Whilst on holiday I watched Timothee Chamalat’s portrayal of Bob Dylan in A complete unknown. My favourite scenes were around the Newport folk festival and contrast between when Dylan played the song “The Times They Are a-Changin” and the crowd loved it because the style was acceptable and then a couple years later the crowd rejected his new electric music even though in few years the album would be widely acclaimed.  Change is the one constant, a reality captured through the film and so powerfully in the lyrics of: “The times they are a-changin’. In that song Dylan calls all the elders, from leaders to mothers and fathers to recognize the shifting landscape, to refuse to block the halls or stand in the doorways of renewal, because “the wheel’s still in spin” and there’s “no tellin’ who that it’s namin’.” Those who hesitate, he warns, “will sink like a stone” in waters that have already risen around us.

The current rising waters are echoing this, calling us to move from gatekeeping beliefs to cultivating new ways of being, that those who have eyes, see this new water springing up like wells all around. This rising tide is nurturing abundant, adaptive life, and to be rooted in Christ is to bear witness to the fruit that whispers of a Kingdom not yet fully seen. Our true telos is not in relentless self-preservation, but in flowing, loving participation in the waters of change.

Dylan’s “Blowin’ in the Wind” laments the slow recognition of what’s right (“How many years can some people exist before they’re allowed to be free?”) and poses the questions. While “The Times They Are A-Changin’” suggests the answers lie in adapting and warns a failure to so will result in being “drenched to the bone” by the coming tide of change thats happening now, and everyone must decide whether to move with it or be left behind.

Perhaps the key to not being left behind lies in Pete Seeger’s portrayal, even though at one stage he wanted to stop Dylan’s electric music, he relented and made space. I love the hope that Pete holds throughout the film and how the folk scene led to the love revolution. The final scene sees Pete’s hope in action through his servant leadership which shows him putting away the chairs after the festival. Hope as I’ve said before isn’t fragile or passive. It’s a muscle, “sinew and tendon that flexes beneath the skin with every reimagined dream of a better world.” And practically we build hope every time we give space to others to sing and dream, where as elders we refuse to block the halls or stand in the doorways and instead we serve others, put a chair away and wash the dishes.