DSEI 2025- No Faith in War

Community member Moya writes on the London Catholic Worker's presence at the DSEI Arms Fair, resistance, and the demand for justice.

Police and Protestors at DSEI, Alisdare Hickson

Every two years, the Defence and Security Equipment International (DSEI) arms fair transforms London’s Excel centre into one of the world’s largest marketplaces for the weapons industry. And amidst horrific conflict around the world, the sale of weapons is booming.

The DSEI arms fair welcomes thousands of exhibitors and buyers, among them the militaries of Israel, Egypt and Iraq. Some of the weapons sold here will be used in the ongoing genocide in Gaza or in the catastrophic bombing of Yemen by Saudi Arabia. Britain has already licensed more than £8 billion worth of arms to Saudi Arabia since 2015, according to government statistics, fuelling attacks on schools and hospitals and plunging Yemen even deeper into a humanitarian crisis.

The arms fair sells weaponry from rifles and tanks to drones, warships, missiles, and surveillance technology. It also exhibits riot control gear like tear gas, advertised and sold to countries such as Egypt, known to use these weapons against protestors. In 2007, two exhibitors were expelled from the event for advertising leg irons, which attach to feet and restrict movement; they are banned for sale by EU countries to non-EU countries. Then, in 2021, Amnesty International reported the advertising of “waist chains and cuffs with leg cuffs,” a full body restraint also banned for sale. Even the few limits which are put on arms dealers seem to be easily disregarded in the name of profit.

To host the arms fair is to facilitate war crimes and enable genocide. Christ rebuked armed defence in Gethsemane: “Put your sword back in its place,” Jesus told Peter, “for all who draw the sword will die by the sword” (Matthew 26:52). This is a warning not just to us as individuals, but to our society; a culture that builds security on the trade in weapons inherits the violence it sustains.

As Christians we are not called to enable the machinery of war; our faith must take flesh in resistance. On the 9th of September, the London Catholic Worker joined many other faith groups for a No Faith in War protest outside the gates of the Excel centre. We organised a memorial service for the people who had been killed with the weapons advertised and sold inside, and for those who would continue to be affected. The protests continued to the 12th, with many people camping by the centre in witness. We pray, we resist, but as long as our government continues in its complicity, there will always be more to be done.

As Dorothy Day said, “Our problems stem from this filthy rotten system.” London does not need DSEI, just as the world does not need more weapons. What we need is the hard, costly work of peace: justice, reconciliation, food for the hungry, and homes for those who have none.

A New Kingdom Within the Shell of the World

Community member Harry Wills writes on the call to prefigure the Kingdom to Come.

Christ Dividing the Sheep from the Goats, Mosaic, Basilica di Sant'Apollinare Nuovo, Ravenna

 When the Son of Man comes in His honour and all the messengers with Him, then He will sit upon His throne of honour. And all the peoples will be gathered before Him and He will separate them from one another, like the shepherd separates the sheep from the goats. Indeed, He will set the sheep on His right and the goats on His left. Then the King will say to those on His right: “Come, those praised by My Father, inherit a Kingdom prepared for you from the throwing down of civilisation.”

(Matt. 25:31-34)

In the KJV Bible, Matthew 25:34 reads: “...the kingdom prepared for you from the foundation of the world.” In the NIV, it reads: “...since the creation of the world.” There are ten instances of this phrase throughout the New Testament and, generally, the above translations are correct. There is, however, some depth to it that I feel is overlooked and should be examined in relation to the Gospel message of prefiguration, beginning with an analysis of the Greek and ending with an interpretation rooted in the broader context of the New Testament.

The word translated in the above passage as “world” is κόσμος (kosmos), but in Koine Greek this does not denote the physical earth (γῆ, ge). Instead, this word should be understood as “world order, government, civilisation, humankind, etc.” It is in this sense that Jesus uses the word throughout the Gospels. See, for example, John 15:18–19:

If the World hates you, know that it hated Me before you. If you were of the World, the World would love you as its own. You are not, however, of this World, for I chose you out of the World and the World hates you because of this.

And in Revelation 17:8 we see both earth (γῆ) and world order (κόσμος) in the same verse, reinforcing the distinction:

And those dwelling on the earth (γῆ), whose names have not been written in the book of life from the foundation of the World (κόσμος), will be astonished, seeing the beast which once was, and now is not, and yet will be.

Next, the word καταβολή (katabole), usually translated foundation, has the literal meaning throwing down, from the verb καταβάλλω (κατα = down + βαλλω = to cast/throw). This is a versatile word which can mean the laying down of a foundation, i.e. the base or beginning of something, but also the throwing down, slaying, or overthrow, i.e. the end of something.

Therefore, a more literal translation would be: “from the throwing down of the world order.” Regardless of

 whether it is intentional in the context of this parable, I find the lexical ambiguity of καταβολή thought-provoking. Taking the word in both its senses we get a kingdom prepared from both the foundation and overthrow of the world order. It does follow, after all, that in order for a new world to be realised, the old one must abdicate or be overthrown:

You do not pour new wine into old wineskins. Otherwise, the wine will burst the skins and both wine and wineskin will be ruined. No, you pour new wine into new wineskins. (Mk. 2:22)

Perhaps one implication of this understanding of “world”—as something human or social—and the new kingdom’s preparation “from/since its foundation” is that this new kingdom is being prepared through us. Every act of radical love, “the blood of every saint and prophet shed from the foundation of the World” (Lk. 11:50), paves the way for its eventual fulfilment. In other words, it is prefigured.

Prefiguration, in politics, is the philosophy that in order to realise a desired future society we must live out that new society in the present: to build a new world within the shell of the old. This is an important element of anarchist thought and praxis, and it was the methodology of Christ and the early Church. Rejecting the lex talionis, private property, and human authorities, they instead practised transformative justice, built communities of resilience, and obeyed God above all others. They were living out God's Kingdom within the shell of the Empire and, in the process, unmasked its tyranny and idolatry.

And having disarmed the powers and authorities, He made a public spectacle of them, triumphing over them by the cross. (Col. 2:15)

This is what the Parable of the Sheep and the Goats (and the entire Gospel) is inviting us to do: to live prefiguratively in preparation for God’s Kingdom. To live and love as though we are not of this World, since Jesus has chosen us out of it (John 15:19; 17:16). Clearly, the Apostles interpreted the goal of the Christian to be living according to a new Way in spite of human structures when they declared: “It is necessary to obey God, not human beings” (Acts 5:29). For, as Petr Chelčický said, “he who obeys God needs no other authority.” Paul, too, dedicates much of his letter to the Colossians to the topic of living a new life in spite of worldly order:

Do not be held captive through hollow and deceptive philosophy which depends on human tradition according to the principles of the World and not according to Christ … He blotted out the writing against us in the decrees which were adverse to us … If you have died with Christ away from the principles of the World, why, as if living in the World, do you submit to decrees … having taken off your old self with its practices and having put on the new self, being renewed in knowledge according to the likeness of its Creator, where there is no Greek or Jew, circumcised or uncircumcised, barbarian or Scythian, slave or free…. (Col. 2:8,14,20; 3:9-11)

To summarise, Jesus promises a new Kingdom, a new World, but to have a share in it, He warns, we must become anew ourselves (Jn. 3:3). To be inheritors, we must persevere in love, living prefiguratively until the World is eclipsed by the Kingdom of God. As it is written, “everyone born of God overcomes the World” (1 Jn. 5:4), for the World, as it is, is already dead and condemned. And so we, having become dead with Christ to the principles of this World, will become alive. Only through this new life, by living in the World but not being of it, can the evil of the current system be disarmed. (Jn. 3:18; Rom. 8:13; Col. 2:13-15, 20-22)

To Him be the glory and the power forever. Amen.

The Importance of the Imagination in Life, Faith and Art

James Catterson is a current community member in the London Catholic Worker house.

God Creating World, Hartmann Schedel (1493)

When we imagine something, we picture it; the very word image is located within the word imagination. Art W. Lindsley articulates that to truly understand the meaning of a concept or word, we must have “a clear image that we can connect with it.” Forming images in our minds is therefore essential to comprehending the complex world we live in. Stephen Hawking states that the world’s “age, size, violence and beauty require extraordinary imagination to appreciate it.” Without using our imagination to form pictures of and bring understanding to what we encounter, we can jeopardise truly seeing things and invite the deadening of our enchantment towards what surrounds us.

Using the imagination in art makes sense, art often being a tool of explorative sense-making. Let’s begin this exploration by traversing the nature of the first artist, the first to imagine.

Samuel Taylor Coleridge, in a famous statement in his Biographia Literaria, identifies human imagination as “repetition in the finite mind of the eternal act of creation in the infinite I AM.” In saying this, he alludes to the possibility that prior to initiating the creation of the world, God may first have imagined the world, picturing what He would create and the love He wanted to share, bringing to life the words of Ephesians 1:4, “for He chose us in Him before the creation of the world.” Through His imagination and creativity, in human beings God chose to imagine Himself, creating us in His image, and then later imagined Himself in the image of His Son Jesus in human form, revealing through Jesus “the image of the invisible God” (Colossians 1:15). However, even as He reveals Himself through Jesus and human beings, God ultimately chooses to convey only the likeness of His appearance (for example, Ezekiel 1:28), leaving much of what He looks like—His being—to our imagination. Yet He gives us descriptions that help us to build a picture of Him and His nature, as Father (Matthew 5:48), compassionate (Exodus 34:6), and shepherd (Psalm 23:1), feeding the imagination that He gave us.

Jesus Himself even relied on imagination, teaching in parables, stories and metaphors, calling His listeners to picture the images He cast. As such, the imagination is pivotal in helping us to comprehend and behold “the mystery of God” and faith, and therefore aids us to grow spiritually. It is vital for us to imagine and form an image or concept of God, as how we picture God to be is intrinsic to our belief, and to the intimacy of our relationship with Him.

Because of the significance this carries, it is key that we have ways of expressing and fathoming our imaginings. This is often why people turn to art—making to “attempt to grasp the ineffable and transcendent.” For Christians or those exploring faith, this may derive from a desire to explore and fathom the glory of God, but this concept also applies to the use of art-making to understand the meaning of life and existentialism more widely.

But let’s dig into what the imagination is a little more. Berys Gaut usefully recognises that imagining is “entertaining a proposition.” As we think and ideas arrive, we can either entertain them or let them pass by, and if entertained, this does not necessitate that we are committed to their truth; we are merely exploring them. This means that through the imagination we can play with concepts and experiment with different ways of thinking about and realising them. This is central to creativity and artistry; the mind is acting as sketch paper, a vehicle to progress ideas. Lev S. Vygotsky identifies that “every act of the imagination has a very long history,” suggesting that ideas grow through the collection of thoughts and realisations, resulting in the birth of a creative act (whether artwork, statement, or a piece of writing) that has internally undergone a significant period of gestation or formulation.

The imagination also allows a person to broaden their personal perspective by venturing out from the boundaries of what they themselves have experienced, to conceive how another might experience a situation. We see this in the empathetic phrase “I can imagine how hard that must be”. A creative work allows the imagination of an artist to work alongside a viewer’s, as a viewer receives and interacts with an artwork from their own unique imaginations and experiences. The ultimate expression and example of this is humans interacting with God’s creation of the world. God even invites us to imagine what might be beyond the earth, a place of “no more night” (Revelation 22:5), and restoration (Acts 3:21).

Many think that the imagination solely belongs to childhood. Children tend to freely express creative ideas and narratives, leading adults to believe that children have a greater ability to imagine than they do. Vygotsky points that this is not the case, as one’s creative ability is based on what one has previously experienced, thus the more experience a person has had, the more life they have lived, the greater is the nuance and complexity of the stimulus the imagination can draw from. However, there are logical reasons as to why adults believe this. Loris Malaguzzi in his poem “No Way. The Hundred is There” articulates that as we grow up, we are taught that things like reality and fantasy, science and imagination, or work and play do not go together. This kind of teaching shuns the imagination, and instead instils in us that life is to be taken practically and intelligently, based on the concrete, and that one’s uninhibited creativity belongs in childhood alone.

Artists who have been able to follow a different narrative, who have followed their imagination, point to the need to slow down and truly take note of the world. Mary Oliver in her poem “Evidence” calls us back to enchantment of the everyday, echoing the encouragement of Matthew 6:26 to consider the natural rhythms and processes of renewal that surround us, reminding us to “keep some room in [our] heart for the unimaginable”. Oliver alludes to the reality that we have lost space for our imaginings, wonder, and active engagement with our senses, which ultimately inhibits us from enjoying the intricate and sensual world that God created for us.

God Creating the World (with Angels), Woodcuts, Anon., 1867