The following four poets/pray-ers express awe and gratitude for God’s bountiful heart as conveyed through nature, a gift given freely to everyone—new every morning. Each attributes to God an exceeding liberality, even prodigality (wastefulness), in such daily bestowals, which, as the Brazilian Catholic archbishopHélder Pessoa Câmara (1909–1999) suggests below, ought to inform our own giving.
Untitled poem by Emily Dickinson
As if I asked a common Alms—
And in my wondering hand
A Stranger pressed a Kingdom,
And I, bewildered, stand—
As if I asked the Orient
Had it for me a Morn—
And it should lift its purple Dikes,
And shatter Me with Dawn!
Written in 1858; source: The Complete Poems of Emily Dickinson, ed. Thomas H. Johnson (Cambridge, MA: The Belknap Press of Harvard University Press, 1955)
Untitled poem by George MacDonald
Gloriously wasteful, O my Lord, art thou!
Sunset faints after sunset into the night,
Splendorously dying from thy window-sill—
For ever. Sad our poverty doth bow
Before the riches of thy making might:
Sweep from thy space thy systems at thy will—
In thee the sun sets every sunset still.
Source: A Book of Strife in the Form of the Diary of an Old Soul (self-pub., 1880)
“The Excesses of God”by Robinson Jeffers
Is it not by his high superfluousness we know
Our God? For to equal a need
Is natural, animal, mineral: but to fling
Rainbows over the rain
And beauty above the moon, and secret rainbows
On the domes of deep sea-shells,
And make the necessary embrace of breeding
Beautiful also as fire,
Not even the weeds to multiply without blossom
Nor the birds without music:
There is the great humaneness at the heart of things,
The extravagant kindness, the fountain
Humanity can understand, and would flow likewise
If power and desire were perch-mates.
Source: Be Angry at the Sun and Other Poems (New York: Random House, 1941)
Untitled prayer by Hélder Pessoa Câmara, OFS
isn’t your creation wasteful?
Fruits never equal
the seedlings’ abundance.
Springs scatter water.
The sun gives out
May your bounty teach me
greatness of heart.
May your magnificence
stop me being mean.
Seeing you a prodigal
and open-handed giver,
let me give unstintingly
like a king’s child,
like God’s own.
Source: The Hodder Book of Christian Prayers, compiled by Tony Castle (London: Hodder and Stoughton, 1986)
NEW PLAYLIST: October 2021 (Art & Theology): This month’s playlist includes a benediction from the book of Jude; a percussion-driven setting of Francis of Assisi’s “Canticle of the Sun” by the Camaldolese monk Cyprian Consiglio; an Exodus-inspired song in Yorta Yorta, an indigenous Australian language, from the feature film The Sapphires; “Prodigal Son,” a little-known hymn by John Newton, from The Sacred Harp; a sixties gospel song by Shirley Ann Lee (famously covered by Liz Vice on her debut album); and closing out, in anticipation of All Saints’ Day on November 1, the jazz standard “When the Saints Go Marching In.” To save the playlist to your Spotify account, click the ellipsis and select “Add to Your Library.”
IN-PERSON LECTURE: “The Works of Art in the Work of the Church” by John Skillen, October 16, 2021, Crownsville, MD: The Eliot Society, an organization I work for, is hosting our first event in over a year and a half! It’s an art talk by Dr. John Skillen [previously], director of the Studio for Art, Faith & History in Orvieto, Italy. It will be at the home of two of our board members, so if you’re in the Washington–Baltimore metropolitan area two weekends from now, consider coming by! The event starts with hors d’oeuvres at 6:30 p.m., and an RSVP is requested.
In recent decades, a growing number of Christians—even those from church traditions formerly suspicious of the arts—are warming up to the idea that artworks can serve in the various practices of the life of faith, and not only in iconographic form as images of Jesus in worship. Scripturally sound and aesthetically sophisticated works of art can guide our prayer, help catechize our children, and shape the environments of our missional work. Many of us will welcome some pointers for putting art back in its place in the settings where we live and work.
To help us imagine possibilities, John Skillen will offer examples from a long period of Christian history when the arts were put to work in the collective life of the church in more places and in more ways than most of us nowadays can imagine. Not only churches but also hospitals, orphanages, the meeting rooms of parachurch organizations, baptisteries and bell towers, dining halls and cloisters in monasteries, town halls and civic fountains and public squares—all were places of serious decoration and design expected to be compatible with Christian faith.
No sphere of religious and civic life was off-limits for imagery able to instruct, to prompt memory, and to inspire emotion and action—the three functions of art most commonly cited during the Middle Ages to defend its value.
Artist Marc Padeu lives and works in Cameroon. Intriguingly, his monumental paintings – exploring tender and complex relationships between family, friends, lovers and working communities – often draw on Italian Baroque compositions and especially those of Caravaggio.
Marc Padeu joins Dr Jennifer Sliwka, specialist in Italian Renaissance and Baroque art. Her research explores how 17th-century painters developed innovative approaches to religious painting, imbuing their works with an immediacy, power, and dynamism.
Together, the speakers will take Padeu’s Le Souper a Penja and its relationship to Caravaggio’s Supper at Emmaus as a jumping-off point for conversation, exploring Padeu’s wider interest and understanding of historical works, his adoption and adaptation of the visual language of the Baroque and how these inform his evocations of contemporary life in Cameroon.
>> “In the Studio with Emmanuel Garibay,” November 11, 2021, 8:30 a.m. EST: The Overseas Ministries Study Center at Princeton Theological Seminary is hosting a conversation with Filipino artist Emmanuel “Manny” Garibay, a social realist painter who served as the 2010–2011 OMSC artist in residence. “It is the richness of the poor that I am drawn to and which I am a part of, that I want to impart,” he says. His paintings often portray Jesus among the marginalized and dispossessed and critique the church’s “compliance with greed, corruption, and social inequality.” Garibay’s children Alee, Nina, and Bam, who are also accomplished artists, will be present for the conversation as well. For more on Garibay, see this Q&A from the OMSC and the Image journal essay “Recognizing the Stranger: The Art of Emmanuel Garibay” by Rod Pattenden.
“And now, my clerks who go in fur or feather
Or brighter scales, I bless you all. Be true
To your true Lover and Avenger, whether
By land or sea ye die the death undue.
Then proffer man your pardon; and together
Track him to Heaven, and see his heart made new.
“From long ago one hope hath in me thriven,
Your hope, mysterious as the scented May:
Not to Himself your titles God hath given
In vain, nor only for our mortal day.
O doves! how from The Dove shall ye be driven?
O darling lambs! ye with The Lamb shall play.”
This poem appears in Happy Ending: The Collected Lyrics of Louise Imogen Guiney (Houghton Mifflin, 1909) and is now in the public domain.
WEBINAR: “Formational Films Round-Up: Movies That Matter,” hosted by Renovaré: Recorded August 24, this is an excellent eighty-minute conversation with film critic and professor Jeffrey Overstreet [previously], minister Catherine Barsotti, and theologian Chris Hall, led by Carolyn Arends [previously]. Each of the three guests identifies and discusses five films that have been spiritually formative to them—and what great selections! (Though there are four I have not yet seen.) Barsotti’s number one is one of my all-time favorites.
Because the movie ratings issue (that is, content like violence, sex, and/or language) is almost always raised by Christian audiences, Arends asks, “Are there some films that are bad for you to watch, and if so, why?” The question is wisely addressed from 34:52 to 49:40.
INTERVIEW: “We must become poetry,”Still Life: For the September 13, 2021, edition of his weekly Still Life letter, Michael Wright [previously] interviewed Christian author Paul J. Pastor, having been intrigued by a recent tweet of his, which asks, “Where are the bardic preachers, wild at the eye, speaking not just to mind or heart, but to gut?” Pastor talks about the connection between the seen and the unseen; the relationality of poetry and finding shelter in the words, images, and emotions of another; holistic knowing; the disservice of reducing the Bible’s poetry to moral lessons with tidy applications; the nearness of Walt Whitman’s poetic vision to the Christian vision of sanctification; and more.
“My passion is for Christians to reclaim our way’s remarkable resources for living virtuously, beautifully, and well,” he says. Mine too!
To subscribe to Still Life, distributed for free every Monday over email, click here.
Lecture by David Brinker for the 8th Catholic Arts Biennial, Verostko Center for the Arts at Saint Vincent College, Latrobe, PA, September 12, 2021: I mentioned the call for entries for this exhibition back in June. Of the 396 entries from artists from around the country, MOCRA director and guest juror David Brinker has selected 52. In this talk given the weekend after the exhibition’s opening (which starts at 14:47), he discusses the following three questions, pulling in artworks from the current exhibition and from his twenty-five-plus years as an art curator at a Catholic institution.
What identifies contemporary art as “Catholic”?
What contributions can Catholic art and artists offer to the broader contemporary art world?
What can Catholic art and artists receive from the broader art world?
(The three photos above are provided courtesy of the Verostko Center for the Arts.)
Saint Vincent’s 8th Catholic Arts Biennial exhibition is on view through October 29, 2021; off-campus visitors are asked to make an appointment by emailing firstname.lastname@example.org. While you’re in the area, you might also want to visit the Fred Rogers Center at Saint Vincent College, which houses artifacts from Mister Rogers’ Neighborhood as part of a larger permanent exhibition on his life, work, and influence. (Latrobe was Fred Rogers’s hometown.) And Pittsburgh is just an hour away!
I’m fascinated by Mary Magdalene, and while I won’t get to see this exhibition, it appears that it does an excellent job of exploring the many facets of her life and identity (including both before meeting Jesus and after his ascension), as told through canonical and apocryphal texts, and her complicated reception history. It addresses her role as the first witness to Jesus’s resurrection; the so-called Gnostic Gospel of Mary, which has Peter saying, “Sister, we know that the Savior loved you more than the rest of the women. Tell us the words of the Savior which you remember—which you know (but) we do not, nor have we heard them”; the legacy of Pope Gregory the Great’s infamous Easter sermon of 591 CE, which, in its (many would say erroneous) conflation of the Magdalen with other New Testament women, identified her as a converted prostitute; the development of legends about her later life in southern France, as an evangelist, a miracle-worker, and a penitent, cave-dwelling ascetic; modern films and literature that cast her as a romantic lover, or even the wife, of Jesus; and Pope Francis’s elevation of her liturgical commemoration from an obligatory memorial to a feast day in 2016, in which she is to be celebrated not as a fallen woman doing penance but as the “apostle to the apostles,” a title of hers dating back to the High Middle Ages.
The poster above features Mary Magdalene Receives the Holy Spirit by American photographer David LaChapelle, Magdalena by contemporary South African artist Marlene Dumas, The Magdalen from a sixteenth-century Flemish workshop, and Mary Magdalene by nineteenth-century Belgian artist Alfred Stevens.
ARTICLE: “700 Years of Dante’s Divine Comedy in Art”: In honor of the seven hundredth anniversary of the Italian poet Dante Alighieri’s death on September 14, the Public Domain Review has collected art directly inspired by his Commedia from over the last seven centuries—on the nine circles of hell, the beatific vision, and much more. Under the tutelage of literature professor Stefano Gidari, I read and studied Dante’s groundbreaking afterlife-adventure trilogy—in Italian!—in 2009 while living in Florence, where it was written, which was such an invaluable experience.
Oh, the leaky boundaries of man-made states!
How many clouds float past them with impunity;
how much desert sand shifts from one land to another;
how many mountain pebbles tumble onto foreign soil
in provocative hops!
Need I mention every single bird that flies in the face of frontiers
or alights on the roadblock at the border?
A humble robin—still, its tail resides abroad
while its beak stays home. If that weren’t enough, it won’t stop bobbing!
Among innumerable insects, I’ll single out only the ant
between the border guard’s left and right boots
blithely ignoring the questions “Where from?” and “Where to?”
Oh, to register in detail, at a glance, the chaos
prevailing on every continent!
Isn’t that a privet on the far bank
smuggling its hundred-thousandth leaf across the river?
And who but the octopus, with impudent long arms,
would disrupt the sacred bounds of territorial waters?
And how can we talk of order overall
when the very placement of the stars
leaves us doubting just what shines for whom?
Not to speak of the fog’s reprehensible drifting!
And dust blowing all over the steppes
as if they hadn’t been partitioned!
And the voices coasting on obliging airwaves,
that conspiratorial squeaking, those indecipherable mutters!
Only what is human can truly be foreign.
The rest is mixed vegetation, subversive moles, and wind.
This poem was originally published in Polish in Wisława Szymborska’s 1976 collection Wielka liczba (A Large Number). It appears in English translation by Clare Cavanagh and Stanisław Barańczak, as here, in Map: Collected and Last PoemsbyWisława Szymborska (Houghton Mifflin, 2015).
Dan + Claudia Zanes are a husband-wife folk music duo who sing songs of joy, love, and justice for intergenerational and interracial audiences, harnessing the social power of music. Their first album together, Let Love Be Your Guide, was released September 10 by Smithsonian Folkways. Here’s the description from the label:
Let Love Be Your Guide, the first duo album by internationally renowned family musicians Dan + Claudia Zanes, is a collection of songs to spark intergenerational conversations about anti-racism, racial justice, and the joys of community. Conceived during the 2020 Black Lives Matter uprisings and coronavirus pandemic, the songs describe the new terms of togetherness—how we understand it, how we build it, and how we strive for more. Rooted in many different traditions, including gospel, R&B, and Haitian folk song, the eclectic, warm, and accessible music the duo makes reflects the kindness and openness that underpin their message: out of isolation and hardship we can learn how to accept and heal the wounds of the past, and how to change and face the future with grace and compassion, regardless of our age.
“The music made it possible for us to show up in our fullness, singing about matters near and dear to our hearts,” Claudia wrote in a release-day email. “The songs remind us that there are reasons to celebrate and laugh from the gut. There’s joy in unifying and coming together. There are things to ponder, and of course moments to pause and take deep breaths.” The album has a real invitational quality.
In the 1980s Dan Zanes sang lead for the critically acclaimed rock band the Del Fuegos. After his daughter, Anna, was born, he began playing family music with a group of other fathers he had met at the playgrounds in and around Brooklyn. This originally informal collective that distributed self-produced cassette tapes around the neighborhood evolved into the Grammy Award–winning Dan Zanes and Friends.
Claudia, who is Haitian American, is a board-certified music therapist who often works with children on the autism spectrum, both verbal and nonverbal, as well as geriatric clients. She has also toured internationally as a jazz vocalist.
She and Dan met in fall 2016 (at a dining-room singalong!), married in 2018, and moved to Baltimore at the end of 2019, shortly before the city shut down because of the pandemic. On March 15, 2020, they started what they call their Social Isolation Song Series, posting daily videos on YouTube—for two hundred days! The series includes a mix of folk songs, show tunes, and pop songs (Little Richard, the Beach Boys, Whitney Houston, etc.), as well as gospel songs, hymns, and spirituals, some of my favorites of which I’ve posted below. They’re so much fun!
Both musicians have been heavily shaped by the Black church tradition, which Claudia grew up in and Dan came to faith in after meeting her. “I owe my spiritual focus, growth, and understanding to Claudia’s tremendous inspiration and to these Black churches,” he says, referring to Bethel AME in Boston, Lenox Road Baptist Church in Brooklyn, and Pleasant Hope Baptist Church in Baltimore, their current church home.
The couple integrates their music, activism, and Christian faith in a really beautiful way. “We try to go into it [music making] to do God’s work, whatever that might look like,” Dan said in an interview with podcaster Leo Sidran (I commend the whole interview to you!). Collective liberation is something they’re especially passionate about, so it’s a recurring theme in their music.
What follows are fourteen of their two hundred “social isolation” songs, in reverse chronological order (check out the rest on their YouTube channel). Sheet music for some can be found in Dan Zanes’ House Party!: A Family Roots Music Treasury (2018), a book that conveys “a love of songs as cultural currency—currency that tells us in poetic, emotional, nonsensical, sobering, and illuminating ways who we are and where we came from—and a belief that the joy of music making is something that’s available to one and all.”
“Woke Up This Morning with My Mind Stayed on Jesus”:
“Freedom Is a Constant Struggle” by Roberta Slavitt:
“In Gratitude” (original):
“Peace, Perfect Peace” by Toots Hibbert, a Jamaican singer-songwriter who passed away last year from COVID-19:
“Leaning on the Everlasting Arms” by Anthony Showalter and Elisha Hoffman:
“The Storm Is Passing Over” by Charles Albert Tindley:
“In These Troubled Times” (original, included on their album):
“Near the Cross” by Fanny Crosby (text) and William Doane (music):
“Go Down, Moses”:
“Salaam,” a Tunisian song from the Gnawa tradition, which the Zaneses learned from their Palestinian American friend, the buzuq player Tareq Abboushi:
(“Salaam alaikum,” Arabic for “peace to you,” is a traditional Muslim greeting.)
Everything that is born must die;
Everything that can sigh may sing;
Rocks in equal balance, low or high,
Honeycomb is weighed against a sting;
Hope and fear take turns to touch the sky;
Height and depth respond alternating.
O my soul, spread wings of love to fly,
Wings of dove that soars on home-bound wing:
Love trusts Love, till Love shall justify
This untitled poem was originally published in Time Flies: A Reading Diary (SPCK, 1885) and appears inThe Complete Poemsby Christina Rossetti (Penguin, 2001). It is in the public domain.
INTERACTIVE PERFORMANCE ART:DIG: A Hole to Put Your Grief In by Cara Levine: Last month artist Cara Levine led a weeklong collaborative project in which she invited those in and around Malibu to join her in digging a hole to visualize the depth of grief being experienced right now in response to personal losses as well as national and global crises. Carried out on a property owned by the Shalom Institute, the project was inspired in part by the Jewish ritual of shiva, the seven-day mourning period following the burial of a family member, during which the bereaved discuss their loss and accept comfort from the community.
“Whatever one is grieving is welcome—be it the loss of a loved one, or more nuanced and subtle grief—the grief that comes with aging, with watching children grow, loss of friendships, habitat, completions to other life cycles, opportunities, loves, that one won’t see flourish, and so on,” Levine wrote in an email to Hyperallergic.
“Part of the act of inviting others to share in the digging, is an invitation for the collective to lift the burden of the individual. I think digging together, expressing the depth and weight of the grief all around us, can be a shared burden.”
At week’s end the hole was filled with water and transformed into a mikvah (ritual bath) for a ceremonial hand washing, before being refilled with the original dirt. As arts writer Matt Stromberg reported, participants were invited to write down what they were grieving on sheets of paper embedded with flower seeds, which were then buried in small pots that could be taken home, while native seeds were scattered in the hole, a symbol of renewal. Though I, living on the opposite coast, didn’t participate, it sounds like it was a meaningful time of healing and of giving and receiving support.
VIDEO:“Mending Trauma” by Makoto Fujimura: In this video from the 2019 Theology of Making series from Fuller Studio, artist and author Makoto Fujimura describes the Japanese art of kintsugi (literally “golden seams”) and how it reflects the beauty that can emerge from our own fractured hearts and lives.
“Kintsugi theology,” he says, is the theology of the new creation, and it’s embodied by Jesus himself. His resurrection body retains the wounds of crucifixion, but there is light flowing through them, suggesting how our traumas will be carried into the new creation but wholly transformed. Like broken bowls mended with gold.
SONG: This video, taken in June 2015 by someone from the Free Burma Rangers humanitarian service movement, shows an Assyrian Christian woman in Kurdistan lingering behind after church let out, singing a praise song to Jesus alone in a pew. She had recently returned home after having fled an ISIS attack. [HT: Global Christian Worship]
>>The O in Hope by Luci Shaw, illustrated by Ned Bustard: “Combining a joyful poem from the much-celebrated poet Luci Shaw with playful cut-paper art created by Ned Bustard, The O in Hope helps us experience the goodness of God’s gifts of hope and love.” I found out about this recent release from IVP Kids at a Zoom event, where Shaw [previously] read the poem—it’s so delightful!
>> First Nations Version: An Indigenous Translation of the New Testament: “Many First Nations tribes communicate with the cultural and linguistic thought patterns found in their original tongues. The First Nations Version (FNV) recounts the Creator’s Story—the Christian Scriptures—following the tradition of Native storytellers’ oral cultures. This way of speaking, with its simple yet profound beauty and rich cultural idioms, still resonates in the hearts of First Nations people.
“The FNV is a dynamic equivalence translation that captures the simplicity, clarity, and beauty of Native storytellers in English, while remaining faithful to the original language of the New Testament.” The project was carried out by an eleven-member council selected from a cross-section of Native North Americans (elders, pastors, young adults, and men and women from different tribes and geographic locations) and overseen by Ojibwe storyteller Terry M. Wildman. Here is Wildman reciting the FNV translation of the Lord’s Prayer from the Gospels, accompanied by his wife, Darlene, on cedar flute:
Out of darkness
All the songs you know
And throw them at the sun
Before they melt
This poem was originally published in the Colorado Review’s Spring/Summer 1957 issue, and it appears in The Collected Poems of Langston Hughes, ed. Arnold Rampersad (Knopf, 1994; Vintage Books, 1995).
ART EXHIBITION: De-Colonizing Christ, Riverfront Gallery, St. Stephen’s Episcopal Cathedral, September 12–December 19, 2021 (preview: September 11): St. Stephen’s Episcopal Cathedral in Harrisburg, Pennsylvania, is hosting a juried art exhibition that highlights non-Caucasian representations of Jesus. There are twenty-eight original artworks in the show, plus a dozen on loan from private collections. An opening reception (with hors d’oeuvres) will take place Saturday, September 11, from 7 to 9 p.m., which I’ll be attending! It is open to the public, and masks are required in the sanctuary and cloister gallery.
“Recent events have opened conversations among churches, theologians, and biblical scholars, considering in what way the western portrayal of Jesus as a European has been used to marginalize people of color,” the press release reads. “Many suggest that the pursuit of racial justice demands the exploration of ways in which we can de-colonize the Christ—releasing the image of Jesus from a legacy of White Supremacy and exploring images of Jesus as a man of color. This exhibit invites the Central Pennsylvania community into the conversation.” Read more about the impetus behind the exhibition in this opinion piece by the dean of the cathedral, the Very Rev. Dr. Amy Welin.
In addition to the preview night, where many of the artists will be present, there are three related lectures scheduled:
October 17, 2 p.m.: “White Jesus: Mangling Christianity and the Birth of White Supremacy in the West” by Dr. Drew G.I. Hart, Assistant Professor of Theology, Messiah University
November 28, 2 p.m.: Discussion about the tensions inherent in inclusive worship in predominantly white congregations, led by the Rev. Dr. Catherine Williams, Assistant Professor of Preaching and Worship, Lancaster Theological Seminary
BOOK LAUNCH EVENTS: God in the Modern Wing: Viewing Art with Eyes of Faith, September 17–18, 2021: In anticipation of this book’s release on October 12, Upper House in Madison, Wisconsin, is hosting a string of free events two weekends from now. The two lectures can be attended in person or virtually, but the workshop is in-person only. Coeditors Cameron J. Anderson (an artist) [previously] and G. Walter Hansen (a theologian and art collector) will be present.
God in the Modern Wing grew out of a series of lectures that Hansen organized in 2015, one of which I wrote about. The book description is as follows: “Should Christians even bother with the modern wing at the art museum? After all, modern art and artists are often caricatured as rabidly opposed to God, the church—indeed, to faith of any kind. But is that all there is to the story? In this Studies in Theology and the Arts volume, coeditors Cameron J. Anderson and G. Walter Hansen gather the reflections of artists, art historians, and theologians who collectively offer a more complicated narrative of the history of modern art and its place in the Christian life. Here, readers will find insights on the work and faith of artists including Marc Chagall, Jackson Pollock, Mark Rothko, Andy Warhol, and more.”
(IN-PERSON) ARTS FESTIVAL: Faith in Arts Institute, October 13–16, 2021, Asheville, North Carolina: “The inaugural Faith in Arts Institute hosted by UNC Asheville and the Black Mountain College Museum + Arts Center, intended for anyone interested in the role of art in religious and spiritual experience, will be led and facilitated by artists and scholars. The number of participants for the institute itself will be limited to create the possibility for rich and meaningful dialogue and engagement among the participants and faculty.
“In addition to talks on religion and art in the 21st century, sacred art in secular spaces / secular art in sacred spaces, and small group discussions on topics including devotion and discipline, revelation and inspiration, faith and hope, ritual and routine, vision and imagination, the institute will also include several workshops, film screenings and more.” Registration is $60. View a schedule and find out more information here.
The presenters are:
Julie Levin Caro, Professor of Art History, Warren Wilson College (specializes in modern American art and African American art)
Curt Cloninger, artist, designer, writer
Marie T. Cochran, Founder and Director, Affrilachian Artist Project
David Hinton, essayist and translator of Chinese poetry
Rachel Elizabeth Harding, Associate Professor of Indigenous Spiritual Traditions, University of Colorado–Denver (specializes in religions of the Afro-Atlantic diaspora)
Jessica Jacobs, author of the coming-of-age memoir-in-poems Take Me with You, Wherever You’re Going
Kay Larson, author of Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists
Christopher-Rasheem McMillan, Assistant Professor of Dance and of Gender, Women’s, and Sexuality Studies, University of Iowa
Aaron Rosen, Professor of Religion and Visual Culture, Wesley Theological Seminary
Pamela D. Winfield, Professor of Religious Studies, Elon University (specializes in the visual/material culture of Japanese Buddhism)
SONG FOR SUKKOT: “Whoever Is Thirsty” by Marty Goetz: Every fall Jews celebrate Sukkot, aka the Feast of Tabernacles or Festival of Booths, a seven-day commemoration of God’s provision for their people during their desert sojourn after the exodus. This year the holiday falls on September 20–27. Four Sukkots ago singer-songwriter Marty Goetz, a Jewish believer in Jesus, posted this video of a song he composed, “Whoever Is Thirsty,” from his 2010 album Sanctuary. It is an original setting of Revelation 22:17 (a book that “herald[s] the return of Yeshua the Messiah,” he says), and he performs it here with his daughter Misha Goetz.
The Spirit and the bride say, “Come.” And let everyone who hears say, “Come.” And let everyone who is thirsty come. Let anyone who wishes take the water of life as a gift.
NEW PLAYLIST:September 2021 (Art & Theology): I’m continuing to put together a short monthly Spotify playlist as a way to share great music mainly from the Judeo-Christian tradition. Per usual, it consists mostly of folk and gospel, which are my personal preferences. I realized after the fact that this month’s selection has quite a bit of banjo! (I do love that instrument . . .): a setting by bluegrass quintet Crooked Still of Wendell Berry’s poem “The Peace of Wild Things”; Béla Fleck jamming with Ugandan kalimba player Ruth Akello on “Jesus Is the Only Answer” [previously]; Rhiannon Giddens playing and singing the spiritual “I’m Gonna Tell God All of My Troubles”; Ellen Petersen and her siblings covering the Mark Bishop song “With the Spirit of the Lord Inside”; “Esa Einai,” a setting of Psalm 121:1–2 in English and Hebrew by Jewish bluegrass duo Nefesh Mountain; and an original song by the Westbound Rangers [previously], led by one of my high school friends, Graham Sherrill.
The closing song is “Kia Hora Te Marino,” a collection of Maori blessings and proverbs set to music by Christopher Tin. The first stanza goes,
Kia hora te marino, Kia whakapapa pounamu te moana, Kia tere te rohirohi. Kia hora te marino, Te marino ara Mo ake tonu ake.
English translation: May peace be widespread, may the sea glisten like greenstone, and may the shimmer of light guide you. May peace be widespread, be widespread now and forever more.