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Hello and welcome to the great north passion. | :00:15. | :00:19. | |
For months communities here in the North East have been preparing, like | :00:20. | :00:23. | |
others across the world, to tell the story of Good Friday. Today we're | :00:24. | :00:32. | |
coming together to recount Jesus' journey from condemnation to | :00:33. | :00:38. | |
crucifixion. Over the next hour this unique and live spectacle will trace | :00:39. | :00:41. | |
the steps he took over 2,000 years ago, finding out what they mean in | :00:42. | :00:43. | |
today's world. It is a powerful story which has | :00:44. | :00:48. | |
been told many times rather like this. | :00:49. | :01:29. | |
Good Friday is a time when Christians focus on the story which | :01:30. | :01:37. | |
forms the bedrock of their faith. There is no more apt than to tell | :01:38. | :01:40. | |
that story than here in the North East of England, a region recognised | :01:41. | :01:48. | |
as being the cradle of early Christianity in this country. 1,000 | :01:49. | :01:54. | |
years ago, the Venerable Bede, a renowned early Christian historian | :01:55. | :01:59. | |
lived a mile away. It is also home to Saint Cuthbert, famed for his | :02:00. | :02:04. | |
unending kindness, whose final resting place is at the heart of | :02:05. | :02:09. | |
Durham Cathedral. We've created a cathedral sized | :02:10. | :02:14. | |
structure out of 60 shipping containers. Why? Well, because | :02:15. | :02:19. | |
shipping and trade with overseas is the life-blood of region and local | :02:20. | :02:26. | |
people are going to tell the Good Friday story by remembering the 12 | :02:27. | :02:32. | |
Stations of the Cross. In Christian tradition each Station | :02:33. | :02:35. | |
tells an individual moment in Christ's journey to his death on the | :02:36. | :02:40. | |
first Good Friday. So why do we call it Good Friday? Well explain that | :02:41. | :02:44. | |
later. But first, to introduce the stations are the communities of the | :02:45. | :02:50. | |
North East and Alexandra Burke singing Amazing Grace. | :02:51. | :03:07. | |
Amazing grace, how sweet the sound that saved a wretch like me! | :03:08. | :03:25. | |
# I once was lost, but now am found. # Was blind, but now I see. | :03:26. | :03:36. | |
# 'Twas grace that taught my heart to fear. | :03:37. | :03:50. | |
# And grace my fears relieved. # How precious did that grace appear | :03:51. | :04:05. | |
the hour I first believed. # When we've been there 10,000 | :04:06. | :04:15. | |
years. # Bright shining as the sun. | :04:16. | :04:27. | |
# We've no less days to sing God's praise than when we'd first begun. | :04:28. | :04:43. | |
# Amazing grace, how sweet the sound that saved a wretch like me. | :04:44. | :05:05. | |
# I once was lost, but now am found. # Was blind, but now I see. # | :05:06. | :05:37. | |
APPLAUSE Wonderful Alexandra Burke and there | :05:38. | :05:41. | |
is more from her later. Each station of the cross has a distinct theme as | :05:42. | :05:46. | |
Jesus walked to his death, he was faced with exhaustion. Humiliation, | :05:47. | :05:51. | |
kindness and ultimately self sacrifice. The journey symbolises | :05:52. | :05:56. | |
the difficulties of all our lives, carrying meaning for everyone of all | :05:57. | :06:01. | |
faiths and none. 40 days ago, the start of Lent, communities across | :06:02. | :06:06. | |
the North East welcomed individual shipping containers each | :06:07. | :06:09. | |
representing a different station and theme. | :06:10. | :06:17. | |
Since then, they have been exploring what these themes mean to them | :06:18. | :06:22. | |
through working with artists to produce koopb contemporary pieces of | :06:23. | :06:28. | |
art and they have shared their personal experiences and stories. We | :06:29. | :06:33. | |
start at the first station of the cross where Jesus told Pontius | :06:34. | :06:41. | |
Pilate. He asked the question what, is truth? | :06:42. | :06:50. | |
How would the people who live and work in North Tyneside's Fish Quay | :06:51. | :06:58. | |
answer that question? All my life I have been contacted | :06:59. | :07:05. | |
with this area, Fish Quay. I like the friendship, most of all, the | :07:06. | :07:09. | |
characters. I am proud to be a part of it. | :07:10. | :07:15. | |
The truth is, when you are born in the North East, you end up being a | :07:16. | :07:19. | |
fisherman more or less. I have always known what the truth is. I am | :07:20. | :07:24. | |
a fisherman through and through, from three-year-old, that's a canny | :07:25. | :07:27. | |
life sentence! It is hard actually to describe What | :07:28. | :07:31. | |
Is Truth. It is being honest with yourself, is it? Being honest with | :07:32. | :07:36. | |
yourself? I would say it is being honest with | :07:37. | :07:43. | |
someone and being trustworthy. The trust is, life isn't always fair, | :07:44. | :07:46. | |
but always remember it is a good life and enjoy it! | :07:47. | :07:52. | |
Richard is working with a local community on Fish Quay to find out | :07:53. | :07:57. | |
what truth means to them today. Jesus talks about, you know, his | :07:58. | :08:01. | |
reason for being on earth, his word is the truth. Pontius Pilate asks | :08:02. | :08:07. | |
him What Is Truth? That truck me as -- struck me as quite a question, | :08:08. | :08:11. | |
quite a thing to answer. So, What Is Truth? That which is | :08:12. | :08:19. | |
fact and not opinion. Don't rush it. The communities truths are gathered | :08:20. | :08:23. | |
in the container. The dinosaur is in the bag! | :08:24. | :08:31. | |
I might share your chips! I asked me Mrs, I said, "What Is Truth?" I | :08:32. | :08:36. | |
looked on the internet as well because I want to know what the | :08:37. | :08:40. | |
truth means really. Faith is sort of bedrock of truth. | :08:41. | :08:48. | |
The finishing touch, a ship of truth is mounted on top of the container | :08:49. | :08:57. | |
at Fish Quay before it sails over the River Tyne. | :08:58. | :09:01. | |
# As I went down to the river to pray. | :09:02. | :09:11. | |
# Studying about that good old wa # The good Lord show me the way. | :09:12. | :09:31. | |
# O sisters let's go down. # Down to the river to pray. | :09:32. | :09:36. | |
# As I went down to the river to pray. | :09:37. | :09:38. | |
# Studying about that good old way. # And who shall wear the robe and | :09:39. | :09:41. | |
crown? # Good Lord show me the way. | :09:42. | :09:45. | |
# O brothers let's go down. # Let's go down, come on down. | :09:46. | :09:50. | |
# Come on brothers, let's go down. # Down to the river to pray. | :09:51. | :09:57. | |
# As I went down to the river to pray. | :09:58. | :10:01. | |
# Studying about that good old way. # And who shall wear the starry | :10:02. | :10:04. | |
crown? # Good Lord show me the way. | :10:05. | :10:11. | |
# O fathers let's go down. # Let's go down, come on down. | :10:12. | :10:18. | |
# O fathers let's go down. # Down to the river to pray. | :10:19. | :10:25. | |
# As I went down to the river to pray. | :10:26. | :10:31. | |
# Studying about that good old way. # And who shall wear the starry | :10:32. | :10:36. | |
crown? # Good Lord show me the way. | :10:37. | :10:40. | |
# O mothers let's go down. # Come on down, don't you want to go | :10:41. | :10:43. | |
down? # Come on mothers, let's go down. | :10:44. | :10:53. | |
# Down to the river to pray. # As I went down to the river to | :10:54. | :10:56. | |
pray. # Studying about that good old way. | :10:57. | :11:02. | |
# And who shall wear the starry crown? | :11:03. | :11:05. | |
# Good Lord show me the way. # Good Lord show me the way. # | :11:06. | :11:27. | |
APPLAUSE The wonderful David and Ross. Having | :11:28. | :11:32. | |
been condemned to death by Pontius Pilate, Jesus is given the Cross and | :11:33. | :11:40. | |
told to carry it to Calvary. It is has become the central symbol of the | :11:41. | :11:45. | |
Christian faith. As Jesus takes his first steps towards crucifixion, he | :11:46. | :11:49. | |
is weighed down by what will be the instrument of his death, it is the | :11:50. | :11:55. | |
burden and he must carry it alone. For the last 40 daysings the | :11:56. | :12:00. | |
community in -- days, the community in South Tyneside has been preparing | :12:01. | :12:03. | |
to tell this part of the Passion Story. | :12:04. | :12:08. | |
In our community we've got a hugely diverse set of people and it has | :12:09. | :12:11. | |
been really helpful to say to the young people in our school, "You | :12:12. | :12:15. | |
have got to remember that people are coming to school. They have maybe | :12:16. | :12:18. | |
had a bad experience at home. They have been maybe told bad news, | :12:19. | :12:22. | |
whether that's the death of a relative for a pet." That's young | :12:23. | :12:27. | |
people carrying a burden so welcome link that into the great north | :12:28. | :12:32. | |
passion and looking at looking at Christ's suffering and to | :12:33. | :12:36. | |
incorporate those qualities into dance has been a challenge, but a | :12:37. | :12:40. | |
real success for our young people. There is reference to say prison and | :12:41. | :12:43. | |
oppression and people have different struggles in every day lives. | :12:44. | :12:48. | |
You getting away from somewhere where you don't want to be. So | :12:49. | :12:51. | |
someone dragging you back from your future. | :12:52. | :13:28. | |
This modern dance piece has been created using movements of trying to | :13:29. | :13:34. | |
break free and being pulled back to reflect the theme of burden. | :13:35. | :15:31. | |
APPLAUSE. In Christian tradition, Jesus' | :15:32. | :15:43. | |
journey towards crucifixion is marked on Good Friday by processions | :15:44. | :15:47. | |
of witness. Today, in that tradition, The Great North Passion's | :15:48. | :15:50. | |
Witnesses are following the Good Friday story, by linking station to | :15:51. | :15:58. | |
station. Condemned, given his cross, they now reach the Third Station. | :15:59. | :16:07. | |
Here Jesus, weighed down by the sheer weight of the Cross, falls to | :16:08. | :16:13. | |
his knees. Surrounded by a heckling crowd, his exhaustion is compounded | :16:14. | :16:16. | |
by his being completely isolated. Abandoned, forsaken, alone. The | :16:17. | :16:27. | |
community around a church in Red House, Sunderland, named after Saint | :16:28. | :16:34. | |
Cuthbert, have been exploring the feelings of isolation and | :16:35. | :16:41. | |
exhaustion. Saint Cuthbert lived on Holy Island, home to Lindesfarne | :16:42. | :16:44. | |
Gospels. Saint Cuthbert sought answers to questions around his | :16:45. | :16:50. | |
faith, through prolonged times of solitude, as well as in serving | :16:51. | :16:53. | |
others in the community. I think it is a diverse community. | :16:54. | :17:00. | |
It is a really nice mix. A mixture of generations, people here are | :17:01. | :17:03. | |
friendly. I have found that the church members are supportive. | :17:04. | :17:12. | |
John's Gospel is my favourite Easter morning story it begins in the dark | :17:13. | :17:17. | |
with a woman crying for what she has lost. That really resonated with me. | :17:18. | :17:24. | |
The vicar of Saint Cuthbert's, Tracy Reynolds found herself asking | :17:25. | :17:27. | |
profound questions after her daughter was seriously injured in a | :17:28. | :17:32. | |
car accident. Where was God? Was he really there at all? Was she alone | :17:33. | :17:38. | |
in her suffering, abandoned? I was ex-housed. Going to hospital at | :17:39. | :17:44. | |
6.00am, not getting home until after midnight. It was a tiredness that | :17:45. | :17:49. | |
feels it is inside your bones. Like it will never go away, etched there | :17:50. | :17:55. | |
forever. I thought I don't know if I will get out of this. I had to keep | :17:56. | :17:59. | |
on going. Finally, coming to a point where I was able to recognise, if | :18:00. | :18:04. | |
this was the journey that Jesus had taken, and that he had felt the | :18:05. | :18:09. | |
things that I felt but still clung to his Father, then maybe I could | :18:10. | :18:14. | |
hold his hand. One of the ways that Tracy was able | :18:15. | :18:21. | |
to come to terms with the trauma of her daughter's accident was through | :18:22. | :18:27. | |
art and poetry. It is this that inspires Mohammed Ali's work on the | :18:28. | :18:30. | |
container. When I was introduced to Tracy from | :18:31. | :18:35. | |
the church, hearing her story and the poem, hearing how she felt and | :18:36. | :18:40. | |
the feelings of isolation, being alone it was really striking. There | :18:41. | :18:51. | |
were words like "anger", " tears", " pain." As a graffiti artist, with | :18:52. | :18:59. | |
the art and the words, I felt something no different than the | :19:00. | :19:03. | |
Lindesfarne Gospels. Just shapes, almost coming alive in front of you. | :19:04. | :19:13. | |
Isolation is one of the moments of the suffering of Jeffs. Reflected in | :19:14. | :19:19. | |
Mozart's Ave Verum Corpus, inspired by the passion Passion Story story | :19:20. | :19:29. | |
story. It is sung by The Great North Passion's Choir and the communities | :19:30. | :19:44. | |
of the North East. # Ave, ave verum corpus. # Natum de | :19:45. | :19:53. | |
Maria Virgine. # Vere passum, immolatum, # In cruce | :19:54. | :20:09. | |
pro homine, # Cujus latus perforatum. | :20:10. | :20:41. | |
# Esto nobis praegustatum, # In mortis examine, # In mortis examine. | :20:42. | :22:15. | |
APPLAUSE. The story reaches the Fourth Station | :22:16. | :22:28. | |
Of The Cross. Here the suffering of others is also recognised. Jesus' | :22:29. | :22:31. | |
mother, Mary, catches sight of her son. Vulnerable and weakened. She | :22:32. | :22:40. | |
knew she was watching her worse possible nightmare: The loss of her | :22:41. | :22:46. | |
child. That theme became the subject of a | :22:47. | :22:49. | |
moving project in the heart of Sunderland. I like living around | :22:50. | :23:02. | |
here it is a lovely community. You think you are alone sometimes but | :23:03. | :23:09. | |
you are not. You are never alone. I love Sunderland, and I'm proud to | :23:10. | :23:13. | |
live in Sunderland. Photographic artist, Julian Germain | :23:14. | :23:19. | |
is working with Julie Ray, who lost her son, Peter, in a tragic | :23:20. | :23:26. | |
accident. He was 13 years old. Julian is to use the container to | :23:27. | :23:32. | |
interpret the theme of a mother's grief. | :23:33. | :23:37. | |
He is to display film and photographs of Julie's son. . | :23:38. | :23:43. | |
This was my daughter's wedding day. He was smart as a carrot! I found it | :23:44. | :23:52. | |
very painful to be quite honest. Bringing lots of old photographs of | :23:53. | :24:01. | |
Peter. It was not forgotten about. This was all the different memories | :24:02. | :24:05. | |
coming flooding back. I got a telephone call to say that Pete fell | :24:06. | :24:11. | |
off a swing. I thought, I will get to the hospital and it will be a | :24:12. | :24:16. | |
couple of stitches or... Unfortunately, he had swelling on | :24:17. | :24:25. | |
the brain. They just couldn't save him. | :24:26. | :24:36. | |
You never think you are going to ever survive. You wonder how you get | :24:37. | :24:42. | |
up every day. But you do. You find the strength from somewhere. Through | :24:43. | :24:49. | |
our Peter's Trust Fund, I have met people who have been through a | :24:50. | :24:54. | |
mother's grief. When you have a little understanding of that raw | :24:55. | :25:00. | |
pain, what nobody would understand it, unless you have been through it. | :25:01. | :25:06. | |
I think sometimes you get frightened, will I forget this, will | :25:07. | :25:14. | |
forget that, will I forget his voice? Of course, you don't. I think | :25:15. | :25:18. | |
that the photographs bring that out. That is why you trough them. | :25:19. | :25:23. | |
Reflecting on the theme of love and loss is Alexandra Burke, with her | :25:24. | :25:39. | |
song, Where Do Hearts Go. # You gave me my wings to fly, baby | :25:40. | :25:45. | |
oh, way up high. # You, showed me that love could | :25:46. | :25:53. | |
bring anything, you. # Lifting my soul inside, to clear | :25:54. | :26:01. | |
blue skies. # You, listened to me to see all I | :26:02. | :26:08. | |
can be. # I'll let you know, I don't know | :26:09. | :26:12. | |
what your love means. # Are you near or far? | :26:13. | :26:18. | |
# I need to know, I don't want to waste one more hour, | :26:19. | :26:23. | |
# Wondering where you are. # And where do hearts go? | :26:24. | :26:35. | |
# Where do hearts go? # When the love goes. | :26:36. | :26:42. | |
# I see the light, # My wings will fly. | :26:43. | :26:48. | |
# I know my heart will breathe again. | :26:49. | :26:54. | |
# For you, one day. # Our love will smile again. | :26:55. | :27:11. | |
# I said you, brought joy and amazing things | :27:12. | :27:14. | |
# Gave everything. # Yeah, you | :27:15. | :27:23. | |
# You were the fountain side I could never hide from. | :27:24. | :27:31. | |
# You brought out the best in me, # For all to see. | :27:32. | :27:38. | |
# Yeah, you, made me believe in me, # You set me free. | :27:39. | :27:44. | |
# I'll let you know, I don't know what your love means. | :27:45. | :27:48. | |
# Are you near or far? # I need to know, don't want to | :27:49. | :27:55. | |
waste one more hour, # Wondering where you are. | :27:56. | :28:00. | |
# Where you are. # Where do hearts go? | :28:01. | :28:12. | |
# When the love goes. # Yes, I see the light. | :28:13. | :28:18. | |
# My wings will fly. # I know my heart will breathe | :28:19. | :28:27. | |
again, for you. # One day, our love will shine | :28:28. | :28:43. | |
again. # | :28:44. | :28:55. | |
APPLAUSE. Station Six of the cross cease Jesus | :28:56. | :28:59. | |
surrounded by a hostile, baying crowd. But as re-counted by some of | :29:00. | :29:03. | |
the earliest Christian communities, a woman called Veronica, against the | :29:04. | :29:09. | |
will of the mob, steps out and wipes Jesus' face it is a simple act but | :29:10. | :29:15. | |
it sums up a universal act, held equally by all faiths, that is | :29:16. | :29:19. | |
compassion and kindness. It is a theme fitting for the location. | :29:20. | :29:23. | |
Minutes from here, one of the first lifeboats was launched. It is an | :29:24. | :29:28. | |
example of how people risk their own lives to save others. | :29:29. | :29:35. | |
For peoples at the local South Shields School, it is a theme that | :29:36. | :29:40. | |
is part of their critic column in preparation for the Good Friday | :29:41. | :29:46. | |
story it is a unique poem on kindness, led by Kate Fox. I did | :29:47. | :29:55. | |
think we had to start with the re-enactment of Veronica wiping | :29:56. | :30:00. | |
Jesus' face. Three of them wanted to be a Roman | :30:01. | :30:06. | |
soldier. A boy wanted to be Veronica. | :30:07. | :30:16. | |
Being kind is like... Respecting others. Sharing your cake. If | :30:17. | :30:25. | |
kindness was something in South Shields... Ocean Road because it is | :30:26. | :30:32. | |
multi-cultural. The different types of food you can try. | :30:33. | :30:37. | |
They have got a boat. It is from a while ago and it has been | :30:38. | :30:41. | |
refurbished. Do you think we would be up for performing the poem? | :30:42. | :30:47. | |
ALL: Yes. We got together and got our energy going. What are we doing? | :30:48. | :30:53. | |
Great North Run. It feels like something is emerging. It is | :30:54. | :30:56. | |
something they actually want to talk about! Can your hands do anything | :30:57. | :31:06. | |
kind? To the sea and the seagulls. I think I'm kind of kind, but like | :31:07. | :31:12. | |
most of us, I'm somewhere in between the saintly giving of Mother Teresa | :31:13. | :31:17. | |
and the bumbling awkwardness of Mr Bean. Your haircut makes me cringe. | :31:18. | :31:23. | |
Your phone is so old! Hashtag Kindness of Strangers. See Twitter | :31:24. | :31:27. | |
and Galilee or head to Ocean Road, South Shields for a day out by the | :31:28. | :31:33. | |
sea! Fish and chips and curry, Indian, Chinese and Thai, anything | :31:34. | :31:37. | |
you want to eat is here for you to buy. Icecreams! Made by Minchellas | :31:38. | :31:46. | |
all the way from Italy. People came from all over the world to live here | :31:47. | :31:49. | |
and mostly, they get on. Thirteen flavours of us. The first lifeboat | :31:50. | :31:59. | |
ever designed was launched. Here saved a thousand from the Tyne saved | :32:00. | :32:02. | |
in turn by volunteers, who wiped away the years until it was bright | :32:03. | :32:06. | |
blue and white as the prom on a sunny day. The seagulls pinch your | :32:07. | :32:10. | |
pasty, nick your chips, sit on your head, a clucking army pecking bits | :32:11. | :32:14. | |
of bread. Haway! The fair. Dodgems, waltzers, a slide, a | :32:15. | :32:17. | |
rollercoaster, the party bus, Life is a journey so come with us, all | :32:18. | :32:22. | |
the way from the Tyne Bridge. The Great North Run! Drummers thump | :32:23. | :32:26. | |
heartbeats in time with the runners, photos of loved ones on their backs. | :32:27. | :32:30. | |
I had no breath, I was puce, my knees were weak, my lungs no use, | :32:31. | :32:35. | |
but the crowd gave me. Water! Jelly babies! The will to carry on! Give | :32:36. | :32:41. | |
someone a lift when they've broken down. But what if they're a | :32:42. | :32:45. | |
psychopath? Give someone a bunch of flowers. But what if they just | :32:46. | :32:49. | |
laugh? Help an old person up when they've fallen Over. But what if | :32:50. | :32:54. | |
you're not medically trained? Burly blokes on boats is just one kind of | :32:55. | :32:58. | |
brave. But stick your neck out for others. It's your own life you will | :32:59. | :33:05. | |
save. Your hair is lush. Let's give your car a push. You don't even need | :33:06. | :33:12. | |
make-up. Do you want a hand with that shopping? You smell of | :33:13. | :33:16. | |
strawberries. We will be your lifeboat and come to your rescue. We | :33:17. | :33:20. | |
will bring it back to you. So you can't forget. Treat others the way | :33:21. | :33:25. | |
you want to be tret. Treat others the way you want to be tret. | :33:26. | :33:42. | |
APPLAUSE Inned Good Friday story, that moment | :33:43. | :33:46. | |
of kindness shown by Veronica is only fleeting. Jesus succumbs to the | :33:47. | :33:51. | |
weight of the cross and falls yet again. It shows his human frailty | :33:52. | :33:56. | |
and the fragility of our lives. How anyone in difficult times can can | :33:57. | :33:59. | |
become fallen and forgotten and loose self esteem. | :34:00. | :34:10. | |
In Sunderland the local community came together to give a voice to | :34:11. | :34:13. | |
those who are coming to terms with these lowest of moments in their | :34:14. | :34:22. | |
lives. I think the opportunity has been for | :34:23. | :34:28. | |
people to express their own emotions, their own feelings. And to | :34:29. | :34:39. | |
be heard as well. Saint Andrew's connection with | :34:40. | :34:43. | |
Centre scapt point the UK's leading charity for homeless young people, | :34:44. | :34:52. | |
brought this young man to the Great Passion Project. The most difficult | :34:53. | :34:59. | |
time in my life was losing my mum. I felt depressed. I just felt like I | :35:00. | :35:05. | |
just want to go and I tried to kill myself. I don't feel like living, I | :35:06. | :35:16. | |
just want to go. Opera singer Graeme Danby and | :35:17. | :35:23. | |
composer, Will Todd are leading the St Andrew's project, they meet him | :35:24. | :35:26. | |
and begin to write and compose together a hymn about the fallen, | :35:27. | :35:31. | |
the theme of the seventh station of the cross. | :35:32. | :35:38. | |
Sometimes you might have no money, nothing, no friends to talk to. | :35:39. | :35:43. | |
Nobody to visit. Trust me, that moment you feel like this road | :35:44. | :35:51. | |
doesn't belong to you. Let's get to the nitty-gritty. We can maybe help | :35:52. | :35:56. | |
a little bit where we can put some of your ideas on to paper. Is that a | :35:57. | :36:03. | |
deal? That's a deal. The congregation are introduced to the | :36:04. | :36:07. | |
project and their voices begin to feed into the mix. If we don't have | :36:08. | :36:13. | |
Good Friday, we have no hope at all, would you would never have Easter | :36:14. | :36:19. | |
Sunday. I had an awful childhood, but my whole life changed because I | :36:20. | :36:25. | |
was loved. Perhaps you have to hit rock bottom to move back up and that | :36:26. | :36:29. | |
doesn't necessarily mean it is a failure. At their final session, the | :36:30. | :36:35. | |
whole group gather together to put the finishing touches to the piece. | :36:36. | :36:39. | |
The trust that you give. Can you give us a tune for As A Child? | :36:40. | :36:48. | |
Perfect. It has been a wonderful experience. It has reinforced my | :36:49. | :36:53. | |
thought behind the fallen. We can't just have this element of bleakness, | :36:54. | :36:59. | |
of hopelessness, there has got to be an element of redemption. | :37:00. | :37:19. | |
Frail and alone I drown in sorrow # Will the tears of an outcast ever | :37:20. | :37:27. | |
be wiped away? # Can this madness never change? | :37:28. | :37:39. | |
# I am friendless and I am changed. High pressure High pressure so alone | :37:40. | :37:47. | |
the broken soul you tread upon. ??LINEBRE # I am searching for love. | :37:48. | :38:20. | |
# # I am searching for hope. # The hope that I lost. | :38:21. | :38:33. | |
# The hope that I felt at the start. # To make my life begin then. | :38:34. | :38:52. | |
# I am searching for hope. # And I am searching, I'm searching for that | :38:53. | :39:17. | |
love. # The love that I knew | :39:18. | :39:24. | |
# # I am searching, I am saerching for | :39:25. | :39:34. | |
that love. # I'm searching for that love. | :39:35. | :39:44. | |
# To take away the darkness from my heart. | :39:45. | :39:59. | |
# # To take away the darkness. # To take away the darkness from my | :40:00. | :40:11. | |
heart. # | :40:12. | :40:22. | |
APPLAUSE The wonderful Graeme Danby. Jesus | :40:23. | :40:37. | |
manages to get up again and he approaches Calvery and the Women of | :40:38. | :40:42. | |
Jerusalem are found weeping for him. Jesus says, "Don't weep for meWeep | :40:43. | :40:47. | |
for your children." In shared compassion is a central focus of | :40:48. | :40:55. | |
Christian faith. In Middlesborough, the city's | :40:56. | :40:58. | |
community of Women of African Origin have been celebrating what this idea | :40:59. | :41:05. | |
means to them. You have got some of them singers. | :41:06. | :41:11. | |
This man leads the group in composing a song based on their | :41:12. | :41:16. | |
experiences of kindness to strangers, both here and in Africa. | :41:17. | :41:21. | |
In Africa, it is about sharing and giving. Where I'm from, we never | :41:22. | :41:27. | |
called anybody a stranger. If ever two people would come and y hadn't | :41:28. | :41:30. | |
cooked enough, they should take your plate. We used to prepare a special | :41:31. | :41:36. | |
room to accept anybody who came in the night, who doesn't have a place | :41:37. | :41:41. | |
to sleep, so he can come to our house. Once somebody knocks on your | :41:42. | :41:46. | |
door, we are so welcoming, that's us Africans. | :41:47. | :41:55. | |
Let's start again. We need to really understand what kwako means? | :41:56. | :42:26. | |
# When a stranger comes knocking, knocking. | :42:27. | :42:42. | |
# Knocks at your door. # Seeking for help. | :42:43. | :42:47. | |
# In the moonless night. # As we do in Africa. | :42:48. | :42:53. | |
# We will offer shelter drink and food. | :42:54. | :43:17. | |
# What would you do when someone knocks seeking your help? | :43:18. | :43:26. | |
# Would you be kind to open your door? | :43:27. | :43:41. | |
# Can you be sure what to kwako? # Can you be sure what to kwako, | :43:42. | :43:49. | |
kwako? # Let's not take this life for | :43:50. | :43:58. | |
granted. # Let's not take this life for | :43:59. | :44:08. | |
granted. # Let's not take, let's not take | :44:09. | :44:22. | |
this life for granted. # APPLAUSE | :44:23. | :44:33. | |
Despite falling a third time, Jesus does reach the hill where he will be | :44:34. | :44:41. | |
crucified and here, he is stripped of his clothes, made naked and | :44:42. | :44:51. | |
vulnerable. Vulnerability comes in many forms and families have become | :44:52. | :44:55. | |
more vulnerable to the changing face of industry. | :44:56. | :45:02. | |
What is the 30th anniversary of the Miner's Strike, the communities in | :45:03. | :45:04. | |
the North East had to contend with the demise of their pits. | :45:05. | :45:14. | |
Before they are very little to live on. | :45:15. | :45:20. | |
This is a the story of Ashington. This was the biggest pit village in | :45:21. | :45:25. | |
the world. It is not here anymore. But it is in the Guinness Book of | :45:26. | :45:30. | |
Records! Yeah. Until 30 years ago, it was known as a mining town. Now, | :45:31. | :45:35. | |
that is history. This community once felt humiliated and stripped of its | :45:36. | :45:40. | |
being. It strips your dignity away, | :45:41. | :45:43. | |
completely. I have been a wage-earner, then to | :45:44. | :45:49. | |
bog on the dole... Your dignity takes a smack. But a lot of them | :45:50. | :46:00. | |
made work, it was the be all and the enall. When the pits closed, they | :46:01. | :46:05. | |
had nothing else to do. Some of them lost the will to live. It tears you | :46:06. | :46:09. | |
apart. The story of Ashington stands as | :46:10. | :46:16. | |
item to those who faced what seemed the end of their world. The artist, | :46:17. | :46:25. | |
Patrick Murphy, wants to know what Ashington is doing now. He carved a | :46:26. | :46:29. | |
table and asked the community to carve, chip, paint and imprint their | :46:30. | :46:33. | |
story. The key message within the | :46:34. | :46:37. | |
installation is bruised but not broken. It refers to the community | :46:38. | :46:45. | |
but it also refers to Christ' journey, that there are things that | :46:46. | :46:51. | |
we have to go through and having faith or Christianity, strengthens | :46:52. | :46:53. | |
you. They have brought back the old | :46:54. | :46:57. | |
tradition of clog dancing, to show that they will not forget what they | :46:58. | :47:01. | |
have come through. He we stand together... Here we | :47:02. | :47:04. | |
stand together... This clog dancing reflects the shoes | :47:05. | :47:19. | |
that the miners originally wore in the pits. The placards are carrying | :47:20. | :47:23. | |
the messages of hope from today's community. | :47:24. | :47:35. | |
Still here. Always together, always strong. Always together, always | :47:36. | :47:49. | |
strong. Still here! Still strong! Still here! Still strong! Always | :47:50. | :48:10. | |
strong. Always strong! Always strong! Station Eleven. Here, Jesus | :48:11. | :48:22. | |
is now placed on the Cross and nailed to it. For Christians the | :48:23. | :48:26. | |
words Jesus utters have become one of the most powerful and central | :48:27. | :48:29. | |
tenants of their faith. Forgive them Father, for they know not what they | :48:30. | :48:33. | |
do. The message of Forgiveness. And the hope of new beginnings. In the | :48:34. | :48:39. | |
railway arches in the shadow of Sage Gateshead, this theme has been the | :48:40. | :48:43. | |
focus for both artists and the local community, including Reverend Jim | :48:44. | :48:46. | |
Craig, the only full time arts chaplain in the country. I love the | :48:47. | :48:56. | |
idea of art popping up somewhere that is not an exclusive gallery | :48:57. | :49:00. | |
space but somewhere that people can appreciate it on the streets. If | :49:01. | :49:05. | |
seemed obvious to contact the lads it is right up their street. | :49:06. | :49:14. | |
The Station of the Cross, that we have been given for the project is | :49:15. | :49:19. | |
the crucifixion. And the theme we are exploring is the theme of | :49:20. | :49:23. | |
forgiveness. Sandy is running a project using | :49:24. | :49:29. | |
music and art to develop confidence and encourage ways of learning. | :49:30. | :49:33. | |
We have been fortunate with the theme, in as much it resonates with | :49:34. | :49:37. | |
the young people in terms of their lives and how they are ah moving | :49:38. | :49:41. | |
forward it has been a good one to get our teeth into, really. If you | :49:42. | :49:45. | |
don't forgive, there will be always hate. If someone does you wrong if | :49:46. | :49:51. | |
you don't see past the wrong they have done you, that is what hate | :49:52. | :49:54. | |
develops. For Frank, one of the art support | :49:55. | :49:59. | |
workers, the theme has a particular resonance. | :50:00. | :50:03. | |
The idea of forgiveness being part of the graffiti journey, often the | :50:04. | :50:08. | |
route into spray-painting is one that involves being outside of the | :50:09. | :50:11. | |
law. Part of the forgiveness of what I | :50:12. | :50:17. | |
have done wrong, vandalising and upsetting people's lives, I am now | :50:18. | :50:21. | |
making amends by helping people. There have been stories, where the | :50:22. | :50:26. | |
kids I am working with have started to paint graffiti letters which has | :50:27. | :50:31. | |
led to other types of art and gone to college and gained something | :50:32. | :50:34. | |
positive from the whole experience. It does work. | :50:35. | :50:45. | |
Finally, at the Twelfh Station, Jesus is raised on the cross and | :50:46. | :50:51. | |
there he dies. He oleateers the words, Father, into your hands I | :50:52. | :51:06. | |
commit my spirit. It raises a theme which none of us can avoid: the end | :51:07. | :51:12. | |
of life. At Souter Lighthouse, an iconic reminder of the North East's | :51:13. | :51:15. | |
connection to the wider world but also of a very particular loss, the | :51:16. | :51:19. | |
sea-front community in South Shields came together to explore the twelfth | :51:20. | :51:22. | |
Station of the Cross. Going back to my childhood, one of the places we | :51:23. | :51:25. | |
used to visit was Marsden village. It was a community of happy, vibrant | :51:26. | :51:30. | |
people. That has all gone. The death of Marsden village had a | :51:31. | :51:39. | |
lasting effect on Derek and Brian. The homes here were Demme oilished | :51:40. | :51:43. | |
in the '60s. I cam up, people would shout to me, | :51:44. | :51:49. | |
morning but now there was silence. Deathly silence. That is when I | :51:50. | :51:53. | |
realised that was the final end. It was all gone. | :51:54. | :51:59. | |
Visual artist, Joseph Hillier, leads the men and younger members of the | :52:00. | :52:03. | |
community on a tour of local art galleries, to explore depictions of | :52:04. | :52:07. | |
death. If there was anything else but a | :52:08. | :52:11. | |
cross, it would be ordinary people getting on with their lives. That is | :52:12. | :52:15. | |
what happens after a loss, you get on with it. The loss hits you later | :52:16. | :52:20. | |
on. For Ray Wilson, the theme of death | :52:21. | :52:25. | |
brought back memories of his father. I was persuaded to see my father | :52:26. | :52:31. | |
after he had died. I would have much sooner not have had to. | :52:32. | :52:40. | |
The image does stay with you. Back at Souter, the group reenact | :52:41. | :52:48. | |
some of the paintings. And Joseph captures their poses to create a 3-D | :52:49. | :52:52. | |
model of the pieces he is to produce. | :52:53. | :53:06. | |
As we reflect on life's journey, full of rich experiences and | :53:07. | :53:12. | |
difficulties, we are full of hope. We're joined by Bella Hardy, for a | :53:13. | :53:20. | |
much-loved communal song, Abide With Me. | :53:21. | :53:35. | |
# Abide with me, fast falls the even tied. | :53:36. | :53:40. | |
# The darkness deepens, Lord with me abide. | :53:41. | :53:45. | |
# When other helpers fail and comforts flee, | :53:46. | :53:51. | |
# Help of the helpless, abide with me. | :53:52. | :54:23. | |
# # I feel no foe with thee returned | :54:24. | :54:37. | |
to bless # Ills have no weight, and tears no | :54:38. | :54:45. | |
bitterness. # Where is death's sting? | :54:46. | :54:57. | |
# Where, grave, thy victory? # I triumph still, | :54:58. | :55:24. | |
# If thou abide with me. Hold thou thy cross, before my closing eyes, | :55:25. | :55:31. | |
# Shine through the gloom and point me to the skies. | :55:32. | :55:39. | |
# Heaven's morning breaks, and earth's vain shadows flee. | :55:40. | :55:57. | |
# In life, in death, Lord, abide with me. | :55:58. | :56:21. | |
APPLAUSE. The people of the North East, | :56:22. | :56:24. | |
through their commitment, creativity and honesty in sharing their stories | :56:25. | :56:27. | |
and experiences, have come together today to show how the story of Good | :56:28. | :56:31. | |
Friday, while 2,000 years old, has a lasting relevance to all our lives | :56:32. | :56:37. | |
today. For Christians world-wide, the death of Jesus lays the | :56:38. | :56:43. | |
foundation of their faith. It's seen as a selfless act of self-sacrifice | :56:44. | :56:47. | |
with a purpose: to free all people from their sins and weaknesses, | :56:48. | :56:51. | |
making possible a new start. Captured in the powerful symbol of | :56:52. | :56:57. | |
the Good Friday Story, The Cross. It recognises the Christian belief that | :56:58. | :57:00. | |
God through Jesus gave everything out of love for humankind. And in | :57:01. | :57:05. | |
recognizing that, there is a form of triumph even in the darkest moments | :57:06. | :57:09. | |
of death. It's the reason why today is called Good Friday. And for | :57:10. | :57:15. | |
Christians, that triumph is fully realised on Easter Sunday when the | :57:16. | :57:18. | |
story of the Resurrection gives a cause for celebration. | :57:19. | :57:39. | |
# Your love keeps lifting me higher, # Than I've ever been lifted before. | :57:40. | :57:44. | |
# So keep it up, # Quench my desire. | :57:45. | :57:53. | |
# I'll be at your side forever more. # Once I was down hearted. | :57:54. | :58:01. | |
# Disappointment me was closest friend. | :58:02. | :58:06. | |
# Then you came and it soon departed. | :58:07. | :58:13. | |
# And you knew it never would show its face again. | :58:14. | :58:18. | |
# That's why your love, # Is lifting me higher. | :58:19. | :58:24. | |
# Lifting me higher and higher. # Your love, keeps lifting me higher | :58:25. | :58:54. | |
# Lifting me higher and higher. I said your love keeps lifting me | :58:55. | :58:58. | |
higher. # Than I've ever been lifted before. | :58:59. | :59:07. | |
# I said your love keeps lifting me higher. | :59:08. | :59:14. | |
# Than I've ever been lifted before. # I'm so glad, I finally found you. | :59:15. | :59:23. | |
# Yes, that one in a million girls. # And I wish my loving arms around | :59:24. | :59:28. | |
you, # Honey, I can stand up and face the | :59:29. | :59:34. | |
world. # I said your love keeps lifting me | :59:35. | :59:41. | |
high higher, # Oh, lifting me, higher and higher. | :59:42. | :59:50. | |
# Your love keeps lifting me higher, # Lifting me higher and higher. | :59:51. | :00:01. | |
# Your love keeps lifting me higher. # Lifting me higher, and higher. | :00:02. | :00:16. | |
# You love keeps lifting me higher. # Lifting me higher and high higher. | :00:17. | :00:21. |