kjellaug Nordsjö’s icon
of Christ blessing the children,
a sign of welcome and a window
on Christ-like, child-like inclusivity
and gentleness, being for all
a symbol of belonging.
III
I bring to mind a mission
for the modern day.
I oversaw SoulintheCity
with its mix of local social action
and the arts in mission; graffiti
art with AKS and rap/metal
from tbwnn – thebandwithnoname.
SoulintheCity, louder than words;
knowing that words come easily,
but actions are harder and
can speak a thousand words.
Those words are: one, heart, soul,
unity, community, and together.
I celebrate our year in the Arts
that refreshed the memory
of our history, celebrated present
diversity, contributed towards
a future regeneration of our town,
and created spaces for seeing
the world, reality and faith afresh.
I found world music in our backyard
with musicians from Nigeria and
South Africa within our number.
I spent hours among the ruins
discussing support for self-harmers
with one whose arms were a web
of scars requiring 300 internal
and external stitches; personal
experiences that led to a support
group – Cutting Out The Pain –
and mentoring of others
walking the same way.
I remember hours in the churchyard
one afternoon, talking down
a young actor threatening suicide
and the relief when he agreed
an ambulance could be called.
I recollect impassioned debate
and bible study in our home
with Spencer, Marie and Harjinder.
I recall preaching from the back
of church, not the pulpit,
as illustration of Christ’s
upside-down understanding
of the messianic king.
These memories being, a legacy
of life bequeathed, received
and breathed in God’s Son.
Jonathan Evens
.