When encountered for the first time, the idea of a fiction-based religion might seem quite ’far out’ and counter-intuitive. How is it possible to mix together religion (that, supposedly, deals with faith and so with a truth of some sort) and works of popular culture, which are clearly created by human imagination, and so are by definition not true?

By Hanna Lehtinen

Hanna Lehtinen is a graduate student in Comparative religion in Turku University, Finland, and works as an intern in the Southern Africa –Nordic Office in Cape Town, South Africa. She is currently working on her MA thesis on religion, media and politics, using the Church of the Flying Spaghetti Monster and the Atheist Bus Campaign as case studies. Her research interests include parody religions, religious and secular identities, (science) communication and sustainable development. She has also written the essays Divine Inspiration Revisited and What should we do with the study of new religions? for the Religious Studies Project.

Hanna Lehtinen

Hanna Lehtinen is a graduate student in Comparative religion in Turku University, Finland, and works as an intern in the Southern Africa –Nordic Office in Cape Town, South Africa. She is currently working on her MA thesis on religion, media and politics, using the Church of the Flying Spaghetti Monster and the Atheist Bus Campaign as case studies. Her research interests include parody religions, religious and secular identities, (science) communication and sustainable development. She has also written the essays Divine Inspiration Revisited and What should we do with the study of new religions? for the Religious Studies Project.

In response to:

Fiction-Based Religions

The majority of those who identified as a Jedi on the 2001 UK census were mounting a more-or-less satirical or playful act of non-compliance; nevertheless, a certain proportion of those were telling the truth. How does a religion constructed from the fictional Star Wars universe problematise how we conceptualise other religions, and the stories they involve?

 

When encountered for the first time, the idea of a fiction-based religion might seem quite ’far out’ and counter-intuitive. How is it possible to mix together religion (that, supposedly, deals with faith and so with a truth of some sort) and works of popular culture, which are clearly created by human imagination, and so are by definition not true?

And yet, this mixing does not seem to be a problem to the adherents of Jediism, Matrixism, and so forth. There are several groups that draw their inspiration from works of fiction, and yet declare religiosity. Apparently, fiction can offer inspiration to spiritual activities just as well as material traditionally regarded as spiritual and religious. What we seem to have at hand is a phenomenon that leaks out of our previous categories of religion, and in doing so poses a challenge to our understanding of religion and especially its connection to wider social and cultural phenomena.

The interview with Markus Davidsen explains comprehensively the basic ideas of a fiction-based religion. Davidsen defines a fiction-based religion as ”real religion in the real world, – which takes much of its inspiration from a fictional text”. Davidsen argues that these movements are more than fandom. For example, even though the adherents to Jediism do recognize the fact that Star Wars is fictional story, they still maintain that it refers to something that is real on some level. They might also argue, according to Davidsen, that all other religions are based on human invention as well, and so make the distinction between ‘real religion’ and their fiction-based religion less clear.

The aspect that interests me the most is the apparent diffusion of different ‘spheres’ of culture and society. In a fiction-based religion, an overlap of two categories is clearly present: religion and popular culture. But there are also other overlaps. For example, the argument that all religions are based on fiction seems like a very ’secular’ statement. So it seems that adherents to these new religious or spiritual endeavors have adopted certain ideas from a society in which traditional religions with their exclusive truth claims have largely lost their plausibility. As this introductory video to Pastafarianism puts it: ”(W)ith so many to choose from, how do we know which, if any, holds the truth?” But even adopting this view does not mean that religiosity would vanish altogether. Apparently, equally false can be inverted to equally true. Furthermore, it legitimizes the use of rather unconventional sources of spiritual inspiration. If all religions are ultimately based on human invention, what divides old prophecies and mythologies from the new ones?

Like many other forms of diffuse religiosity and spirituality of present day, fiction-based religions operate in an environment of open-ended systems, in which individuals are free to combine a view that suits their spiritual needs. Teemu Taira has called this type of religiosity ”liquid”, a term derived from Zygmunt Bauman’s work on liquid modernity. His work emphasizes the fact that we cannot handle religion as a distinct phenomenon separated from the broader societal and cultural context (Taira, 2006, 7-8). Coming closer to fiction-based religions, Carole M. Cusack has worked on what she calls ”invented religions”, which are new religions that openly declare their origin in human creativity. This term encompasses fiction-based religions as well as others, such as Discordianism and Church of the SubGenius, which are usually deemed as parody religions. Cusack also emphasizes the socio-cultural context of these religions, and her monograph Invented Religions. Imagination, Fiction and Faith shows how these forms of religiosity are a quite logical consequence of modern consumerism, individualism and appreciation for novelty. (Cusack, 2010 8-25.)

Taira describes liquid religiosity as being focused on the self. The experience of the individual is the most important religious authority. This is only logical in a liquid modern world, where great narratives have lost their plausibility, traditional identities are being deconstructed and external truths might prove fragile and change the next day (Taira 2006, 68-71,75). Consequently, what is ‘true’ for an individual is what matters to him or her individually. This is a very pragmatic sense of reality. If it works, it is true – at least true enough. This kind of view is naturally well suited for a highly pluralist situation, where increasing numbers of religious groups and identities exist next to each other. Taira also suggests that in liquid religiosity, there might be a shift in emphasis from intellectual content to the affective side of religiosity: meaningful feelings and experiences of empowerments it brings. (Taira 2006, 47-51.)

Fiction-based religions are a nice example of how different spheres of society and culture are actually tightly interntwined, and that they constantly affect and interfere with each others. Religion among other ‘spheres’ does not develop in a vaccuum. Also, as Davidsen concludes at the end of the interview, religion is ”something that happens in social interaction and negotiation”. Something is not religious per se, but it is made religious by people who claim it as such.

Religion does not disappear, even though some of its traditional forms might lose their value in the eyes of some people. But religion does change. Fiction-based religions are a good example of this change.

This material is disseminated under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. and can be distributed and utilised freely, provided full citation is given.

 

References:

CUSACK, Carole M, 2010: Invented Religions. Imagination, Fiction and Faith. Surrey, England: Ashgate Publishing Limited.

TAIRA, Teemu, 2006: Notkea uskonto.  Published in the Eetos julkaisuja series. Turku: Eetos

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