Roundup: Anglo-Saxon Ascension poem; underwater dance; Andy Squyres album; contemporary icons; Catholicism meets high fashion

ANGLO-SAXON ASCENSION POEM: Excerpts from “Christ II” by Cynewulf, probably ninth century, translated from Old English by Eleanor Parker: Dr. Eleanor Parker lectures on medieval literature at Oxford University and runs the excellent blog A Clerk at Oxford, where she often shares her translations of Anglo-Saxon poetry, with commentary. The poem she shares here reflects on Christ’s ascension—the disciples’ grief, the angels’ joy. To me the most remarkable section is the one that, indirectly referencing a sermon of Gregory the Great, describes Christ “leaping” up to heaven, taking an active bound toward his homeland, a movement read in light of Song of Solomon 2:8: “Behold, he comes, leaping over the mountains, bounding over the hills.” This leap is one of six he took: from heaven (1) into Mary’s womb, (2) into a manger, (3) onto the cross, (4) into the tomb, (5) into hell, and finally, (6) back into heaven. “Prince’s play”! Parker pairs the poem with an exquisite, near-contemporary manuscript illumination, also from England; there’s also a lot of resonance between the poem and the Ascension image I published Tuesday by Bagong Kussudiardja, which shows a more balletic ascent.

Ascension (10th c)
The Ascension, from the Benedictional of St. Æthelwold (BL Additional MS. 49598), f. 64v, England, 963–984 CE. British Library, London.

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UNDERWATER DANCE: “AMA,” a short film by Julie Gautier: This wonderfully expressive silent film shows French free diver and underwater artist Julie Gautier dancing in a single breath for several minutes inside the world’s deepest swimming pool, Y-40 Deep Joy in Montegrotto Terme, Padua, Italy, to a minimalist piano piece. The final shot shows Gautier slowing rising to the water’s surface while releasing a giant air bubble, her pose evocative of the crucified Christ (and her upward movement an Ascension of sorts!). Titled “Ama” (Japanese for “sea woman,” the name given to Japan’s pearl divers), the film is “dedicated to all the women of the world,” Gautier says. The choreography is by Ophélie Longuet.

Gautier and her husband, Guillaume Néry, a free-diving champion, own the underwater filmmaking company Les Films Engloutis. Their most well-known project has been a music video featuring Beyoncé, codirected by Gautier and starring Néry.

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KICKSTARTER CAMPAIGN: Help Andy Squyres finance his next album: Andy Squyres is a super-talented singer-songwriter whose lyrics don’t stay in the shallows but, rather, dive into the depths of the faith experience. They are also supremely hope-filled. Below is a video of Squyres performing “Labor in Vain” at a house concert; the song is from his last album, Cherry Blossoms, which I reviewed here. Click on the boldface link above to hear Squyres discuss his new album project and to donate toward it.

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ICON PAINTING COMPETITION: The Interparliamentary Assembly of Orthodoxy (IAO) is hosting an international icon painting competition on the subject of Christ’s Resurrection. “Our purpose is to explore and bring to the foreground the numerous stylistic trends in existence today, enabling the visualization of a creative dialogue with tradition and, at the same time, the personal artistic expressions of artists who reframe tradition without, however, digressing from the doctrinal framework of Christian icon painting set by the 7th Ecumenical Council.” The submission window is closed—there are sixty-three great entries!—and now it’s time to cast your vote. Five winners will be selected to receive cash prizes, the topmost being €3,000, and other honors. Popular votes will be taken into account by the twelve jury members, among whom are esteemed iconographers George Kordis from Greece and Todor Mitrovic from Serbia.

Contemporary Resurrection icon

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ESSAY: “On the Border of East and West: Searching for Icons in Lviv” by John A. Kohan: The latest issue of Image journal features a wonderful essay on the Lviv school of iconography (represented in entries #4, #10, and #20 of the above contest), a movement by young Ukrainian Greek Catholic artists to contemporize the Byzantine visual tradition. Written by John A. Kohan, an avid religious art collector and former Time bureau chief in Moscow (1988–1996), it discusses the political history of the city; the role of Metropolitan Andrey Sheptytsky (r. 1901–1944) in preserving and supporting art for future generations; the opening of the Iconart gallery in 2010 to nurture and promote the new style; the broad training these icon makers receive at the Lviv National Academy of Arts; and the uneven reception by others in the denomination (especially official church bodies), who tend to prefer their sacred art in the Radruzh School style or as contemporary Catholic kitsch. Kohan writes from his firsthand experiences meeting the artists and visiting their studios, churches, and exhibition spaces. The essay is available to subscribers only; click here to subscribe.

Crucifixion by Natalya Rusetska
Natalya Rusetska (Ukrainian, 1984–), Crucifixion, 2017. Egg tempera on gessoed wood, 11 3/4 × 8 1/4 in.
Pilate Condemns Jesus to Death by Ivanka Demchuk
Ivanka Demchuk (Ukrainian, 1990–), Christ before Pilate, 2017. Mixed media on gessoed wood, 19 3/4 × 15 3/4 in.

I’m enthralled by the contemporary icons being produced in Lviv—I saw a bunch from Kohan’s collection last summer, and I featured some in a Baptism of Christ roundup earlier this year. The best way to keep abreast of the output from the Lviv school is to follow Iconart on Facebook, and for an even wider breadth of innovative eastern European icons, follow Międzynarodowe Warsztaty Ikonopisów w Nowicy (International Iconography Workshop in Nowica, Poland).

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MET GALA + EXHIBITION: “Heavenly Bodies: Fashion and the Catholic Imagination,” May 10–October 8, 2018, Metropolitan Museum of Art, New York City: The largest exhibition ever mounted by the Met’s Costume Institute, “Heavenly Bodies” features both religious vestments from the Vatican and runway fashions by famous designers inspired by Catholicism. A Fashionista reviewer who attended a preview reports on the integrated displays:

A reliquary arm of Saint Valentine is displayed alongside a breastplate and crown of thorns from Alexander McQueen’s Givenchy days; sacred music serves as the auditory backdrop for a Rodarte collection that features a dress inspired by Bernini’s famous sculpture Ecstasy of Saint Teresa. Rows of mannequins wearing Dolce & Gabbana, Moschino and Raf Simons show the ways that the silhouettes of the cassock and nun’s habit have been explored on the runway time and again. There are even vestments by the likes of Yves Saint Laurent and Riccardo Tisci that were expressly designed to dress statues of the Virgin Mary in chapels in Italy and France.

Each year since 1948, the opening of the Costume Institute’s spring exhibition has been celebrated with a huge fundraising gala attended by celebrities who dress to the theme; this year’s took place May 7. There were lots of crosses and haloes, but also some more particularized outfits. Ariana Grande’s gown was inspired by Michelangelo’s Last Judgment; Gigi Hadid’s, by stained glass. Selena Gomez carried a Coach handbag embroidered with Proverbs 31:30b: “A woman who fears the Lord is a woman who shall be praised.” The most brazenly dressed was Rihanna, who wore a gem-encrusted bishop’s miter (not a papal tiara, as has been commonly reported). Another standout headpiece was Sarah Jessica Parker’s, which featured a Neapolitan Nativity scene set inside a mini baldachin. (The making of elaborate presepi, or Christmas crèches, is a longstanding tradition in Naples, reaching its height during the eighteenth century.)

Rihanna as pope
The white Margiela minidress, cape, and headpiece Rihanna wore to Monday’s Met gala were inspired by Catholic pontifical vestments. Photo: John Shearer/Getty.
Sarah Jessica Parker
Sarah Jessica Parker wore a regal gold, long-trained Dolce & Gabbana gown, but the pièce de résistance of her ensemble was the Nativity headpiece.

Lana Del Rey went as Our Lady of Sorrows, wearing an immaculate-heart chest plate pierced through with seven daggers; it was comical to hear religiously illiterate reporters trying to interpret the symbolism, saying things like the daggers are a “reminder to repent your sins or suffer damnation!” (Wrong. The swords symbolize the Virgin’s seven sorrows, beginning with Simeon’s prophecy.)

What the World Needs Now (Artful Devotion)

How does God’s love abide in anyone who has the world’s goods and sees a brother or sister in need and yet refuses help? Little children, let us love, not in word or speech, but in truth and action.

—1 John 3:17–18

For this week’s installment, instead of presenting for contemplation a song and a visual artwork, I want to share a contemporary dance number, in which the aural and the visual—music and bodily movement—are intertwined. Click on the image below to watch the performance on YouTube (will open in new tab; ends at 2:11).

What the World Needs Now Is Love (Travis Wall)

This routine was choreographed by Travis Wall to Will Young’s cover of “What the World Needs Now Is Love.” It aired August 22, 2016, on season 13, episode 10 of So You Think You Can Dance on Fox. For this “Next Generation” season, contestants were between the ages of 8 and 13 and were paired with older dancers from previous seasons (“All-Stars”). The young dancers are Tahani Anderson, Leon “Kida” Burns, Ruby Castro, J. T. Church, Emma Hellenkamp, and Tate McRae. The All-Stars are Gaby Diaz, Comfort Fedoke, Marko Germark, Jenna Johnson, Paul Karmiryan, Sasha Mallory, Kathryn McCormick, Jonathan Platero, Robert Roldan, and Du-Shaunt “Fik-Shun” Stegall.

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Liberate us, we pray you, Lord, from the getting and grasping to which we are prone. Teach us the royal way of the law of the gift, that in giving not only things but ourselves we may know even now the life abundant you promise to bring to perfection in eternal life with you. Increase in us gratitude for your gift of yourself, and let that gift of gratitude inspire us to the greatness of living our lives as love in response to love.

—Richard John Neuhaus

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God of all—
come now and transform my life
into becoming an instrument and embodiment of your peace.
May I bring, be, and sustain love over hate.
May I bring, be, and sustain pardon in the midst of harm.
May I bring, be, and sustain hope where there is none.
May I bring, be, and sustain light in the terror of the dark.
May I bring, be, and sustain rejoicing upon sadness.

Grant me the gift
to choose the consolation of others over my own;
to seek to understand over my need to be understood;
to seek in all things, to love well beyond myself.
Because in such ways,
I will receive much more if I give without reserve,
and I will know true reconciliation and restoration
when I forgive and restore others;
and then,
I will know the joy of life to the fullest
when I truly die to myself.

Amen.

—David Haas, adaptation of the Prayer of St. Francis
(© 2017 by David Haas / The Emmaus Center for Music, Prayer, and Ministry)


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Fourth Sunday of Easter, cycle B, click here.

Roundup: Modern Bible illumination; hula; First Nations baptism design; father-daughter waltz; Tamayo and Parker

ESV Illuminated Bible spread

NEW BOOK: ESV Illuminated Bible (2017): In October Crossway released a new Bible illuminated by Seattle-based designer and lettering artist Dana Tanamachi. Printed in two-color (the illuminations are in gold ink), this volume contains one full-page illustration, custom icon, and illuminated drop cap for each book of the Bible, plus hundreds of hand-lettered Bible verses throughout the margins. There are no human figures in any of the illuminations; most consist of flora and fauna—olives, figs, pomegranates, peacocks, lions, lilies, deer, cedar, and so on—derived from the given book. Be sure to check out the book-opener illustration index, and the short video below, in which Tanamachi introduces herself, talks through her process, and explains some of her artistic choices:

“God loves beauty, so we wanted to honor him through this project with something that was beautiful,” says Josh Dennis, Crossway’s senior vice president of creative. “For this edition we really want people to engage with it, so there’s a lot of negative space and wide margins for people to write in it and to do their own Bible journaling.”

This publication comes six years after the release of Makoto Fujimura’s Four Holy Gospels, another illumination project. Fujimura’s is an oversize book with a $150 price point, containing original abstract paintings reproduced in full color alongside the first four books of the New Testament. By contrast, the ESV Illuminated Bible is more wieldy—it has a 6½ × 9 trim size—and less costly ($45), and it contains all sixty-six books. The aesthetic is also much different, as Tanamachi’s influences include art nouveau, the arts and crafts movement, and designers like William Morris and Koloman Moser. [HT: David Taylor]

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CHRISTIAN HULA: “‘O ‘Oe ‘Io” (You Are God): Though reduced to tourist entertainment in some places, Hawaiian hula dancing, in its traditional context, is a form of teaching and worship. Because of its associations with polytheism, the early missionaries denounced it as sinful. Over the last half-century or so, however, most missionaries have changed their stance toward this and other traditional forms of artistic expression—not only in Hawaii, but in whatever their host culture—seeing how such forms can offer more authentic ways for the people to connect to and worship the Christian God.

In the video below, Moani Sitch and ‘Anela Gueco perform a hula noho (“seated hula”) at the 2006 Urbana student missions conference sponsored by InterVarsity Christian Fellowship. It’s to the Christian hymn “‘O ‘Oe ‘Io” (You Are God), originally written in Maori by Luke Kaa Morgan but translated into Hawaiian by Moses Kaho‘okele Crabbe. The sacred name for Creator God—‘Io—is the same in both languages. The lyrics are below. [HT: Global Christian Worship]

‘O ‘oe ‘Io, e makuna lani (You are God, Heavenly Father)
‘O ‘oe ‘Io, ka waiola (You are God, the Living Water)
‘O ‘oe ‘Io, e kumu ola (You are God, the Source of Life)
Ka mea hana i na mea apau (The one who has made all things)
E ku‘u Haku (My Lord)
Ka mauna ki‘eki‘e (Who is the Highest Mountain)
‘O ‘oe ‘Io (You are God)

For a fantastic religious history of Hawaii, see this PDF booklet published by Aloha Ke Akua (“God Is Love”) Ministries. Among the many things I learned is that Hawaiians regard the arrival of Christian missionaries as the fulfillment of their elders’ prophecies that the one true God would one day return to the islands.

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FROM THE ARCHIVES: “Jesus as Chief: ‘Baptism Mural’ by Tony Hunt”: First Nations artist Tony Hunt Sr. died last month, just two months after his son Tony Hunt Jr., also a renowned carver. Read about Hunt Sr.’s inculturated serigraph of Christ’s baptism at my old blog, The Jesus Question—part of a seven-part series I did on Christian art of the Pacific Northwest Coast. Based on a carved and painted design he made for the Canadian Conference of Catholic Bishops, it shows John the Baptist as a Kwakwaka’wakw shaman in Native dress and with ceremonial rattle, installing Jesus as chief. The Father is manifest as Sun and the Spirit as Thunderbird.   Continue reading “Roundup: Modern Bible illumination; hula; First Nations baptism design; father-daughter waltz; Tamayo and Parker”

Roundup: Liturgical video installation; Mynheer profile; SYTYCD; natural-world mystic poetry; lament song

“Mark Dean Projects Stations of the Cross Videos on Henry Moore Altar,” exhibition review and artist interview by Jonathan Evens: On April 15–16 St. Stephen Walbrook in London hosted an all-night Easter Eve vigil that featured a fourteen-video installation by artist-priest Mark Dean. Inspired by the Stations of the Cross, these videos were projected, in sequence and interspersed with readings and periods of silence, onto the church’s round stone altar by the famous modern artist Henry Moore (Dean wanted his work to be presented as an offering). The vigil culminated with a dance performance by Lizzi Kew Ross & Co and a dawn Eucharist. Evens writes,

Mark Dean’s videos are not literal depictions of the Stations of the Cross, the journey Jesus walked on the day of his crucifixion. Instead, Dean appropriated a few frames of iconic film footage together with extracts of popular music and then slowed down, reversed, looped or otherwise altered these so that the images he selected were amplified through their repetition. As an example, in the first Stations of the Cross video, a clip of Julie Andrews as the novice Maria from the opening scenes of The Sound of Music was layered over an extract, from the Alfred Hitchcock film Psycho, of a car arriving at Bates Motel where Marion Crane would be murdered by Norman Bates. The blue of the sky and the innocence suggested by Maria’s religious vocation was in contrast with the footage from Psycho, which was indicative of the violent death to which Jesus was condemned. [Read more of the review, plus an interview with the artist, here.]

Stations of the Cross by Mark Dean
Mark Dean, “I. The Royal Road,” from Stations of the Cross cycle. Video projected on Henry Moore altar at St. Stephen Walbrook, London, April 15–16, 2017. Photo: Jonathan Evens
Stations of the Cross by Mark Dean
Mark Dean, “VIII. Daughters of Jerusalem,” from Stations of the Cross cycle. Video projected on Henry Moore altar at St. Stephen Walbrook, London, April 15–16, 2017. Photo: Jonathan Evens
Stations of the Cross by Mark Dean
Mark Dean, “IX. In Freundschaft,” from Stations of the Cross cycle. Video projected on Henry Moore altar at St. Stephen Walbrook, London, April 15–16, 2017. Photo: Jonathan Evens

Sounds like an exemplary integration of art and liturgy! You can read the catalog essay and watch the videos on Dean’s website, tailbiter.com. See also the interview with curator Lucy Newman Cleeve published in Elephant magazine.

“Featured Artist: Nicholas Mynheer” by Victoria Emily Jones: This month I wrote a profile on British artist Nicholas Mynheer for Transpositions, the official blog of the Institute for Theology, Imagination, and the Arts at the University of St. Andrews in Scotland. (There’s a glitch with their publishing tool that is preventing all the artworks from displaying, but all the ones I discuss in the article can be found at www.mynheer-art.co.uk.) A painter, sculptor, and glass designer, Nick works almost exclusively on religious subjects, in a style that blends influences from medieval, primitive, and expressionist art. I met him in 2013 and got to see his studio and his work in situ in various Oxford churches. His love of God and place was obvious from my spending just one afternoon with him. Other articles I’ve written are on Nick’s Wilcote Altarpiece, Islip Screen, and 1991 Crucifixion painting (which I own).

Harvest by Nicholas Mynheer
Nicholas Mynheer (British, 1958–), Harvest, 2010. Oil on canvas, 70 × 70 cm.
Michaelmas Term Window by Nicholas Mynheer
Nicholas Mynheer (British, 1958–), Michaelmas Term Window, 2012. Fused glass. Abingdon School Chapel, Oxfordshire, England.
Corpus of Christ by Nicholas Mynheer
Nicholas Mynheer (British, 1958–), Corpus of Christ, 2010. English limestone, 85 cm tall.

Season 14 of So You Think You Can Dance premiered last Monday (the only TV show I never miss!). Watching dancers draws me into a deeper awe of God, as I see all the creative potentialities of the human body he designed. Here are my two favorite auditions from episode 1. The first is husband-wife duo Kristina Androsenko and Vasily Anokhin performing ballroom. The second is a modern dance number performed by Russian twins Anastasiia and Viktoriia; they gave no comment on the dance’s motivation or meaning, but it’s clear that it represents trauma of some kind.

“Why we need Mary Oliver’s poems” by Debra Dean Murphy: “Oliver is a mystic of the natural world, not a theologian of the church. . . . Her theological orientation is not that of orthodox Christianity. Nevertheless, Christians have much to gain from reading Oliver . . .” Her poems are “occasions for transfiguring the imagination and a summons to wonder and delight”; they remind us “of what it means to attend to what is before us in any given moment,” teach us to adopt “a posture of receptivity that Christians sometimes speak of as part of our vocation—the calling to live more fully into our humanity as persons bearing the imago dei, to mirror the divine dance of mutual presence, mutual receptivity, mutual love.” Some of my favorite Oliver poems are “Praying,” “I Wake Close to Morning,” “Messenger,” “The Summer Day,” and “How the Grass and the Flowers Came to Exist, a God-Tale.”

NEW SONG: “Weep with Me” by Rend Collective: Written last month in response to the Manchester Arena bombing, “Weep with Me” is a contemporary lament psalm in which the speaker asks God to do what the title says: weep with him. To feel his pain and respond. It’s introduced and performed acoustically by band member Chris Llewellyn in the video below.

On the video’s YouTube page, Rend Collective writes,

Can worship and suffering co-exist? Can pain and praise inhabit the same space? Can we sing that God is good when life is not? When there are more questions than answers? The Bible says a resounding yes: these songs are called laments and they make up a massive portion of the Psalms.

We felt it was fitting to let you hear this lament we’ve written today as we prepare to play tonight in Manchester. We can’t make the pain go away. We refuse to provide cheap, shallow answers. But hopefully this song can give us some vocabulary to bring our raw, open wounds before the wounded healer, who weeps with us in our distress. We pray that we can begin to raise a costly, honest and broken hallelujah. That is what it means to worship in Spirit and in Truth.

Betrayal danced out

The following dance, choreographed by Travis Wall, premiered August 4, 2010, on So You Think You Can Dance. It is performed by season 7 runner-up Kent Boyd and season 3’s Neil Haskell to DeVotchKa’s “How It Ends.”

I’ve never personally experienced a betrayal of this magnitude, so when I watch the dance, I think of that supremely infamous act of disloyalty recorded in scripture: Judas’s handing over his friend Jesus to the religious authorities in exchange for thirty pieces of silver.

The two men in Wall’s piece start out as buddies—they provide support for each other, and catch the other when he’s on his way down. But then one of them stabs the other in the back. Confusion, hurt, and anger ensue; pleas for restoration are made, and the two briefly rehearse their nostalgia for what used to be. But the betrayer will not relent: he proceeds to crush his former friend underfoot. In one last effort to repair the broken friendship, the betrayed one chases down and clutches his friend but ultimately realizes he has to release him, for he has chosen his path. The end of the dance shows the betrayer remorseful in the shadows as his victim moves on toward his own separate destiny.   Continue reading “Betrayal danced out”

Cute-love roundup for Valentine’s Day

The feast day of Saint Valentine on February 14 is associated in popular culture with romantic love because of the legendary account of Valentine’s subversive performance of wedding ceremonies in Rome during a national ban in the third century. Wanting to build a strong army, Emperor Claudias II had issued an edict that prohibited the marriage of young people; unmarried soldiers, he thought—who are less concerned with the risks of war—fought better than married ones. Not wanting to deny couples the privilege of marriage, Valentine, a priest, secretly wed them. He was eventually caught, imprisoned, and executed, for this as well as other offenses of a Christian nature.

In honor of our brother’s witness, here are three works of love-themed art—a musical short film, a Latin ballroom dance, and a collection of comics—for you to enjoy with your significant other this Valentine’s Day weekend. Romantic love, of course, has many shades; this is a look at its sweet shade.

Lava by Pixar:

This 2014 computer-animated musical short written and directed by James Ford Murphy tells the story of two Pacific Ocean volcanoes who, after millions of years of waiting, find love. It features the voices of Kuana Torres Kahele as Uku and Napua Greig as Lele: “I lava you,” they sing to a ukelele accompaniment. I’m a sucker for word puns, so this video lights me up.

Samba from Dancing with the Stars:

Choreographed and performed by Maksim Chmerkovskiy with his season 18 celebrity partner, Olympic athlete Meryl Davis, this samba—a dance of Afro-Brazilian origin—is here given a subtle Indian flair, as its soundtrack is “I Wanna Be Like You” from Disney’s The Jungle Book.

Illustrations from Soppy:

In 2014 Philippa Rice published Soppy: A Love Story, a collection of comics inspired by real-life moments she’s shared with her boyfriend, Luke Pearson. Its premise is that love can be found in simple, everyday intimacies, like impromptu cuddling on the couch, brushing your teeth side-by-side, or lending sympathy for a cup of tea gone cold. When I think about the times I treasure most with my husband, they are the sum total of all these understated forms of bonding Rice has highlighted. View a sampling of illustrations from the book at BoredPanda.com.

Philippa Rice illustration
“You can be in the same room without having to do everything together.”
Illustration by Philippa Rice
“Even shopping for food can be exciting.”