Author: Victoria Emily Jones

“Fisk Jubilee Proclamation” by Tyehimba Jess (poem)

Victoria Emily Jones3 Comments
Jessica Lynne Brown

mother emanuel ame church, charleston, sc, 1822: cross-ankle church, palmetto, ga, 1899: green leaf presbyterian church, keeling, tn, 1900: red top church, hopkinsville, ky, 1915: first baptist church, carteret, nj, 1926

Fisk Jubilee Proclamation

(choral)

  O sing unto the Lord a new song . . . (Psalm 96)

O, sing . . . undo the world with blued song
born from newly freed throats. Sprung loose from lungs
once bound within bonded skin. Scored from dawn
to dusk with coffle and lash. Every tongue
unfurled as the body’s flag. Every breath
conjured despite loss we’ve had. Bear witness
to the birthing of our hymn from storied depths
of America’s sin. Soul-worn psalms, blessed
in our blood through dark lessons of the past
struggling to be heard. Behold—the bold sound
we’ve found in ourselves that was hidden, cast
out of the garden of freedom. It’s loud
and unbeaten, then soft as a newborn’s face—
each note bursting loose from human bondage.

Fulton Street M.E. Church, Chicago, IL, 1927: Second Baptist Church, Detroit, MI, 1930: Macedonia Baptist Church, Egg Harbor City, NJ, 1935: Mount Methodist Church, Henderson, NC, 1940: Negro Methodist Church, Loganville, GA, 1947

Source: Olio by Tyehimba Jess (Seattle and New York: Wave Books, 2016). Illustration by Jessica Lynne Brown, from Olio, p. 5. Used with permission. View the book page.

Hear Tyehimba Jess introduce and read his poem at the New York State Writers Institute in this video from 2017:

“Fisk Jubilee Proclamation” by Tyehimba Jess is the first in a heroic crown of sonnets from Jess’s second poetry collection, the Pulitzer Prize–winning Olio. A crown of sonnets is a circular sequence in which the last line of the first sonnet becomes the first line of the second sonnet, the last line of the second sonnet becomes the first line of the third sonnet, and so forth, until eventually the last line of the last sonnet becomes the first line of the first sonnet. What makes Jess’s crown “heroic” (part of the form’s technical name) is that it comprises fifteen sonnets, and the final one is made up of all the first or last lines of the preceding fourteen, in order. Quite the feat!

With this heroic crown, Jess honors the Fisk Jubilee Singers from the historically Black Fisk University in Nashville, Tennessee, a choral ensemble established in 1871 and still active today. Fisk was founded after the Civil War to educate freed men and women and other young African Americans. To raise money for the new school, music professor and treasurer George L. White formed a small choir of nine students to tour the United States. Their repertoire was the spirituals they and their parents sang on the plantations, songs that were rarely known at the time among northern white audiences—such as “Go Down, Moses,” “Steal Away to Jesus,” “Ezekiel Saw the Wheel,” “Joshua Fit the Battle of Jericho,” and “Roll, Jordan, Roll,” to name a few. The Fisk Jubilee Singers are credited with spreading and popularizing this uniquely Black American art form over the country and world.

Fisk Jubilee Singers (original)
The nine original Jubilee Singers, Fisk University, Nashville, Tennessee, ca. 1871. From left to right: Minnie Tate, Greene Evans, Isaac Dickerson, Jennie Jackson, Maggie Porter, Ella Sheppard, Thomas Rutling, Benjamin Holmes, Eliza Walker.

Their first eighteen-month stint took them to Ohio, Pennsylvania, New York, Connecticut, Rhode Island, New Jersey, Massachusetts, Maryland, and Washington, DC. Then in 1873, they toured Great Britain and continental Europe, performing for Queen Victoria and other prominent figures.

The name of the group comes from Leviticus 25, where God mandates that every fifty years, the enslaved are to be set free: “And you shall hallow the fiftieth year, and you shall proclaim liberty throughout the land to all its inhabitants. It shall be a Jubilee for you: you shall return, every one of you, to your property and every one of you to your family” (v. 10).

The Fisk Jubilee Singers took up God’s call to proclaim liberty far and wide, and they did so through their song. Written in the singers’ collective voice (hence the “choral” headnote), “Fisk Jubilee Proclamation” opens with an epigraph taken from Psalm 96:1: “O sing unto the Lord a new song . . .” (emphasis mine). The first line plays upon this biblical line by substituting three words that rhyme with the ones displaced: “O, sing . . . undo the world with blued song.”

Their song is blued because it was born out of deep suffering. And with it they undo the world—they open up those who were formerly closed off against them. They unravel racist stereotypes, asserting their sacred humanity.

They sing as an act of defiance. Whereas their enslavers had demanded them and their parents to be quiet and would often beat them into submission, now they are unapologetically loud, unbeaten—their words, like them, set free. They own their voices, which embody a range of nuance, from strong, vigorous, and sharp to soft and smooth. Tongue-tied no more, they burst loose from bondage with their new song of freedom. An unfurling of their body’s flag.

Fisk Memorial Chapel tympanum
“Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee” (Isa. 60:1). Tympanum, Fisk Memorial Chapel (built 1892), Fisk University, Nashville, Tennessee. Photo: Victoria Emily Jones. This chapel is the home performance site for the Fisk Jubilee Singers.

The poem is full of b alliteration: blued, born, bound, bonded, body’s, breath, bear, birthing, blessed, blood, behold, bold, (un)beaten, bursting, bondage. This letter is what’s known as a plosive consonant, because it makes a small explosive sound as you say it. Such an effect reinforces the idea of eruption.

Jess describes the choir’s singing as an act of childbirth, the hymn that has lain within them finally emerging, through painful labor, for all to hear. That hymn is “scored”—in the sense of its music being written on the page, but also bearing the marks of the slaver’s lash, that trauma, that story of violence and oppression, passed down to new generations. The “worn” in “soul-worn psalms” also has a double meaning, in that the singers wear their souls on the sleeves of their songs (or, the songs are dressed in soul) but also they are soul-weary.

Concurrent with the rise and ongoing performances of the Fisk Jubilee Singers were frequent attacks on Black places of worship. As the singers were spreading beauty and hope through the spirituals, white terrorists were spreading ugliness and hate. To remind readers of this context, Jess provides a litany of church names and dates across the top and bottom of the page of each Fisk Jubilee sonnet, indicating Black churches that were burned down, bombed, or sites of other kinds of racially motivated violence. In the back of the book Jess includes this note “On the Fisk Jubilee Choir testifying through fire . . .”:

The names of our burned and bombed black churches enfold the spirituals sung by our Jubilee choir. Inside each flame burns hum, prayer, and holy book. Each hymn inhabits heat and smolder; each biblical spark is kindled with story. There is no complete record of all such attacks upon the black congregational body, no complete accounting of all the pulpits, pews, and psalm books rendered into fire—these 148 stand in testimony to all the unnamed churches lost to arson and TNT, the slats and nails and sweat that doubled as schoolhouse and underground passageway, the pyres of pine and oak and cedar steeples that sheltered baptisms and home-goings, the silent crucifixions curled into ash. The AMEs and the Graces, the Tabernacles and all the many Firsts; the hand fans, tambourines, mourner’s benches, and collection plates; they rise in smoke like the songs that soaked through them and up to heaven’s blued, eternal door. (221)

The litany traces an unbroken line of violence from 1822 to 2015 and, true to the sonnet corona form, highlights a tragic circularity: Mother Emanuel AME Church in Charleston, South Carolina, is the earliest African American church to suffer arson that Jess found record of in his research, and that same church was the target of a mass shooting on June 17, 2015, which claimed nine victims. (Tomorrow is the eighth anniversary.) This murder occurred while Olio was in production with the publisher, and Jess knew he had to add it to the end of the poem sequence.

Despite such assaults on their dignity and personhood, the Fisk Jubilee Singers have always continued to praise, and that is their glorious legacy. They’ve carried forward the joys, sorrows, and faith of their community in song. The final, extraordinary poem in Jess’s Fisk Jubilee sequence is titled “We’ve sung each free day like it’s salvation.” It ends like this: “We’ve smuggled faith from slave shack to palace, / boiling the air with hallelujah’s balm— / each note bursting loose from bondage / to sing unto the world a new song.”

I wholly commend Olio to you, which is the most inventive volume of poetry I’ve ever read. It took Jess nearly eight years to write, and given its irregular nature, I imagine it also took a while for the designer and production team at Wave Books to work out! An olio is a miscellaneous mixture of heterogenous elements, a hodgepodge, but also, as an early page of the book notes, “the second part of a minstrel show which featured a variety of performance acts and later evolved into vaudeville.”

Part fact, part fiction, the book examines the lives of mostly unrecorded African American performers directly before and after the Civil War up to World War I, in “an effort to understand how they met, resisted, complicated, co-opted, and sometimes defeated attempts to minstrelize them,” as the publisher writes. It includes, for example, transcripts of interviews conducted by the fictitious Julius Monroe Trotter with an array of people who knew the ragtime composer Scott Joplin. It also includes syncopated sonnets (a form of contrapuntal poetry), which can be read up, down, diagonally, or interstitially—listen to Jess read and explain, for example, the sequence he wrote on the conjoined twins Millie and Christine McKoy, where the form stands in for the corpus of the sisters to represent their interconnected but independent narratives. But even for just the fifteen Fisk Jubilee sonnets alone, ten of which are in the voice of each of the original nine singers and their (white) conductor, the book is worth the price.

[Purchase Olio on Amazon] [Purchase Olio from Wave Books]

To learn more about what went into writing the Fisk Jubilee sonnets, read Jess’s blog post for the Poetry Foundation, “Flames of History / Rhythms of Song.” Also check out the interview with Jess published in the Interlochen Review, “Music, Literature, and the Struggle of Consciousness.” One thing that particularly stood out to me from the interview was, when asked about how he intertwines language and music in Olio, he said,

You have to remember in African American literature that we were deprived of the right of reading and writing for most of our history in this country. So, the song and the music became the literature. So, after emancipation, it’s impossible to really completely extract one from the other, because one was so instrumentally carrying so many stories for so long, for so many generations.

Tyehimba Jess (b. 1965) is a major poet whose work bridges slam and academic poetry and is imbued with deep archival research, often fusing music, history, and fiction. His first collection, leadbelly (2005), an exploration of the blues musician Huddie “Lead Belly” Ledbetter’s life, was chosen for the National Poetry Series by Brigit Pegeen Kelly. His second collection, Olio (2016), which celebrates the mostly unrecorded Black musicians, orators, and other performers of the nineteenth and early twentieth centuries, won the 2017 Pulitzer Prize. He teaches English at the College of Staten Island.

Juneteenth Playlist: Songs of Black joy, liberation, and faith

Victoria Emily Jones6 Comments

Juneteenth (June 19) is a federal holiday in the United States celebrating the liberation of enslaved African Americans in Texas in 1865. Abraham Lincoln had issued the Emancipation Proclamation on January 1, 1863, but it was not implemented in places still under Confederate control, and because Texas, being on the westernmost edge of the Confederacy, was farthest from the military action of the Civil War, Texans could conveniently continue to enslave, as there were no soldiers there to enforce the executive decree. But when Union troops, both white and Black, arrived in Galveston Bay on June 19, 1865, two months after the official end of the war, they saw to it by threat of force that the 250,000-plus enslaved Black people in the state were freed.

Also known as Emancipation Day or Jubilee Day (after the year of release mandated by ancient Israelite law), Juneteenth has been celebrated by African American communities in Texas ever since the first anniversary of the freeing event. Historically, the church has been at the center of these celebrations, as the formerly enslaved attributed their liberation to God, to whom they gave effusive thanks and praise. In the twentieth century, Juneteenth expanded into other states but still remained very niche, until 2021, when, after decades of lobbying by Black activists, President Joe Biden signed into law the Juneteenth National Independence Day Act, moving the holiday into the mainstream.

Juneteenth marks not only that one historic day but also, more broadly, freedom as an ongoing struggle. It’s not as if the illegalizing of chattel slavery, or even the passage of the Civil Rights Act of 1964, ended racial oppression or prejudices, which manifest today in, for example, the racial wealth gap, voter suppression, and disparities in policing. We have made important progress as a country, for sure, but there’s still a ways to go until everyone breathes free.

Bishop T. D. Jakes of The Potter’s House in Dallas says that Juneteenth must involve a reckoning with our nation’s sordid past and a commitment to identifying and rooting out whatever sordidness persists. “It’s vital we all must remember when liberty and justice is delayed or denied, it causes traumatic ripples throughout future generations. . . . As we collectively stop to acknowledge and learn from the delayed liberties of our nation’s ancestors, we must not allow those same systems to repeat injustices.”

In recognition of Juneteenth, I’ve compiled on Spotify 118 songs of Black joy, liberation, and faith. From Beyoncé to Duke Ellington, Adolphus Hailstork to Rhiannon Giddens, Mary Lou Williams to Richard Smallwood, these artists jubilate, extol, lament, protest, revel, testify, and hope.

I acknowledge the complications of me, a white person, offering this playlist. I have grappled with how to appropriately celebrate Juneteenth and how to balance its predominant tone of joy (am I allowed to feel joy?) with an honest accounting of past and present evils that mark the Black experience in America, especially slavery and its legacy. One basic piece of advice I’ve heard is to center Black voices. Listen to and lift up Black historians, Black theologians, Black novelists, Black songwriters, etc.  

The Art & Theology Juneteenth Playlist combines sacred and so-called secular music written and/or performed by Black artists and exhibiting a spirit of defiant joy. It emphasizes the beauty, power, creativity, and divine belovedness of Black people.

Honoring the religious roots of Juneteenth and the faithful ongoing witness of the Black church, I have incorporated many Christian songs, especially those that speak to the imago Dei and to God’s faithfulness, guidance, and deliverance. The Bible is full of divine deliverance tales: the Israelites from slavery in Egypt; Daniel from the lions’ den; the three Hebrew boys from the fiery furnace; Jonah from the belly of the whale; Paul and Silas from prison. “Didn’t my Lord deliver Daniel? Then why not every man?” sings one spiritual. Another, “Go Down, Moses,” confronts Pharaoh, a stand-in for white Southern enslavers, with the demand “Let my people go,” while yet another exults in the toppling of Pharaoh’s power—“Pharaoh’s army got drownded.” The spiritual “Satan, We’re Gonna Tear Your Kingdom Down” addresses the Enemy directly, expressing resolve to overthrow demonic systems and ideologies, such as white supremacy.

There are also plenty of feel-good vibes on the playlist, lighter songs like Lee Dorsey’s “Occapella,” Count Basie’s “Jumpin’ at the Woodside,” and Jon Batiste’s “Freedom” (with its stylish, smile-inducing music video that I can’t get enough of!):

There’s also the gospel song “This Joy” by Shirley Caesar, sung by the Resistance Revival Chorus:

Its first verse is: “This joy that I have—the world didn’t give it to me. . . . The world didn’t give it, and the world can’t take it away.” “This strength,” “this love,” and “this peace” follow in subsequent verses—otherworldly qualities given to us by God, as Caesar makes explicit in the original, and which no one can ever steal from us. No matter what harm people may do to us, we still possess these inner gifts, which help us face whatever comes.

Composed in the antebellum South, “No More Slavery Chains for Me” (aka “Many Thousands Gone” or “No More Auction Block”) holds together proclamation and grief. The speaker boldly asserts her freedom: “No more slavery chains,” “no more auction block,” “no more peck of corn,” “no more driver’s lash,” “no more mistress’ call,” “no more children stole from me.” It could be spoken by someone who is still enslaved but who refuses to tolerate that condition any longer, or it could be spoken by someone recently freed, rejoicing in what she has escaped. But the solemn refrain, “Many thousands gone,” remembers the multitudes whom slavery has killed. Here’s a performance by mezzo-soprano Shirley Verrett, an international opera star active from the late 1950s through 1990s:

Often words fail to capture the emotional intensity one might feel. “Triptych: Prayer / Protest / Peace” by Max Roach, from his 1960 avant-garde jazz album We Insist!: Freedom Now Suite, featuring Abbey Lincoln, consists almost entirely of wordless vocal expressions, screaming, and sighing, along with drumming by Roach. It’s mournful and alarming. The only words are at the beginning of part 3: “I need peace.” Cued up here (starting at 5:50) is Lincoln and Roach’s performance of the first two parts of “Triptych” for a Belgian TV station that aired January 10, 1964. (The earlier song in the video is “Tears for Johannesburg,” from the same suite.)

In the liner notes for We Insist!, Nat Hentoff writes that “Triptych” is a “final, uncontrollable unleashing of rage and anger that have been compressed in fear for so long that the only catharsis can be the extremely painful tearing out of all the accumulating fury.”

From the same era and genre is “They Say I Look Like God” from The Real Ambassadors, a jazz musical by Dave Brubeck and Iola Brubeck that never made it to the stage but that was recorded in the studio in 1961 and released a year later. Sung by Louis Armstrong, the song opens with these humorous lines, which Armstrong delivers with chilling earnestness:

They say I look like God
Could God be black? My God
If all are made in the image of Thee
Could Thou perchance a zebra be?

This is one-half of the first of four verses, all of which are interspersed with lines of scripture from Genesis 1 and 1 John 4 intoned, like a liturgical chant, by the trio Lambert, Hendricks & Ross, affirming the inherent goodness of Black folks, bearers of the divine breath. Verses 2 and 3 are addressed to God, pleading that he would show “that our creation was meant to be.” The final verse expresses longing for the day

When God tells man he’s really free
Really free
Really free
Really free

The creation narrative of Genesis 1 is also where Sho Baraka’s “Black as Heaven” opens—with beautiful Blackness, sacred humanity. Historically the color white has been used to symbolize goodness, purity, and heaven, but Baraka turns that symbol inside out and declares that he is “black as heaven.” If God created all humans in his image and many of those humans have black skin, then Blackness is a reflection of God. The Creator loves what he created, and we should too.

Heaven is full of Black saints and will continue to fill with such. The song lists many from across the fields of politics, music, history, education, theology and homiletics, agricultural science, and the culinary arts: Dr. Martin Luther King Jr., King Ezana of Aksum, King Lalibela of the Zagwe dynasty, Mahalia Jackson, Athanasius, Mary McLeod Bethune, George Washington Carver, David Walker, Edna Lewis, Carter G. Woodson, Bishop G. E. Patterson, Sister Rosetta Tharpe. These men and women are all “black as gold,” not in the sense that they are commodities or currencies, but rather are holy, luminous; and black as life-giving soil.

This is one of the songs commissioned for the 2022 documentary Juneteenth: Faith and Freedom [previously], and it includes a rap by Mag44 of Zambia. There’s so much richness in it, and I encourage you to follow along and sit with the lyrics, investigating any unfamiliar references and, depending on your background, humbly receiving the critiques or gladly receiving the affirmations.

In addition to hip-hop and jazz, the playlist is full of songs from the civil rights movement, such as “Woke Up This Morning with My Mind.” This old gospel song was recorded by Roosevelt and Uaroy Graves in 1936 and adapted in 1961 by the Rev. Robert Wesby, a Baptist minister from Aurora, Illinois. Wesby first sang it while spending time in jail in Hinds County, Mississippi, as a Freedom Rider, replacing the repeated word “Jesus” with one of Jesus’s key platform goals, “freedom”: “Woke up this morning with my mind stayed on freedom.”

This song became an important one in civil rights marches, and is led in the above recording by the famous activist Fannie Lou Hamer. For subsequent verses, she sings “Walkin’ and talkin’ with my mind . . . ,” “Singin’ and prayin’ with my mind . . . ,” “Ain’t no harm to keep your mind . . .” Stayed on freedom.

“Ain’t No Grave” is another traditional gospel song, first recorded by Bozie Sturdivant in 1942 and then by Sister Rosetta Tharpe in 1946–47. It’s about the general resurrection, when the saints will be called up out of their graves, but it’s also about indestructibility, the refusal to be or stay buried. I chose a more recent arrangement performed by jazz vocalist Tiffany Austin [previously], from her 2018 album Unbroken:

Hers starts off with the percussive sounds of a ring shout, a style borrowed from the Gullah Geeche of South Carolina’s Sea Bird Islands, and then goes on to incorporate scat singing. It’s full of enthusiastic energy!

One of the most powerful songs on the playlist is “Make It Home” by Tobe Nwigwe, written after the murder of George Floyd in May 2020. The song is “for the nappy heads in heaven, with a nappy-head Christ by they side”—for Blacks who have died.

It’s also a prayer and a blessing for Blacks who are living. “I pray you catch a wave that doesn’t subside. . . . May your streets be paved with gold. Hope my whole hood make it home.” He prays that his friends, family, and neighbors are able to make it safely back to their homes each night and are not killed in the streets. But “home” operates on other levels as well. To be at home with yourself, for example, is to feel whole, confident, secure in your body. Home also implies belonging. And of course “home” can also mean heaven, that place of ultimate freedom and rest. Are we creating the necessary conditions for freedom and rest here on earth as it is in heaven?

I learned about this song from Dr. Mary McCampbell (see the February 17, 2022, installment of her newsletter, The Empathetic Imagination), who teaches the music video in her humanities class at a Christian university.

Collectively, the songs on this playlist reflect the multifaceted spirit of Juneteenth, which encapsulates exultation, passion, power, praise, irrepressibility, resistance, sorrow, anger, and hope and trust. Like Juneteenth itself, the playlist is a looking back and a looking forward. We Americans are a people “on our way.” The work of emancipation is unfinished. These Black artists invite us to join the work.

I invite you, as a way of commemorating the holiday, to:

1. Choose one of the songs and pray from it.

2. Choose one of the artists and explore more of their oeuvre.

3. Choose one of the older songs and explore its origin and history, learning more about the context from which it arose and how it has been received over the decades. Listen to other renditions to see the different ways it’s been interpreted.

The image on the playlist cover is cropped from a photo I took a few years ago at Duke University Chapel of the linocut Ain’t No Grave by Steve A. Prince (2019), which shows a dancing winged figure emerging from the head of Carlotta Walls LaNier, the youngest of the Little Rock Nine, as she integrates the city’s high school in 1957. It is an embodiment of LaNier’s mighty spirit, and that of other Black “agents of God,” to use Prince’s term, who pursue freedom for themselves and others.

Trinity Sunday Roundup

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Today, June 4, is Trinity Sunday! Here’s a handful of art and music items on the topic.

VISUAL MEDITATION: “The Wheeling Playfulness of the Trinity” by Victoria Emily Jones: The Rothschild Canticles [previously] from ca. 1300 Flanders contains some of the most inventive and delightful artistic renderings of the Trinity that I’ve ever seen. I key in on four of them in today’s visual meditation for ArtWay. 

Beinecke MS 404, fol. 94r

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MUSICAL COMMENTARY: “Theology in Sound and Motion: Perichoresis, for Brass Quintet” by Delvyn Case: Delvyn Case provides musical and theological commentary on his brass quintet composition “Perichoresis” (2006), inspired by the divine dance of the Trinity. “Its overall mood is joyous, an ecstatic whirling-about in which all three members become lost in the ecstasy of divine fellowship,” he writes. “At the exact moment of the dance when one member moves, the other fills in the spot left vacant.” “Perichoresis” premiered by Boston’s Triton Brass and appears on Case’s 2018 album Strange Energy. About this piece, Bible scholar and theologian Walter Brueggemann said, “I . . . have pondered ‘perichoresis’ for a long time. This is the finest exposition of that thick idea that I have encountered.”

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SONGS:

>> “Trinity Song” by Paul Zach: Performed in 2021 by Solomon Dorsey with Liz Vice and Madison Cunningham, this song by Paul Zach evolved into “God of Grace and Mystery” for The Porter’s Gate’s 2022 album Climate Vigil Songs. This earlier iteration has a Trinitarian focus that’s just lovely. “God of all eternity / Father, Spirit, and the Son / Ever-loving Three-in-One / O divine community / . . . / Calling us to join your dance . . .”

>> “One-Two-Three” by the Chosen Gospel Singers: This song was recorded in Los Angeles for Specialty Records and released as a single in 1952, with singers J. B. Randall (bass), E. J. Brumfield (tenor), George Butler (tenor), Fred Sims (tenor), and Oscar Cook (baritone). It opens with a repetition of the lines “One, two, three / One-in-Three and the Trinity.” The refrain is:

One for the Father
Two for the Son
Three for the Holy Ghost
All made of one

The song is largely eschatological. The first verse is about John the Revelator’s vision of the New Jerusalem descending, among other wonders; it ascribes a vision of the Trinity to John, even though that is not explicit as such in either John’s Gospel or the Apocalypse (but see “The Trinity in the Book of Revelation” by Edwin Reynolds). The second verse anticipates our singing and praising the Triune God in heaven, dressed in our brand-new robes. It also mentions David and Goliath, and I’m honestly not sure how that relates. But with gospel songs, floating lyrics are common, taken from one song and spliced into another, some more coherent than others in their new context.

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ESSAY: “The Hospitality of Abraham in the Work of Julia Stankova, Painter of Bulgarian Icons” by François Bœspflug: The first half of this peer-reviewed article introduces readers to the Bulgarian artist Julia Stankova, rehearsing her biography and examining her relationship to the icons tradition. The second half explores twelve of her paintings on the subject of the three angelic visitors to Abraham and Sarah in Genesis 18, whom the narrator suggests are a manifestation of God (“The LORD appeared to Abraham at the oaks of Mamre . . .”); because of the number of visitors, many Christians interpret this passage as revealing something of God’s triune nature, and for this reason traditional icons of the story are often titled The Trinity.

Stankova, Julia_The Hospitality of Abraham
Julia Stankova (Bulgarian, 1954–), The Hospitality of Abraham, 2004. Tempera on primed wooden panel and lacquer technique, 46 × 41 cm.

Since the publication of this article in 2019, Stankova has made at least three more paintings on the subject, all of which foreground Sarah and are titled Sarah’s Smile. She has just heard the angels announce that she will conceive a son in her old age.

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POEM: “After Rublev’s Trinity” by Carrie Purcell Kahler: Published in Image no. 99 (Winter 2018), p. 21, this ekphrastic poem by Carrie Purcell Kahler interprets the famous fifteenth-century Trinity icon by Andrei Rublev. Sometimes referred to as “the hospitality of Abraham,” this biblical episode, as the iconographers interpret it, is really about the hospitality of God, who extends a hand to humanity, ever inviting us to sit at his table.

Rublev, Andrei_Trinity
Andrei Rublev (Russian, 1360–ca. 1430), The Trinity, ca. 1411. Tempera on wood, 141.5 × 114 cm. Tretyakov Gallery, Moscow.

A new choral setting of this poem by Garrett John Law is premiering today at Holy Trinity Episcopal Church in Covina, California, where Law serves as music director and organist. I believe it can be heard on the 10:30 a.m. PT worship service livestream on the church’s YouTube channel, but I’m not sure whether the performance will be archived online for later viewing. (Update, 6/12/23: Here it is! Sung by Holy Trinity’s seven-person choir.)

“The Visitation” by Calvin B. LeCompte Jr. (poem)

Victoria Emily Jones3 Comments
Wesley, Frank_Visitation
Frank Wesley (Indian, 1923–2002), Mary Going to Visit Elizabeth, n.d. Egg tempera, 20 × 25 cm. Source: Frank Wesley: Exploring Faith with a Brush, p. 173
To Elizabeth she came,
over the hills,
bearing the Lord flowering in her womb—

sacrament of her flesh,
bud richly taut—

the warmth of her
containing His infinity,
the sun His fire.

The dark earth of her body
seemed to encompass all things.
The terraced fields of Juda
pregnant with seed
called out to her
as she passed,
praising the Child
she was yet to bear,
invoking His blessing
on their expectancy.

These must call out,
full in their fullness,
barren beside hers,
then how should a child
six months conceived
adore with stillness
in his mother’s womb?

“The Visitation” by Calvin B. LeCompte Jr., based on Luke 1:39–45, appears in I Sing of a Maiden: The Mary Book of Verse, ed. Sister M. Thérèse (New York: Macmillan, 1947).

In this poem Calvin B. LeCompte Jr. compares the embryonic Christ to a flower bud about to bloom from the warm, dark seedbed of Mary. The glorious abundance of the spring hills, he writes, is nothing—“barren beside hers”—compared to the abundance and glory Mary holds within her, soon to be revealed. LeCompte personifies the Judean countryside that Mary passes through, in her first trimester, on her way to her cousin Elizabeth’s house, who is herself six months pregnant. Like these women, the fields are “pregnant with seed.” And they recognize with reverence the Christ who travels past them, borne in the womb of his mother. They (the grasses) wave, they bow; they call out to him, seeking blessing. If even nonhuman nature is moved by the as-yet-latent Jesus and can’t help but react with praise, then how much more ought the unborn John, kinsman and appointed forerunner, to leap and rejoice when, momentarily, his mom and Jesus’s embrace belly to belly and sing Magnificat.

Calvin Byrd LeCompte Jr. (1922–2001) was a Black Catholic educator, musician, literary critic, and occasional poet from Washington, DC, the son of a prominent medical doctor. He earned a BA in English in 1943 and an MA in linguistics in 1948, both from the Catholic University of America, and he attended a number of the “literary salons” Ezra Pound held at St. Elizabeths Hospital in DC while Pound was a psychiatric patient there. LeCompte also studied piano under Cecil Cohen, giving lecture-recitals at colleges around the country in the late forties, and taught voice at the Frederick Wilkerson Studio for some twenty years. He then went on to serve for twenty-three years as music director at Epiphany Catholic Church in Georgetown, as well as music director at the classical radio station WGMS, where he created and hosted the program Music in Our Time as a showcase and teaching forum for contemporary classical music. A professor of English and music at the University of the District of Columbia, he also lectured at Howard University, Temple University, the University of Pennsylvania, the Kennedy Center, the Opera Guild, and the Folger Library. In addition, he translated in eight languages for the National Catholic News Service.

Roundup: Pentecost-inspired harp duet, the Sacred Art of Reading, and more

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AVANT-GARDE CLASSICAL: Klang—Die 24 Stunden des Tages (Sound—The 24 Hours of the Day) is a cycle of chamber-music compositions by the avant-garde German composer Karlheinz Stockhausen, which he worked on from 2004 until his death in 2007. (The intention was for there to be twenty-four pieces, but the cycle was unfinished at twenty-one.) The first two pieces in the cycle, on the themes of Ascension and Pentecost, were commissioned for the interdisciplinary Pause festival at Milan Cathedral by artache, a Milan-based nonprofit committed to showcasing contemporary artworks in public places of worship. The artistic director of artache at the time was Don Luigi Garbini, a priest at the church of San Marco in Milan and cofounding director of the artache initiative the Laboratorio di Musica Contemporanea al Servizio della Liturgia (Laboratory for Contemporary Music in the Service of the Liturgy).

>> No. 81: “KLANG, 1st Hour: Himmelfahrt (Ascension)” by Karlheinz Stockhausen, for organ or synthesizer, soprano, and tenor, 2004–5: This thirty-seven-minute piece premiered at Milan Cathedral on Ascension Day, May 5, 2005. The two hands of the organist almost always play in different, independent tempos of a chromatic time scale, while the soloists sing words or phrases associated with “ascension,” particularly the Ascension of Christ. According to the composer, “Asking a performer to break the barrier of time by playing simultaneously in different tempi is like submitting a man to physical disruption, allowing him to go in spirit form towards another world” (source). For musical analysis by Ed Chang, see here. The performance below is from the North American premiere at the Schwartz Center for the Performing Arts at Emory University in Atlanta on October 11, 2005, featuring organist Randall Harlow, soprano Teresa Hopkin, and tenor John Bigham.

>> No. 82: “KLANG, 2nd Hour: Freude (Joy)” by Karlheinz Stockhausen, for two harps and voice, 2005: This forty-minute piece premiered at Milan Cathedral on July 6, 2006. The text is taken from the medieval Pentecost hymn “Veni Creator Spiritus” [previously], which the harpists sing in spurts, “in alternation or sometimes together . . . , while plucking, picking, caressing, stroking, pinching, rubbing, striping, striking, pinking, jubilating,” as Stockhausen put it. In program notes dated February 15, 2006, he writes, “There is something unique about the adventure to combine two harps which are normally tuned in diatonic scales and to synthesise them into one large chromatic harp. . . . Pentecost unites what has been separated. My work FREUDE too.” For musical analysis by Ed Chang, see here. The performance below is from the Stockhausen Memorial Concert in Kürten, Germany, on December 16, 2017, featuring Marianne Smit and Miriam Overlach.

(As an interesting side note: The Beatles included Stockhausen’s face on the cover of Sgt. Pepper’s Lonely Hearts Club Band. Their “A Day in the Life” and “Revolution 9” were influenced by his electronic music.)

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NEW DOCTORAL COHORT: The Sacred Art of Reading: The Eugene Peterson Center for Christian Imagination at Western Theological Seminary in Holland, Michigan, is offering a new, mostly remote, three-year DMin track called “The Sacred Art of Reading,” which begins this October, taught by Professor Chris E.W. Green. The program is centered on the reading of scripture—the Old Testament narrative books (Year 1), Old Testament poetry and wisdom literature (Year 2), and the Gospels and Apocalypse (Year 3)—alongside a number of additional primary texts, whose titles you can view on the website; authors include, among others, Avivah Gottlieb Zornberg, Amy-Jill Levine, Daniel Berrigan, Robert Alter, Shusaku Endo, and of course Eugene Peterson! Participants get together in person for one week each semester (times six semesters) and are responsible for, in addition to the $17,280 tuition, travel and lodging costs. The application deadline is June 30, 2023. Applicants must hold an MDiv degree or its educational equivalent and have at least three years of ministry experience since completing the MDiv. Here’s a condensed program description:

The Sacred Art of Reading cohort will be dedicated to collaboration in “the forbidding discipline of spiritual reading,” confident that such an undertaking cultivates the loving attentiveness, prophetic discernment, and childlike openness to surprise that characterize what St. Paul calls the faith that works by love. . . . The cohort is designed to cultivate an alternative awareness, one shaped by the slow, painstaking work of collaborative interpretation. And to that end, the heart of the program is the reading of the Christian Scriptures. The aim will be both philosophical and devotional, critical and celebratory, mystical and pastoral. No one reading method will be stipulated, but students will be encouraged to find ways to honor the traditions of the communities in which they learned to argue, to muse, and to pray.

Besides Scripture, the cohort will engage a wide range of texts including poems, memoirs, essays, treatises, sermons, and stories old and new, familiar and strange, sacred and “worldly,” in part and in whole, not so much in order to “plunder the Egyptians” as to bear glad witness to the wonder that God is never left without a witness because all truth, truly received, trues.

This approach really wets my whistle! I don’t have a master’s degree, so I’m out, but I feel so energized by the reading list and wanted to share the opportunity with you all, as the program seems doable for those with full-time jobs. A virtual interest meeting is being held on June 1. Click here to view other doctor of ministry cohorts at Western.

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FUNDRAISING CAMPAIGN: The Soil and The Seed Project: I’ve mentioned this project several times on the blog before, as I’m a big fan. A ministry of VMMissions (Virginia Mennonite Missions), The Soil and The Seed Project releases original music, art, and liturgies throughout the Christian year, especially suitable for families with littles. They launched in December 2021 and since then have put out seven collections, with their latest and largest yet—Vol. 7 // Ordinary Time—dropping this week. (Request a free download through their website, or stream the music through your favorite service.) Coinciding with this release, they have also launched a campaign to raise $27,000 by June 18 to cover the costs of recording, mixing, pressing, printing, shipping, etc., for future collections. Learn more in the five-minute video below, which features the new songs “In the Little Moments,” “Teach Me, O LORD,” and “Because of Jesus.”

The Soil and The Seed Project offers all their content for free, including physical CDs (as stock permits), and are committed to keeping it that way—which is why they need the support of donors. Donate to their campaign, and you can opt to receive stickers, notecards, and/or a T-shirt as a thank-you. Also note: they’ll be giving a concert at 6:30 p.m. on Saturday, June 3, at the Brethren & Mennonite Heritage Center in Harrisonburg, Virginia.

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SONG: “Holy Spirit” by Victoria Williams: “Part front-porch soothsayer, part quirky bayou princess, and part eternal child, Victoria Williams writes songs of indescribable originality that embrace the earthly and the divine with wit, charm, and understated vision,” writes Josh Kun for Bomb magazine. The song “Holy Spirit” [read lyrics] is from her 1990 album Swing the Statue!. It opens with the familiar invocation from a Gullah spiritual: “Kum ba yah, my Lord” (which translates to “Come by here”). She seeks God’s presence and then, given a renewed sensitivity to it, identifies and celebrates its flow throughout her daily goings. She feels the Holy Spirit while building a raft with friends on the shores of Louisiana’s Lake Bistineau and riding a New York City subway beside a whistling stranger, as well as in graveyards and at bars and out under open night skies. The Spirit flows through all of life. I can’t find the song online anywhere other than in this YouTube fan video, which sets it to photos. [HT: Jonathan Evens]

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ARTWORK: Fire by Teresita Fernández: In the collection of SFMOMA, this ring of warm-colored silk yarn conveys something of the flickering quality of fire. At the link is a short video interview with the artist about the piece. Fernández says she is interested in the sensorial aspects of viewer engagement with art.

Fernandez, Teresita_Fire
Teresita Fernández (American, 1968–), Fire, 2005. Silk yarn, steel armature, and epoxy, 243.8 × 365.8 cm. San Francisco Museum of Modern Art, California.

Fire was a highlight of the 2013 exhibition Beyond Belief: 100 Years of the Spiritual in Modern Art, jointly organized by SFMOMA and the Contemporary Jewish Museum. Here’s a video of the Lick Wilmerding High School Vocal Ensemble singing “Famine Song” by VIDA around the installation that year, a song inspired by the basket weavers of Sudan, who persist in their craft during times of hardship, their hands working natural fibers into beautiful, colorful vessels. “Weave, my mother; weave, my child; weave your baskets of rushes wild . . .”

“Spiritus” by Steve Turner (poem)

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Bearden, Romare_All the Things You Are
Romare Bearden (American, 1912–1988), All the Things You Are, 1987. Collage, color dyes, and watercolor on board, 36 × 24 in. (91.4 × 61 cm).
I used to think of you
as a symphony
neatly structured,
full of no surprises.
Now I see you as
a saxophone solo
blowing wildly
into the night,
a tongue of fire,
flicking in unrepeated
	patterns.

From Poems by Steve Turner, compiled by Rebecca Winter (Oxford: Lion Publishing, 2002)

Steve Turner is a music journalist, biographer, and poet from the UK who has spent his career chronicling and interviewing people from the worlds of music, film, television, fashion, art, and literature. He has contributed to newspapers such as The Mail on Sunday and The Times, and among his many books is the influential Imagine: A Vision for Christians in the Arts. He lives in London.

Roundup: Ascension Sunday, Mother God, and more

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SUMMER COURSES: Arts at Regent: Regent College in Vancouver is offering eight one- or two-week in-person courses on its arts track this summer, including “After Disenchantment” with Joy Marie Clarkson (reading list includes Charles Taylor, James K. A. Smith, Kazuo Ishiguro, etc.), “The Puritan Literary Imagination” (on Paradise Lost and Pilgrim’s Progress) with Johanna Harris, and “The Arts, Empathy, and Spiritual Formation” with Mary McCampbell. Several years ago I took a Regent summer course on worship and the arts and really enjoyed it!

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BIBLICAL COMMENTARY: “Ascension Sunday (Year A): Luke 24:44-53 and Acts 1:1-11” by SALT Project: This Sunday marks the risen Jesus’s departure after forty days of dwelling with the community of disciples. While SALT Project’s commentary doesn’t plumb all the meaning of the Ascension, I was struck by its pointing out of the significance of the Mount of Olives (in light of Zechariah’s prophecy and the “choreography” of Palm Sunday) and the resonances with Elijah’s ascent, particularly with Christ’s passing on his mantle to the church.

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ASCENSION HYMN: “Alleluia, Sing to Jesus” by William Chatterton Dix, 1866

>> Music by Rowland Hugh Prichard, 1830: The hymn is often paired with the public-domain Welsh tune HYFRYDOL (which I know best from its association with “Jesus, What a Friend for Sinners”). It’s sung here by Ben Lashey and Chris Joyner:

>> Music by Rebecca Almazar and Brian Gurney, 2020: I really love this new tune that Almazar and Gurney wrote for the hymn while they were at New City Fellowship in Manassas, Virginia, which was released on the church’s EP A Liturgy. Gurney is now the director of contemporary worship at The Falls Church Anglican in Falls Church, Virginia. The song is not yet available on CCLI, but in the meantime, he has granted permission for license-free church use; here are the chords.

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CALL FOR ENTRIES: 2023 Sacred Art Competition and Exhibition: “Seeking the finest contemporary sacred art for an online juried exhibition hosted by the Catholic Art Institute, with a world-wide audience and the opportunity to sell work, be featured on the Catholic Art Institute website.” The top prize is $2,500. The deadline for submission is November 6, 2023. From what I can tell, participants need not be Catholic, but the artwork(s) should be suitable for devotional and/or liturgical use by Catholics.

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PODCAST EPISODE: “Loving Christ Our Mother with Julian of Norwich,” Old Books with Grace, May 17, 2023: This month marks the 650th anniversary of the anchorite Julian of Norwich’s visionary encounter with God, which she recorded in her Showings, the earliest surviving work of literature in English by a woman. In this twenty-minute episode of her podcast, medievalist Grace Hamman, author of the forthcoming Jesus Through Medieval Eyes: Beholding Christ with the Artists, Mystics, and Theologians of the Middle Ages, introduces us to Julian, dwelling especially on one of Julian’s favorite metaphors: that of Christ as mother.

In the fourteenth century, Hamman says, fathers generally loved their children but were less involved in the day-to-day tasks of caring for their physical and emotional needs, whereas mothers were deeply present. Julian wrote about how Christ gave birth to his children on the bed of the cross, how he nurses them from his side, and how he acutely hears and responds to their individual cries. This podcast episode is an excellent summation of a theological idea that may sound odd and unorthodox at first but that is in fact biblically derived, appearing throughout church history, and that grants us fuller insight into who Christ is.

(Related post: “Our Sweet, Travailing Mother Christ”)

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BOOK: Mother God by Teresa Kim Pecinovsky, illustrated by Khoa Le: Dovetailing with Hamman’s recent podcast episode is this beautifully unique children’s book that came out last year from Beaming Books. “With lyrical, rhyming text and exquisite illustrations, Mother God introduces readers to a dozen images of God inspired by feminine descriptions from Scripture. Children and adults alike will be in awe of the God who made them as they come to know her as a creative seamstress, generous baker, fierce mother bear, protective mother hen, strong woman in labor, nurturing nursing mother, wise grandmother, and comforting singer of lullabies. This gorgeous picture book welcomes children into a fuller, more diverse understanding of what it means to be made in the image of God.” Born in South Korea, raised in Iowa, and living in Texas, author Teresa Kim Pecinovsky (MDiv, MEd) (pictured below) is a hospice chaplain ordained in the Christian Church (Disciples of Christ) and a former elementary school teacher. Khoa Le is an artist from Vietnam.

Mother God
Illustration by Khoa Le

Some traditionalists will no doubt have a visceral reaction against the cover and concept—“God reveals himself as Father, not Mother!” they’ll say, or “The Bible uses only masculine pronouns for God”—but it’s important to remember that God is nongendered, although God does contain both the masculine and the feminine (see, e.g., Gen. 1:27). “Father” is a metaphor, same as “mother.” God became incarnate as a male, Jesus, but as Hamman shows (see previous roundup item), Jesus also exhibited some qualities traditionally associated with women and mothers in particular, and therefore we can speak metaphorically of Christ as mother, as we can, too, of the First Person of the Trinity. Having an academic background in literature, I’m very comfortable with (and enthralled by!) metaphor, but I can understand, lamentably, how it trips some people up.

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ARTICLE: “Waking Ancient Seeds: Why the Middle Ages Matter” by Matthew J. Milliner, Comment, May 10, 2023: “For the medievals, Jesus is the Rosetta stone of cosmic meaning, with whom all things are aglow in the polyphonic resonance of truth, and without whom the world hurdles into centrifugal disconnection,” writes Matt Milliner, a theologically trained professor of art history at Wheaton College, an evangelical institution in Illinois. “It is our world that has been flattened, lacking the full-orbed splendour of medieval significance and depth.” In this article he contrasts the symbolism and sense of wonder and reverence of the Middle Ages with the deficits of the present, identifying several, sometimes unlikely places in which these “ancient seeds” are sprouting again.

Pentecost Playlist

Victoria Emily Jones3 Comments

Celebrated fifty days after Easter, Pentecost is one of the great feasts of the Christian year. It commemorates the descent of the Holy Spirit on Jesus’s apostles when they were gathered in Jerusalem for the Feast of Weeks ten days after Jesus ascended to heaven, marking the birth of the church. Acts 2 describes the Spirit’s coming as accompanied by a “rushing mighty wind” and “tongues of fire”—quite the dramatic entry! The Spirit filled the apostles with the miraculous ability to preach in speech that was comprehensible to all the many Jewish pilgrims, from various language groups, who were gathered in the city, resulting in the conversion that day of three thousand to the Jesus Way.

I’ve compiled a Spotify playlist of one hundred-plus Pentecost songs that celebrate God’s Spirit poured out over the face of the earth, bringing life and power. The indie folk genre is heavily represented, but there’s also an Appalachian fiddle tune, a Renaissance motet, a Native American dance song, a Russian Orthodox kontakion, Sacred Harp hymns, modern classical, Pentecostal gospel, blues, jazz, pop, lo-fi, and more. I hope to capture something of the Spirit’s dynamism with these selections.

The Holy Spirit ministers in a handful of ways. He renews, purifies, transforms. He gifts and empowers. He guides and illumines and comforts. He dwells within, a constant friendly presence. He intercedes for us with wordless groans. He unites believers across lines of difference, making us one. He enables us to bear fruit—love, joy, peace, etc.—for God’s glory and the world’s good.

So many songs centered on the Holy Spirit have an individualistic focus and a gentle, subdued tone. The Spirit does of course minister to the individual, and can be gentle and soothing (Jesus refers to him as the Comforter, after all!), and we often invoke him in our weariness. But the Spirit is also wild and uncontainable. And the life he brings is not merely of an inward spiritual kind; his impact manifests itself in tangible deeds out in the community, as those whom he fills go forth to serve their neighbors after the example of Christ.

Urban Doxology’s “Spirit, Send Your Fire” is a good example of a Holy Spirit song with an outward, communal focus, and it’s full of anticipatory excitement:

In terms of energy, consider the vigor with which Bach ornaments the final line of the Gloria, “Cum Sancto Spiritu in gloria Dei Patris” ([You, Jesus Christ, alone are the Most High] with the Holy Ghost in the glory of God the Father), in his B minor Mass. And for wildness: the loud clashing of the piano chords in Daniel Glover’s “The Descent of the Holy Spirit” from Misteria, evoking a sense of the disorientation that must have been felt on that historic day when the Spirit came suddenly sweeping in and the apostles started speaking multiple languages at once. (Some observers thought they were drunk!)

“Let the Waters” is another high-octane Pentecost song—this one in a rock style—which Michael Gungor wrote in 2014 when he was part of the Liturgists. In 2020 he revisited it with the Good Shepherd Collective, adding as a tag the African American spiritual “Wade in the Water” [previously]. In this context the spiritual references both the Spirit’s tendency to disrupt and the ancient Jewish folk belief that an angel would periodically come down to stir the waters of a certain pool in Bethesda, activating its healing properties (see John 5:4). The GSC released this new arrangement later in 2020 under the title “Pentecost,” featuring on vocals Gungor, Liz Vice, and Charles Jones.

Let the waters cool ya
Let the Spirit move ya
Feel the fire on your lips and sing your hallelujah
Sing your hallelujah

O my soul, sing hallelujah

Wade in the water
Wade in the water, children
Wade in the water
God’s gonna trouble the water

Led by Betty Pamptopee of Isabella Reservation, Michigan, “Methodist Hymn” is the first verse of “O for a Thousand Tongues to Sing” in Ojibwe (but to the tune of “Alas, and Did My Savior Bleed”). Even though “tongues” in the song’s titular first line is probably referring not to languages but to the individual’s desire to maximize God’s praise—as in “Oh, that I had more tongues to praise you with!”—I love the implications for Pentecost, when the gospel went out in many tongues, the beginning of the “proclaim[ing] and spread[ing] through all the earth abroad / the honors of [Jesus’s] name.” I think there’s massive potential for a multilingual choral arrangement of this hymn. (I’m thinking, for example, of Laurel MacDonald’s “Qui habitat,” featured here.)

Several of the songs on the playlist highlight the Spirit’s creativity, such as verse 1 of “Come, Holy Spirit” (alt title: “Holy Spirit, Groaning”) by David Benjamin Blower. Genesis 1 says that in the beginning, the Spirit hovered over the waters of chaos—implying that he was active in creation. And he is still a creative force, bringing forth new life.

Hildegard of Bingen [previously], a twelfth-century nun and polymath from Germany, wrote several beautiful Latin antiphons to the Holy Spirit, both words and music, which together convey a sense of mystery and awe. One of them is “Spiritus sanctus vivificans,” from her Symphony of the Harmony of Celestial Revelations, sung here by soprano Anna Sandström:

Here are two English translations; I can’t decide which I like best, so I proffer them both:

Holy Spirit, 
giving life to all life,
moving all creatures,
root of all things,
washing them clean,
wiping out their mistakes,
healing their wounds,
you are our true life,
luminous, wonderful, 
awakening the heart
from its ancient sleep.

Trans. Stephen Mitchell

The Spirit of God
is a life that bestows life,
root of the world-tree
and wind in its boughs.

Scrubbing out sins,
she rubs oil into wounds.

She is glistening life
alluring all praise,
all-awakening,
all-resurrecting.

Trans. Barbara Newman

Most songs take the form of calling on the Spirit to descend once more with the breath or fire of revival, such as many of the old hymns: by Ambrose (retuned by Bradford Loomis and Beth Whitney), Rabanus Maurus, Bianco da Siena (retuned by Seth Thomas Crissman, and another version by Luke Brodine), Martin Luther (retuned by Paula Best and Tara Ward), Heinrich Held (retuned by Joshua Bennetch), Isaac Watts (retuned by Jon Green), Joseph Hart (retuned by Stephen Gordon), Charles Wesley (retuned by Jered McKenna), Benjamin Beddome, and Samuel Longfellow (retuned by Seth Thomas Crissman, and another version by Greg Yoder, both of The Soil and The Seed Project).

For example, we might ask the Spirit to increase our love for God and others. In Watts’s “Come, Holy Spirit, heav’nly dove,” we beseech him to come “with all Thy quick’ning pow’rs; come, shed abroad a Savior’s love, and that shall kindle ours.” Or elsewhere, similarly, to “light up our mortal frame” with love, “till others catch the living flame” (Ambrose). The Spirit also kindles belief and trust. “Revive our drooping faith,” prays Hart.

(Related post: “Pentecost roundup”)

Further, the Spirit knits together diverse peoples into a brand-new family whose head is Christ. Fr. Peter Raymond Scholtes, a Catholic priest living on the south side of Chicago, penned the post–Vatican II hymn “One in the Spirit” (aka “They’ll Know We Are Christians by Our Love”) against the backdrop of the civil rights movement. It proclaims that Christians are united by their share in, as the apostle Paul puts it, “one body and one Spirit . . . one hope . . . one Lord, one faith, one baptism, one God and Father of all . . .” (Eph. 4:2–5), and prays “that all unity [across all humankind] will one day be restored.” It also emphasizes the importance of the church’s public witness through acts of love. As Jesus says in John 13:35, “By this everyone will know that you are my disciples, if you have love for one another.” Love is the primary fruit of the Spirit that Paul lists in Galatians 5:22–23. Here’s a jazz arrangement of the hymn performed by Ruth Naomi Floyd:

Unity is also the theme of one of four featured hymns from the Orthodox liturgy for Pentecost, the text of which translates to: “When the Most High descended and confused tongues [at the Tower of Babel], he scattered the people; but when he distributed the tongues of fire, he called all to unity. Therefore, with one voice, let us praise the most Holy Spirit.” Pentecost is often referred to as a reverse Babel.

There are several musical settings of scripture on the playlist, including:

  • “Psalm 104: Lord, Send Out Your Spirit” by Roderick Bell and Rawn Harbor, a setting of Psalm 104:1, 24, 29–30, 31, 34, with an adapted verse 30 serving as the refrain: “When you send forth your spirit, they are created, and you renew the face of the ground.”
  • “O Children of Zion” by Seth Thomas Crissman (The Soil and The Seed Project), a setting of Joel 2:23a, 28: “O children of Zion, be glad and rejoice in the LORD your God. . . . I will pour out my spirit on all flesh; your sons and your daughters shall prophesy, your old men shall dream dreams, and your young men shall see visions.”
  • “If Ye Love Me” by Thomas Tallis, a setting of John 14:15–17: Jesus says, “If you love me, you will keep my commandments. And I will ask the Father, and he will give you another Advocate [/Helper/Comforter; Gr. parakletos, Paraclete], to be with you forever. This is the Spirit of truth, whom the world cannot receive because it neither sees him nor knows him. You know him because he abides with you, and he will be in you.”
  • “The Spirit of Life” by Cody Curtis (Psallos), a setting of Romans 8:1–17, about living not according to the flesh but according to the Spirit, who is “life and peace” and who abides in us, enabling us to resist sin and bearing witness that we are children of God and therefore join heirs with Christ
  • “God Is Love” by Ri-An, a setting of 1 John 4:7–21, about how we abide in God, and God in us, through the Spirit, who is love

There are also a few songs that reference the story of Ezekiel in the valley of dry bones [previously], in which God brings his prophet to a desolate landscape littered with human bones. But then: “Thus says the Lord GOD to these bones: I will cause breath to enter you, and you shall live. . . . Come from the four winds, O breath, and breathe upon these slain, that they may live” (Ezek. 37:5, 9). And the bones reassembled, took on flesh, and became animated once again—a picture of the regenerative power of God’s Spirit. (The Hebrew word for “spirit” is ruach, which can also be translated “breath”; same with the Greek pneuma.) Here’s Caroline Cobb’s “Dry Bones”:

Several of the playlist songs I’ve featured before on the blog: “Wind” by Joseph, “Abbeville” (Come, Holy Spirit, Come), “The Elements: Fire” by Hiromi and Edmar Castaneda, “Untitled” by Seryn, “If Ye Love Me” by Thomas Tallis, “The Earth Shall Know” by the Porter’s Gate, “Blessed Be the Tie That Binds,” “Make of Our Hearts” by Hiram Ring, “Your Peace Will Make Us One” by Audrey Assad, and “This Little Light of Mine.”

I hope the Art & Theology Pentecost Playlist helps you to more fully exult in the myriad workings of the Spirit, who came in a blaze some two thousand years ago and burns still, all over the globe, where Christ’s kingdom has taken root.

Ascension: “A Hymn of Glory Let Us Sing” by the Venerable Bede (with two tunes)

Victoria Emily Jones2 Comments

Looking for hymns for Ascension Day (which is May 18 this year), I came across “A Hymn of Glory Let Us Sing.” Originally written in Latin, it is attributed to the Venerable Bede (673–735), a monk at the Northumbrian monastery of Monkwearmouth and one of the most important scholars of the Early Middle Ages.

“Hymnum canamus gloriæ” circulated throughout medieval Europe in various versions, with the earliest known surviving example appearing in the mid-eleventh century in Beinecke MS 481.36, fols. 2r–2v.

Ascension (Hunterian Psalter)
The Ascension, from the Hunterian Psalter, made in England, ca. 1170. Glasgow University Library, MS Hunter 229, fol. 14r.

Below is the fairly standardized seven-stanza version that appears in the Hymnale Secundum Usum Insignis Ac Praeclarae Ecclesiae Sarisburiensis (London, 1850), pages 163–64, which in turn is taken from the Psalterium cum Hymnis ad usum insignis Ecclesiae Sarum et Eboracensis, a quarto edition printed in Paris by Byrkman in 1516. The English translation on the right, from the 1852 edition of the Hymnal Noted, is by Benjamin Webb.

Hymnum canamus gloriæ,
Hymni novi nunc personent,
Christus novo cum tramite
Ad Patris ascendit thronum.

Apostoli tunc mystico
In monte stantes chrismatis
Cum matre clara virgine,
Iesu videbant gloriam.

Quos alloquentes angeli,
Quid astra stantes cernitis?
Salvator hic est, inquiunt,
Iesus triumpho nobili;

Sicque venturum asserunt,
Quemadmodum hunc viderunt,
Summa polorum culmina
Scandere Iesum splendida.

Da nobis illuc sedula
Devotione tendere,
Quo te sedere cum Patre
In arce regni credimus.

Tu esto nostrum gaudium,
Qui es futurus præmium,
Sit nostra in te gloria,
Per cuncta semper sæcula.

Gloria tibi, Domine,
Qui scandis supra sidera,
Cum Patre et Sancto Spiritu
In sempiterna sæcula.

Sing we triumphant hymns of praise,
New hymns to heav’n exulting raise;
Christ, by a road before untrod,
Ascendeth to the throne of God.

The holy apostolic band
Upon the Mount of Olives stand,
And with the Virgin Mother see
Jesu’s resplendent majesty.

To whom the angels, drawing nigh,
“Why stand and gaze upon the sky?
This is the Savior,” thus they say;
“This is his noble triumph day.”

“Again shall ye behold him so
As ye today have seen him go,
In glorious pomp ascending high,
Up to the portals of the sky.”

O grant us thitherward to tend,
And with unwearied hearts ascend
Unto thy kingdom’s throne, where thou,
As is our faith, art seated now.

Be thou our joy, and thou our guard,
Who art to be our great reward:
Our glory and our boast in thee
For ever and for ever be!

All glory, Lord, to thee we pay,
Ascending o’er the stars today;
All glory, as is ever meet,
To Father and to Paraclete.

Numerous layers of translation and revision have marked the transmission of this hymn text. Two other nineteenth-century English translations are by:

  • John David Chambers, from Lauda Syon, Ancient Latin Hymns of the English and Other Churches, Translated into corresponding Metres (London, 1857), pp. 198–99
  • Elizabeth Rundle Charles, from The Voice of the Christian Life in Song; or Hymns and Hymn Writers of Many Lands and Ages (London, 1858), pp. 165–66

O grant us thitherward to tend and, with unwearied hearts, ascend unto thy kingdom’s throne, where thou, as is our faith, art seated now.

Bede, trans. Benjamin Webb

The version used in most twentieth-century English-language hymnals appears to be a mashup of Charles (from whom comes the title and first line “A Hymn of Glory Let Us Sing”) and Webb, with additional editorial alterations. For example, here’s what’s in Christian Worship: A Lutheran Hymnal (1993), which is credited as a composite translation:

A hymn of glory let us sing!
New songs throughout the world shall ring:
Alleluia, alleluia!
Christ, by a road before untrod,
ascends unto the throne of God.
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

The holy apostolic band
upon the Mount of Olives stand.
Alleluia, alleluia!
And with his followers they see
their Lord ascend in majesty.
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

To them the shining angels cry,
“Why stand and gaze upon the sky?”
Alleluia, alleluia!
“This is the Savior,” thus they say.
“This is his glorious triumph day.”
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

“You see him now, ascending high
up to the portals of the sky.”
Alleluia, alleluia!
“Hereafter Jesus you shall see
returning in great majesty.”
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

Be now our joy on earth, O Lord,
and be our future great reward.
Alleluia, alleluia!
Then, throned with you forever, we
shall praise your name eternally.
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

O risen Christ, ascended Lord,
all praise to you let earth accord.
Alleluia, alleluia!
You are, while endless ages run,
with Father and with Spirit one.
Alleluia, alleluia!
Alleluia, alleluia, alleluia!

Christian Worship pairs the text with LASST UNS ERFREUEN, a seventeenth-century tune from Germany that is most commonly associated with “All Creatures of Our God and King.” It works really well! Below you can listen to an abridgement of this version of “A Hymn of Glory Let Us Sing” (verses 1, 5, and 6), plus a different version featuring a new, custom melody.

>> Tune: LASST UNS ERFREUEN, 1623 | Performed by the Good Shepherd Collective, 2023: The musicians who make up the Good Shepherd Collective are masters of their craft. Each week I tune in to the musical portion of the Good Shepherd New York virtual worship service for inspiration and nourishment, and to see what they’ve been up to. I always love their arrangements and the breadth encompassed by their selections. I’ve cued up their premiere performance of “A Hymn of Glory Let Us Sing” from the GSNY April 30 service, located at 1:49–4:57. The lead vocalists are Jonathan Seale and Jayne Sugg.

>> Music by Steven Brooks, 2020 | Performed by Andrew Shubin, 2020: Dr. Steven D. Brooks is a pastor, author, professor of music and worship at Azusa Pacific University, and the founding director of Worship Quest Ministries, which serves as a resource for worship renewal and spiritual formation in the global church. A former student of Brooks’s, Andrew Shubin is a singer, guitarist, and actor living in Los Angeles. He has done session singing, appeared on TV, starred in musical theater productions, and written original songs. In this video he sings a retuned version of “A Hymn of Glory Let Us Sing” by Brooks, which uses the three-verse translation from the United Church of Christ’s New Century Hymnal (1995) but adds a new refrain. For permission to use this song, email resources@worshipquest.net.

A hymn of glory let us sing!
New songs throughout the world shall ring:
Christ, by a road before untrod,
ascends unto the throne of God.

Refrain:
Alleluia!
Arise and let your praises ring.
Alleluia!
Arise and sing to Christ the King.

You are a present joy, O Christ,
triumphant love once sacrificed,
and great the light in you we see
to guide us to eternity. [Refrain]

O risen Christ, ascended now,
to your blessed name all knees shall bow;
you are, while endless ages run,
in Triune Godhead ever One. [Refrain]

“Christ-hymn” by Sandra R. Duguid (poem)

Victoria Emily Jones4 Comments
Smither, Michael_Doubting Thomas
Michael Smither (New Zealand, 1939–), Doubting Thomas, early 1970s. Mural, St. Joseph’s Church, New Plymouth, New Zealand.
O You!
You tiny who
Of Simeons song
You shepherds shock
You singular star-bright

You student 
Shunning company
And travel
For scholars light.

Just apprentice
Of your mothers husband
True measurer
And leveler
And line

Authoritative voice
Enlisting aid
Selector
And selected
And Divine.

Creative host
Of weddings, picnics, graves
Most social
And uncelebrated
Friend

You thoughtful martyr
You thirsty man
You dying God—

I hoped!
But this concludes . . . 
                                       Amen. Amen. 

O
Heir of power
Crasher
Of closed meetings
The unsummoned
Inviting inspection—

You natural!
You Master
Of surprise.

This poem was originally published in the anthology A Widening Light: Poems on the Incarnation, edited by Luci Shaw, and is used here by permission of the poet.

Sandra R. Duguid (b. 1947) is an American poet living in West Caldwell, New Jersey. For twenty years she taught literature, composition, and creative writing at colleges in the New York/New Jersey metropolitan area and at East Stroudsburg University in Pennsylvania, retiring in 2010 to devote more time to writing. She is a recipient of a Fellowship in Poetry from the New Jersey State Council on the Arts and author of the poetry collection Pails Scrubbed Silver (North Star Press, 2013).