The arts don’t just fill our time with uplifting stories and pretty pictures. They don’t just distract us with things to look at; they teach us how to look. They train our vision, down to the level of our souls.
Art can teach us to see the tiny gradations in a field of green—or how to see a suffering world in the context of grace. How to recognize the humanity of a character who seems like an irredeemable villain. How to slow down. How to pay attention not just to the notes but the silences between the notes. How to hear the echo of divine music in human speech. How to look at our own failures and successes with perspective, even laughter. The arts ask us to use the full range of our senses. And they can restore us to our full, God-given humanity.
—Greg Pennoyer, executive director of Image journal [source]
VISUAL MEDITATION: “Mary’s Fecund Yes” by Victoria Emily Jones, on Annunciation by Mats Rehnman: My latest ArtWay reflection was published Sunday. It’s on a whimsical Annunciation painting by touring storyteller, author, and visual artist Mats Rehnman, influenced in part by the Annunciation design woven into several nineteenth-century carriage cushions from Scania, Sweden.
ART TALK: “Saying Yes: The Annunciation in Contemporary Art” by Victoria Emily Jones: Speaking of the Annunciation . . . my March 18 presentation from the Breath and the Clay creative arts gathering is now online! (The aforementioned Rehnman piece is one of six I discuss.) With permission from the conference organizers, I have uploaded it to my YouTube channel for public viewing.
It’s an act of vulnerability for me to share it with you, as I’m aware of the ways in which it is deficient (in terms of speech delivery and production values). I lack technical prowess and a charismatic personality and am self-conscious about being on camera—but hopefully with practice, I will improve. The main thing is, I want the work of these artists to be known and shared. I hope to demonstrate how art can pull us deeper into the biblical story, revealing new and sometimes surprising angles or simply helping us dwell there with love and intent, and also how it’s possible to do “theology through art,” relying not exclusively on academic writings or sermons (great as they both are) to do that important work.
While I have created a video for a scholar friend’s art history channel, this is the first on my own channel—which I invite you to subscribe to. (I need at least 100 subscribers to create a custom URL for the channel.) I don’t have imminent plans for more videos, but I am starting to brainstorm ideas and will probably send out a survey to my blog subscribers to get a better sense of what you all would want to see. Several of you have requested that I get into video making, but I’ve been slow to move on it, wanting to better figure out my niche and what I could uniquely bring to such a dense market. I realize that video is a content format that is overwhelmingly preferred to blog posts these days, so I want to make use of it. But videos are much more time-consuming and difficult to produce without having a budget or a team behind me, and also not having the direct access to artworks that museums and other entities have. Please pray for this upcoming venture!
CROSS-CONTINENTAL MUSIC VIDEO: “Song of Hope” by Praveen Francis and friends: This Afro-pop music video is a collaboration between musicians, dancers, and technicians in India, Guatemala, the UK, Republic of the Congo, Cameroon, and the United States. The project was initiated by Praveen Francis, a music producer and sound engineer from Coimbatore in Tamilnadu, India, who wrote the original composition. The languages are English, French, and Lingala, but the hook is a series of nonlexical vocables: “Na na na . . .” [HT: Global Christian Worship]
The video was released April 10, 2021, shortly before the second COVID wave hit India. “This Pandemic has ravaged all our lives,” Francis says. “But we will not give up. We will fight back because there is still HOPE.”
EXHIBITION: Constructed Mysteries: Spirituality and Creative Practice, February 8–April 18, 2021, Olson Gallery, Bethel University: Curated by Kenneth Steinbach and Michelle Westmark Wingard, Constructed Mysteries showcased the art of nine mid-career artists or artist teams whose work engages Christian spirituality: Heather Nameth Bren, Shin-hee Chin, Caroline Kent, Scott Kolbo, Joyce Yu-Jean Lee, Nery Gabriel Lemus, Marianne Lettieri, Cherith Lundin, and Justin Randolph Thompson and Bradly Dever Treadaway. The exhibition has come to a close, but there’s a wonderful twenty-minute video tour of it that’s archived on YouTube, with artist commentaries starting at 2:44:
In addition to the video, there’s an exhibition catalog available for online viewing. It features a series of artist interviews, which address topics such as silence, the importance of process, and the nature of parable. And of course it includes photos of all the works in the exhibition. Let me highlight just two.
The first is by my friend Marianne Lettieri [previously], whose work is informed by her “increased awareness of the enchantment of everyday actions and moments—the sequences of ordinary human existence.
I would hate to think that life is just the important events. You get married, you get an award, have a baby. These are big things, and some are what we call sacraments in the church, but I’ve realized that peeling potatoes, fixing the faucet, and other common tasks make up most of our daily living. The big moments are a part of it, but it’s the string of these small moments that are present and sacred acts we need to pay attention to.
Much of her art illuminates the value of domestic labor, such as Fenêtre de Réparateurs, which sets forty-one used pincushions, still bearing the threads put there by their previous owners, into a wooden framework, evoking a stained glass window. “This work speaks about a culture of menders—people who choose to save, repair, and transform damaged things,” says Lettieri.
Second, Traveling Shoes is a performative sound work by longtime collaborators Justin Randolph Thompson and Bradly Dever Treadaway, from 2013’s Flux Night in Atlanta. It involved a two-seat shoe-shine “chariot” being dragged through the crowds, stopping to gold-leaf the shoes of anyone who was interested. All the while, on the back of the chariot, a three-piece jazz band played the song “Dem Golden Slippers,” which uses clean, shiny shoes as a metaphor for living an unstained life in preparation for Jesus’s return. The original performance, which lasted around three hours and has been re-created in several different contexts since then, is archived in a twelve-minute video, which is what was on display at Bethel. To go alongside, the curators asked the duo to submit a photograph from the performance series; they went the extra mile and used a photo as the basis of a new mixed-media work that incorporates objects used in the performance, such as a mechanic’s rag and an antenna, which is what I’ve posted here.
RELIGIOUS POEMS SAMPLER: “Original and unorthodox poems about theology,” compiled by Mark Jarman: An excellent selection of ten poems, all but one available for reading from the Poetry Foundation. Jarman is a leading poet of the twenty-first century and a Christian. He was too humble to include one of his own poems on the list, but his poetry is much in this vein, so for number 11 I would add Jarman’s “Five Psalms,” from his collection To the Green Man (2004).
JULY PLAYLIST: The songs I’ve compiled this month on Spotify include Audrey Assad’s rewrite of a classic patriotic hymn [previously], a Bach partita with added words by Alanna Boudreau inspired by Dante’s Inferno, a Sotho interpretation of Psalm 23 by the Soweto Gospel Choir, a celebration of God as artist written and sung by a Franciscan friar from the Bronx, a song of testimony performed by blues musician Elizabeth Cotten and her great-granddaughter Brenda Evans, a multilingual song setting of Matthew 5:9 (“Blessed are the peacemakers . . .”) (again, with multigenerational participation!), Psalm 103 sung in Hebrew with ancient Middle Eastern instruments, and more.
KICKSTARTER CAMPAIGN: Great Cloud by Nick Chambers: This is one of the creative projects I donated to this week. Chambers writes, “For over a decade, I have written music for the Church without much concern for the songs reaching beyond the particular place and people to which I belong. Now I want to release and share this music more widely. And you can help.
“I write songs to help give voice for people to pray, question, confess, doubt, lament, give thanks, and praise. Because I owe so much in this to the many faithful voices of history of the Church, this first record will be a collection of prayers of the saints—faithful voices such as Ephrem the Syrian, Teresa of Avila, Howard Thurman, and more.
“I have been planning with producer Isaac Wardell (The Porter’s Gate, Bifrost Arts) to record in early September in Paris near where he is currently based. The Porter’s Gate will be recording the same week, which means your support toward my $15k goal will go toward my record and travel costs, as well as allowing me to contribute in person to the next Porter’s Gate project.”
Here’s an example of Chambers’s singing-songwriting—a setting of Psalm 22:
TED TALK: “Give yourself permission to be creative” by Ethan Hawke: I could listen to actor Ethan Hawke talk about any subject; he’s so interesting and passionate. (His recent conversation with the American Cinematheque on his new limited series The Good Lord Bird, for example, about abolitionist John Brown, was fascinating!) In this video he was asked to talk about creativity and the arts. He says,
There’s a thing that worries me sometimes whenever you talk about creativity, ’cause it can have the feel that it’s just nice, you know; or it’s warm or it’s something pleasant. It’s not. It’s vital. It’s the way we heal each other. In singing our song, in telling our story, . . . we’re starting a dialogue. And when you do that, healing happens. And we come out of our corners. And we start to witness each other’s common humanity. We start to assert it. And when we do that, really good things happen.
>> “‘Stop Working Me’: Jesse Pinkman as Child-Prophet in Vince Gilligan’s Breaking Bad” by Mary McCampbell: Jesse Pinkman from Breaking Bad, played by Aaron Paul, is one of my favorite TV characters of all time; I think I can truly say I’ve never been more emotionally invested in, or rooted harder for, any other. Mary McCampbell, author of the forthcoming book Imagining Our Neighbors as Ourselves: Empathy, the Arts, and the Religious Imagination (Fortress, 2021), writes about Jesse’s role as “child-prophet,” who sees and exposes with increasing clarity and conviction the amoral decay of the empire he helped Walt build. (Note: the article contains some series spoilers.)
>> “Revealing the Father: L. M. Montgomery, Dorothy L. Sayers, and Doctrine in Art” by Alicia Pollard: This article examines how the doctrine of God the Father shows up in Lucy Maud Montgomery’s novel Anne of Green Gables and Dorothy Sayers’s play The Emperor Constantine. The former chooses “the way of whimsical unorthodoxy”; the latter, “the way of passionate orthodoxy and reenchanted dogma as a living agent of truth.”
SONG: “My Country ’Tis of Thee” (abolitionist version by A. G. Duncan, 1843): I wanted to post this for Juneteenth, but alas, I’m two weeks late. Just twelve years after Samuel Francis Smith wrote “My Country ’Tis of Thee,” a scathing rewrite by abolitionist A. G. Duncan was published in Massachusetts in the book Anti-Slavery Melodies. Exposing the hypocrisy of a nation that proclaimed life and liberty for all and yet perpetuated the evil institution of race-based chattel slavery, it’s a call to lament—“let wailing swell the breeze”—as well as an anticipation of coming liberation, God be praised. (Again, this was 1843, almost two decades before the Civil War.) This vocal arrangement and performance using Duncan’s alt lyrics is by Chase Holfelder, who sings the song in a minor key. [HT: Global Christian Worship]
My country, ’tis of thee,
Stronghold of slavery, of thee I sing;
Land where my fathers died,
Where men man’s rights deride,
From every mountainside thy deeds shall ring.
My native country, thee,
Where all men are born free, if white’s their skin;
I love thy hills and dales,
Thy mounts and pleasant vales,
But hate thy negro sales, as foulest sin.
Let wailing swell the breeze,
And ring from all the trees the black man’s wrong;
Let every tongue awake;
Let bond and free partake;
Let rocks their silence break, the sound prolong.
Our father’s God! to thee,
Author of Liberty, to thee we sing;
Soon may our land be bright,
With holy freedom’s right,
Protect us by thy might, great God, our King.
It comes, the joyful day,
When tyranny’s proud sway, stern as the grave,
Shall to the ground be hurl’d,
And freedom’s flag, unfurl’d,
Shall wave throughout the world o’er every slave.
Trump of glad jubilee!
Echo o’er land and sea freedom for all.
Let the glad tidings fly,
And every tribe reply,
“Glory to God on high,” at Slavery’s fall!
Ears to the Ground Family is a group of friends in their early thirties, making music together in and around their hometown of Harrisonburg, Virginia. Minimalist and totally acoustic, they sing songs of hope, sustaining faith, and resistance to oppression and empire. Their stylistic influences include the spirituals, soul, hip-hop, R&B, folk/Americana, chant, Taizé, and Anabaptist hymns, especially from the Mennonite tradition, to which they belong.
The band formed in 2010 and has “always preferred the outdated and peculiar model of the elusive traveling troubadour,” sharing their music in small settings, unplugged, locally or regionally. Its members first met during the Petrol-Free Jubilee, an annual two-week bicycle-powered music and art tour of the mid-Atlantic, which they went on to participate in as a group for seven years. Its purpose was “to promote peace, social justice, and a healthy planet.”
“We biked two hundred to three hundred miles with ten to twenty people on average, often several bands or musicians with us at a time, and our regular stops and show locations included a lot of farms, community centers, and Catholic Worker houses,” band member Nichole Barrows told me. “Just imagine twenty people rolling down Main Street in your city in the middle of a hot summer afternoon on their bikes, with drums and guitars in tow, ringing their bike bells and singing at the top of their voices! I mean, it was like summer camp on wheels; we brought the show with us!”
This small-scale approach and casual touring schedule, Barrows said, “enables us to root ourselves deeply within our home community and invest in the valuable work that inspires our music.” That valuable work includes church ministry, community organizing, farming, and outdoor education.
In June 2017 Ears to the Ground Family recorded eight original songs (written between 2007 and 2013) plus a traditional African American spiritual, but jobs, family, and other projects prevented them from being able to mix, master, and self-release until recently. Finally, on December 18, 2020, their debut album, Full Moon in June, came into the world, making their music available to a much wider audience for the first time.
“It’s funny,” Barrows said, “some people talk about ‘slow music’ (you know, slow food, etc.) to describe homegrown, independently released local music. But we’re so ‘slow’ that it takes us about ten years to release our first album!”
Infused with prophetic imagination, Full Moon in June denounces the forces of evil at work in the world on a grand scale—things like war, environmental exploitation, predatory lending practices, and the prison industrial complex—and casts a beautiful vision of all things new under Christ. Stop participating in that which is destructive, the album invites, and join instead with the creative work of the Spirit, which is love, joy, peace, patience, kindness, generosity, faithfulness, gentleness, and self-control (Gal. 5:22–23). These songs awaken my enthusiasm for the promised future of all that is and for our journey toward it, sowing seeds of Christ’s kingdom all along the way.
An exploration of “Almond Blossom”
My favorite song on Full Moon in June is the first one, “Almond Blossom” by Dimitris Campos, which uses the image of a tree to signal abundance and renewal. “There’s an almond blossoming in Jerusalem,” it opens. Almond blossoms are a harbinger of springtime, and in fact Israel’s almond trees are the first to bloom each year. The song’s second line, “The buds on a fig tree becoming tender again,” evoke the recurring comparison of God’s people to a fig tree in the Hebrew Bible (e.g., Hosea 9:10; Jer. 8:13; Jer. 24) as well as the story of Jesus cursing a fig tree for failing to bear fruit, a symbolic act of judgment against those who reject his ways. The image here, though, is of a withered fig tree becoming healthy and vibrant once again.
The lyrics go on to note how the trees and other parts of the natural world appear to worship God; the “mountains are clapping their hands” (cf. Psa. 98:8; Isa. 55:12), and the trees reach toward the heavens. Humanity, by contrast, turns in on itself, and rather than living into the flourishing it was created for, invents new means of destruction—bombs dropped from drones, for example, leaving orphans in their wake.
(Related posts: “Songs of Lament and Justice by The Porter’s Gate”; 1798 essay, “A Plan of a Peace-Office for the United States” by Benjamin Rush)
In the song, Campos recalls a visit to the National Air and Space Museum in Washington, DC, the horror of families posing happily for photos in front of bombers, fighter jets, missiles, military avionics, and other tools of combat, celebrating national might. Campos contrasts the heaviness of those metal death-traps with the light feeling of floating on the “river of life” (cf. Rev. 22:1), and their sterility with a fructifying olive vine, delicately tended (cf. Rom. 11:11–24).
Empires fall—Egypt, Rome; America one day will too, and another will rise in its place. “I proclaim that Jesus, he will decide / If it is that Rome is on I-95”—the highway that the US capital is located off of. Earthly kingdoms that put their trust in arsenals and that deal in death rather than life may be in for a divine toppling. The same goes for corrupt systems.
Jesus himself said as much. For example, in Mark 13:2, he says regarding the Jewish temple complex, “Do you see these great buildings? Not one stone will be left here upon another; all will be thrown down.” It’s because the religious establishment at the time had become oppressive and was rejecting Jesus as the Christ. They were trusting in all their rules and learned interpretations of scripture while failing to see the plain revelation of God right in front of them.
The penultimate stanza of “Almond Blossom” is excerpted from “Canticle of the Turning” by Rory Cooney, a paraphrase of Mary’s Magnificat, which is one of the Bible’s most radical songs:
From the halls of the power to the fortress tower
Not a stone will be left upon a stone
Let the king beware, for your justice tears
Every tyrant from his throne
The song concludes with a reprise of the first two lines, circling back to the image of trees and their eschatological (end times) resonances. In Matthew 24:32–33, Jesus tells his disciples, “From the fig tree learn its lesson: as soon as its branch becomes tender and puts forth its leaves, you know that summer is near. So also, when you see all these things, you know that [the Son of Man] is near, at the very gates.”
“Almond Blossom” is a clever interweaving of biblical text allusions, spanning Genesis to Revelation, that calls America to account for its warmongering while inviting her citizens into the beautiful, lasting, life-giving way of Christ.
The following poem from the book of Isaiah, about the messianic age, was resounding in my mind as I listened to this song:
For you shall go out in joy
and be led back in peace;
the mountains and the hills before you
shall burst into song,
and all the trees of the field shall clap their hands.
Instead of the thorn shall come up the cypress;
instead of the brier shall come up the myrtle;
and it shall be to the Lord for a memorial,
for an everlasting sign that shall not be cut off.
All but two of the songs on Full Moon in June were written (or cowritten) by Dimitris Campos. Half Greek and half Peruvian, he was raised in a Latino culture in the United States, which itself has mixed Spanish, Indigenous, and African influences. His musical compositions are informed by this background.
“Recession Don’t Bother Me,” subtitled “No te compliques la vida” (Don’t complicate your life), reflects on a mother’s words of advice regarding not staking your identity on material things, and not climbing over others to get ahead. It was released with this statement:
We are releasing this album in the midst of the historic COVID-19 pandemic. The virus has left record numbers of people without work and we realize that in this moment, working-class people are suffering. With that in mind, we want to note that our song “Recession Don’t Bother Me” (which was written during the Great Recession of 2007 and 2008) is not saying “the recession don’t affect me,” because as the current pandemic has shown us, the circumstances and effects of the current situation do indeed have profound consequences for us all. Nor is this song saying that we are insulated from the economic effects of recession because of our wealth or privilege—although we acknowledge that in this current context, many people have had it much harder than we have. What this song is saying is that our current destructive and dehumanizing economy must, one day, collapse. And that we hope to be among those who welcome and rejoice at an exodus from an Egypt to a promised land, even if it means a journey through the desert to get there. We are praying for providence for all those suffering during these deeply trying times.
In downtown Harrisonburg, amidst hip college-town cafés, sits the Rockingham County Jail, right across the street from the courthouse. At certain times of day, men in jumpsuits and chains are very visibly marched to and from these locations. Disgusted by this flagrancy and following the arrest of one of his undocumented friends, Campos wrote “Prison Cells.” It’s a condemnation of America’s for-profit prison system and retributive (as opposed to restorative) model of justice. How does our lust for punishment cohere with Jesus’s blessing on the merciful (Matt. 5:7) and the apostle Paul’s insistence that “love keeps no record of wrongs” (1 Cor. 13:5)? We teach our kids to forgive offenses and to let go of grudges, and yet our criminal law teaches the opposite. Lord, have mercy.
Fourth up on the album is a new interpretation of the spiritual “Sheep, Sheep, Don’t You Know the Road?” from the Georgia Sea Islands, popularized in the 1960s by folk singer and African American music preservationist Bessie Jones, who learned it from her formerly enslaved grandfather. Ears to the Ground Family has expressed the indebtedness of their work to “centuries of creative Black resistance against slavery and oppression,” of which this song is just one example. Its lyrics describe the road of faith as one of pain but also bridges, a road where “there’s no price tag” (cf. Isa. 55:1) and “the sword’s beat down” (cf. Isa. 2:3–4).
On this track the djembe and shekere are played by Jay Beck and Tevyn East, two of the lead organizers of the Carnival de Resistance. “A traveling carnival, village, and school for social change bridging the worlds of art, activism and faith,” this organization seeks to throw off sanitized pieties and “provide a raucous expression of grief and longing and hope for Creation.”
“Painter” is a parable that shows how indulging in sin cuts us off from ourselves and can inhibit us from showcasing God’s glory.
“Moneditas” (Coins), which Campos wrote with Ana Maria Febres, is a Spanish-language song about the emptiness of riches. It echoes Matthew 6:19–20: “Do not store up for yourselves treasures on earth, where moth and rust consume and where thieves break in and steal; but store up for yourselves treasures in heaven, where neither moth nor rust consumes and where thieves do not break in and steal.”
The whimsical “Time, Time, Time,” with its coffee-mug and glass-bottle percussion, seems to me to be a celebration of the unfolding of time just as it is. May we not wish for time to move any faster or slower, but instead appreciate the now and live with an openness to whatever’s next.
“Walnut Textures,” by Campos and Lightning Lucas, encourages a closer relationship with the natural world. It remarks with regret how we have such a strong desire to explore the far reaches of the universe, and yet many of us hardly know the beauty and wonders of our own planet, or even our immediate environs—or if we do, we don’t care enough to protect them. Instead of stewarding nature we squander and abuse it, building highways (dirty paved “rivers”) through forests and then packing cars onto them, increasing air pollution and contributing to global warming. This dominating stance over God’s creation is vanity, and God urges us toward a better way—one of friendship with creation, in which we recognize our mutual groaning for redemption (Rom. 8:22–23) and take up our responsibility as caretakers, which includes adopting sustainable environmental practices.
Spending time in nature is refreshing and even liberating, a chance to experience the givenness of life. Living in right relationship with her now is great practice for the age to come, when all will be reconciled.
The last song, “Shade of the Most High,” was written by Nichole Barrows amid her grief following the death of her mother. It was inspired by the promise in Psalm 91 that we will find rest in the “shadow” of the Almighty God. She says,
I found great comfort in this image of grief as a dark place where God can still find us and bring us rest, because although we feel that we don’t deserve the bad things that are happening to us, we can trust that we are still in his “shade.” And this gift of trust in God’s faithfulness helps us not to fear disease or darkness or even death. I sang these words over myself that year [of my mother’s decline] and I sing them over you now: “With a hope like this, we are fearless, and with a love like this, I will not despair.”
Loss is wrenching and often unexplainable, but it can also be an occasion “to find new life, to find new eyes,” and to lean all the more firmly on the One who bears our sorrows in love.
Already and not yet
When I was talking to Barrows, she expressed emphatically one of the great paradoxes in Christian teaching: “that the kingdom of God is not yet here and that we are together longing for Christ to come make all things new, and also that He is already here, now, on this earth, in this place.” She mentioned how Ears to the Ground Family wishes to affirm not just the spiritual elements of faith (which, I will add, are the central preoccupation of the vast majority of faith-based music) but the physical elements as well, “such as care for the earth and the peace witness and the works of mercy.” This commitment is certainly reflected on their album, which is centered on holistic liberation. I love how it so joyously embraces the broadness of the good news of Jesus Christ, which is not just for individual souls but also for bodies and communities and for the whole created world—presently as well as futurely!
Full Moon in June is available for digital download or as a CD in a cardboard sleeve with handprinted letters (produced by Campos’s vintage, treadle-powered letterpress) and stamped with handmade rubber stamp art. The latter option is a limited edition of 200.
Organized by Image journal every summer, the Glen is equal parts craft workshop, arts festival, and spiritual retreat. It’s framed by the Christian tradition but welcomes spiritual wayfarers of all stripes. This year, due to the pandemic, it’s entirely online, with twelve different classes on offer, taught by renowned artists, writers, and critics. Visit https://imagejournal.org/the-glen-workshop-2021/ for more information.
“The last year has invited many of us into a thicker relationship with place: with the homes where we quarantine, the public spaces we navigate with new caution, the vacation destinations we dream about, and the neighborhood streets we walk to avoid going stir-crazy in the meantime. Even our computers have transformed from objects to places, ushering us into the homes of loved ones, yoga studios, concert halls, museums, and countless other virtual gatherings, including the 2021 Glen Workshop! This year we’ll be exploring the ways in which our surroundings feed our creative vision. And we’ll also consider how art—both making it and sitting with it—sharpens our capacity for attention to the places we live and move and have our being.”
Each class costs $950 and is open to all experience levels. The schedule is such that attendees can choose just one. Registration to any class gives you full access not only to five days (about three hours each) of expert instruction, in-depth conversation, and practice, but also to additional programming that includes faculty presentations, “experiments with poetry and place” with artist in residence Billy Mark, chapel services led by musician Charles Jones and chaplain Marilyn McEntyre, coffee hours, open-mic nights, centering prayer sessions, and yoga sessions. Again, it’s all online.
If you don’t want to register for a class but want access to the other content or just a sneak peek, there are “retreat registration” and “festival pass” options. Click here to view registration options. You can get a 25% off discount if you register in a group of three or more.
What follows is a full list of the workshops (hands-on, craft-based classes) and seminars (immersive, discussion-based classes). I’m considering registering for either the Rosen seminar on contemporary biblical art or the Overstreet seminar on film. The cost is reasonable, but it’s still high, so I have to see if I can make it work.
“Poetic Text as Provocation” with Scott Cairns: “We will embrace an approach to poetry that privileges poetic text as a scene of meaning-making, distinct from any approach that would understand the poem as a site of meaning already made. We will begin most days with a reading of a great and provocative poem and discuss the provocations each of us registers in response to that poem. Then, we will share our works-in-progress, and each of us will offer our ideas about what might make each draft a richer, more suggestive, provocative occasion for the reader.”
“The Attention We Owe Each Other” with Shane McCrae: “It is important to almost every poet to find a community of fellow poets with whom they can share their work, and from whom they can expect serious and good-humored attention, and honest and direct critiques. Together, we will make that community. Our poetry workshop will not operate according to any particular idea save the idea that poetry is serious—that it is, in fact, among the most serious things in our lives—and that, consequentially, we owe each other seriousness, and intelligence, and sensitivity when we workshop each other’s poems. We will read and critique each other’s poems closely; we will prioritize whatever particular issues each poem asks us to prioritize while keeping in mind the issues its author has asked us to consider; and we will have fun together, the highest seriousness being joy.”
“Writing the Moveable Feast” with Alissa Wilkinson: “Food is what binds us together as humans. We all eat it. We all make it, or someone makes it for us. We all have opinions about it and preferences for it, which often come from the things that make us, well, us: our families of origin, our nationalities and ethnicities, our individual tastes, our beliefs about God and ethics, and our access to it. Food is the gateway to every aspect of human life; when we eat it, we’re participating in history, culture, and the economy.
“Feasting is one of the most important activities we can do as people. It’s an act of community-building, celebration, and even resistance to the forces that try to tear us apart. Many religious and spiritual traditions are built around feasting; the Bible ends at a wedding feast.
“So in this class, we’re going to talk about food, think about food, make food, and eat food. We’ll talk about how writers have interacted with food and food writing. We will try to understand what it might mean to feast together even when we can’t actually be together. And then we’ll do our own food writing, with the goal of exploring that common experience through our writing (in any genre).”
“Strange Countries: Writing the Inner and Outer Journey” with Fred Bahnson: “In sixth-century Ireland, groups of monks began the practice of peregrinatio, “going forth into strange countries.” The peregrini set off alone or in small groups in tiny coracles made of willow and animal hide, abandoning themselves to the winds and currents of the North Atlantic. A journey into the unknown.
“We moderns find it difficult to grasp the enormity of such an undertaking. Given how frequently we travel, we barely notice the existential threshold crossed upon leaving home. The peregrini remind us that we go on pilgrimage not to consume experience, but to be consumed. To feel again the porous borders between our inner and outer lives. If our rational age has obscured what Seamus Heaney called ‘a marvelous or magical view of the world,’ pilgrimage helps us find it again.
“In this class we will take a very ancient metaphor—the journey—and use it to explore our lives in the age of climate change, pandemics, and fragile democracies. We’ve all gone forth into a strange country, a journey in which we measure distance in time and cortisol levels rather than miles. Setting off in our coracles of narrative—essay, memoir, literary journalism, travel writing, nature writing—we’ll use our peregrinations to map our inner lives against the great stories of our age. We will write our physical journeys (working from memory), and we will write about shelter, intimacy with place, our yearning to be at home. As we traverse the continuum between pilgrimage and place-making, we will discuss various craft topics of literary nonfiction: form, character development (including place-as-character), narrative arc, and, perhaps most important, how to create the fictional ‘I’ that is your nonfiction narrator.”
“The Landscape of the Lyric Essay” with Molly McCully Brown: “The lyric essay combines the density, muscle, and music of the poem with the expansiveness, narrative momentum, and overt desire to engage with information of the essay form. Tied to the original notion of an essay as an effort, a trying, an attempt at making sense, its combined allegiances to the fragment and the whole, the actual and the imaginative, the image and the story, make it the perfect form for exploring and charting the landscapes—both exterior and interior—that make and mark our lives.
“Designed as an opportunity for poets craving a little space to move around, for essayists hungry to drill down to the core of language, or for any writer longing for a chance to experiment, investigate, and attempt, this generative workshop will serve as an introduction to the associative logic of the lyric essay and a chance to try your own hand at the form.
“In class we’ll read and unpack lyric essays from a variety of writers; work together to identify some unique features and possibilities of the form; write in response to prompts designed to help us explore a variety of geographical, sociological, emotional, and intellectual landscapes; and share and discuss our work as it develops. My hope is that you leave the workshop with many attempts and beginnings which might prove fertile ground for later work, and with at least one piece that feels more complete, or further along in its development.”
“Writing Research-Based Narratives for Young Adults” with Marilyn Nelson: “Our curiosity can nourish our reading and our writing, which can nourish the curiosity of our young readers and encourage them to ask questions and follow their own research paths. In this class we will examine some books recently published for middle-grade and young adult readers and based to varying degrees on historical events, asking what questions led to the necessary research, how the research was conducted, and how the material was organized and presented so it is appropriate for younger readers. How do we write for younger readers? How might an author write over their heads? How might an author write down to them? What questions does an author allow to linger? How much information is too much? How does an author find the right voice?”
“Developing Your Authentic Voice” with Charles Jones: “This workshop will focus on teaching artists how to bring their authentic selves to the craft of songwriting and successfully communicate what they want their audiences to hear and feel. We will listen to the music of some of the greatest songwriters of all time and examine what we feel when we listen back. We will explore why we connect deeply with some music, look at the connective tissue these masters created in their songs, and learn how we apply these techniques and tools to our own craft in service of our own unique stories and voices.”
“The Creative and Spiritual Practice of Calligraphy” with David Chang: “From the practical to the ethereal, writing a letter by hand offers a deeper connection to the text and to the viewer. We will cover both aspects of the art form of calligraphy as we learn the basics—including developing your own personal handwriting style—and learn to use handwriting as a creative practice that can also forge a deeper spiritual practice. Through meditational writing we will explore the art of handwriting as a tool for personal expression and as a means to connect with ourselves and also with others.”
“Landscapes and the Art of Seeing” with Suzanne Dittenberg: “In Sargy Mann’s article ‘On Cezanne’ he opposes the popular notion that Paul Cezanne was intentionally distorting the landscape through superimposed affectated abstraction, re-tooling visual information to titillating effect. Instead, Mann makes the case that Cezanne’s painting practice was more straightforward. He describes Cezanne as a relatively unremarkable draftsman who gave himself intensely to the act of looking. ‘As dedicated a realist as you could ever find.’ In Cezanne’s letters, we are given a window into his motivations when painting. He writes, ‘Now the theme to develop is that, whatever our temperaments or power in the presence of nature may be, we must render the image of what we see, forgetting every-thing that existed before us. Which, I believe, must permit the artist to give his entire personality whether great or small.’
“This is a class about seeing. Observational painting serves as a means to explore one’s individual spirit when encountering nature. Each day we will gather together on Zoom and also venture out to work en plein air in our own vicinities. Painting and drawing will serve as a mechanism for finding a new lens with which to view the natural world. A better understanding of nature’s underlying frameworks will result.
“Through daily discussion of drawing and painting techniques, we will cover basic strategies for seeing relative proportions, identifying values structure and understanding color in context. We will also address the use of limited palettes, strategies for achieving harmonious color and methods of paint application. Each afternoon will include time for reflection on the day’s process, experience and results.”
“Contemporary Visual Artists Read the Bible” with Aaron Rosen: “The mere mention of a contemporary artist reading the Bible summons competing stereotypes. On one side stands the artist as clamoring missionary, producing pious kitsch. On the other sits the talented but godless iconoclast, scorning the Bible to the applause of intellectuals. It’s high time to get beyond these stereotypes, rooted in the culture wars of the 1980s, yet sadly back in fashion. There are brilliant artists of faith working with the Bible who have the power to challenge even the most ardent atheists, aesthetically and theologically. And there are artists without a spiritual bone in their bodies who engage scripture in ways that can teach devout viewers a thing or two about faith.
“In this seminar, we will see the Bible with fresh eyes, with the help of cutting-edge art across multiple media, from painting to video to virtual reality. Not only will they look at art, they’ll talk to top-notch artists themselves, who will join us by video from their studios around the world, from Los Angeles to London to Lahore. As one of the world’s foremost experts on religion and art, as well as a practicing curator, Dr. Rosen brings together scholarly and practical insights. And as a Jew married to an Episcopal priest, he has a special interest in how art can help us see difference more clearly and creatively at the same time.”
“How Place Becomes Poetry in Cinema” with Jeffrey Overstreet: “For most filmmakers, place is just a backdrop. But great artists of cinema know that place is as influential and as eloquent as any character. Whether he’s in the heat of Texas or the despair of a divided Berlin, director Wim Wenders is listening to what his location has to say. Martin Scorsese and Spike Lee both read New York City closely, but they see very different cities and zones defined by differing forms of prejudice. We’ll consider how one story, told by both Yasujiro Ozu and Claire Denis in different locations, is transformed by the context in which it is told. And we’ll watch the world opened up by the cinematographers of Terrence Malick as well as the animators Tomm Moore and Martin Rosen. A variety of special guests—filmmakers, film critics, and scholars—will join us for these journeys as we watch how human beings are shaped by the ground beneath their feet. The current guest list [subject to change] includes Scott Derrickson (Doctor Strange, Sinister), Justin Chang (film critic for the Los Angeles Times), Dr. Yelena Bailey (author of How the Streets Were Made: Housing Segregation and Black Life in America), and Doug Strong (My Angel Larry, River Road).”
“The Art of Contemplative Reading” with Richard Chess: “In this seminar, we’ll explore reading practices (poetry and prose) that may help us cultivate a contemplative mind. As we practice directing our attentions to different aspects of our experiences as readers—noting our physical experience, quieting our inner voices to enable us to hear more clearly the voice of a text, discerning the difference between noting elements of the text itself and commenting on, reacting to, or interpreting the text—we may also discover ways of engaging with texts (mostly literary) that will help us with our practice as artists and/or our spiritual practices. We’ll also do some writing—reflective writing and generative creative writing—to explore writing itself as a contemplative practice.”
PLAYLIST: I can’t keep up with all the quality Christian (or, for artists who eschew that label, spiritually inflected?) music recordings that are out there—recent releases as well as back catalogs dating as far back as the thirties. There really is a breadth, and I sometimes get frustrated when I hear people claim otherwise. (Yes, there’s a lot of really crummy Christian music too . . . but that doesn’t mean the entire genre should be dismissed!) During this season of Ordinary Time I’m going to endeavor to release a monthly Spotify playlist consisting of a random assortment of thirty psalms, hymns, and spiritual songs, each by a different artist. Here’s June’s:
CALL TO ARTISTS: 8th Catholic Arts Biennial: Saint Vincent College in Latrobe, Pennsylvania, has issued a call for submissions for its eighth biannual juried exhibition of Christian-themed art. “This Biennial encourages submissions that expand representations of Christ, the Virgin Mary, biblical narratives, and the lives of the saints beyond Eurocentric presentations. Artwork made by women and persons of color is strongly encouraged. In addition to depictions of traditional Christian subjects, artists are urged to submit works that address social concerns from perspectives of faith pertinent to the contemporary moment. Works investigating the diversity of the human experience enlivened by Gospel values are also desired.”
Artists can be of any religious or denominational affiliation and can submit up to three works by the deadline of June 25. In addition to being exhibited September 6–October 29, 2021, at the Verostko Center for the Arts, the finalists will also be eligible for a top prize of $1,000, plus other cash prizes. The juror this year is David Brinker, director of the Museum of Contemporary Religious Art at Saint Louis University. (The painting on the promotional poster is The Holy Family by Janet McKenzie, a previous winner.)
>> “Prarthana Kelkaname” (Hear Our Prayer): Jijo Hebron, a Christian worship leader from Kerala, India, and his wife Niveda Jijo released this YouTube recording on Sunday, in which they sing to God in the Malayalam language. The song’s English meaning is below. [HT: Global Christian Worship]
Hear our prayer and supplication, oh Lord
It is the promise in your Son’s name:
Whatever we ask, it will be granted.
There is no one to take care of my worries apart from you
Who stands as my father and mother
>> “Morning Prayer” by Langhorne Slim: From the album Strawberry Mansion, released this January.
ANIMATED SHORT: If Anything Happens I Love You: “In the aftermath of tragedy, two grieving parents journey through an emotional void as they mourn the loss of a child.” Written and directed by Will McCormack and Michael Govier and animated by Youngran Nho and team, this thirteen-minute film won Best Animated Short at the 2021 Oscars. It’s amazing how much I feel for these characters after such a short time of getting to know them. Streaming on Netflix.
ARTICLE: “Art and Interfaith Conversation” by Andrew Smith: Birmingham, England, is a religiously diverse city, home not only to Christians but also to Muslims, Sikhs, Hindus, Buddhists, Jews, and others. The Church of England recognizes this rich presence and has on staff a director of interfaith relations for the bishop of Birmingham, Canon Dr. Andrew Smith. Smith is interested in how art and artifacts can be used to develop conversations between people of different faiths and to create new conversations, and here he discusses a Birmingham Conversations project he led along that vein: multifaith group tours at the Birmingham Museum and Art Gallery and St. Philip’s Cathedral. These he embarked on with a posture primarily of learning, not teaching. [HT: Still Life]
Smith served as a consultant for the museum’s faith gallery, which highlights religious objects from various traditions. He discusses the importance of honoring the integrity of each object’s spiritual significance, and some of the difficulties of creating a space that’s welcoming to people of all faiths when certain faiths regard certain imagery as problematic or even forbid it. He also shares some of the responses of non-Christian participants to specific works of Christian art, in both the museum and the cathedral. Some from the latter are recorded in the following video:
The Birmingham Conversations also commissioned two local artists, Jake Lever and Mandy Ross, to produce work informed by their visits over a yearlong period to different places of worship around Birmingham.
This call-and-response song is from the December 31, 2015, morning session of the Urbana student missions conference in St. Louis, Missouri. It’s performed by the University of Hawaii’s Hui Poly student group, a ministry of InterVarsity Hawai‘i geared toward Pasifika Christians, along with some new conference friends. The song (and ministry) leader is Moanike’ala Nanod-Sitch, who establishes the rhythm on the djembe and issues the calls. She is the pastor of Ka ‘Ohana o ke Aloha church in Kaneohe and is of Native Hawaiian, Chinese, Japanese, and Ukrainian descent.
The first half of the song is in English (lyrics below), but starting at 3:51, the singers launch into seven different Polynesian or Native American languages: Yup’ik, ‘Ōlelo Hawai‘i (Hawaiian), Fijan, Tongan, Samoan, Hawaiian Pidgin, and Lakota. Subtitles are included in the video. There’s also dancing!
Holy Spirit, come (Holy Spirit, come)
Won’t you rain down (Rain down)
Rain down (Rain down)
Come like fiyah, come like flames
Come like thundah, come like rain
Won’t you rain down (Rain down)
Rain down (Rain down)
Fill us up, fill our cup
Fill us up, fill our cup
Won’t you rain down (Rain down)
Rain down (Rain down)
We want more, we want more
We want more, we want more
Won’t you rain down (Rain down)
Rain down (Rain down)
Till we overflow
Till we overflow
Won’t you rain down (Rain down)
Rain down (Rain down)
The Son of righteousness will rise
With healing in his wings
We will be free
And dance before our king
Let your kingdom come
And let your will be done
Here on earth as it is
In heaven (In heaven)
In heaven (In heaven)
We will walk in your love
As we advance your kingdom
Bringing your word
To every nation
Let your kingdom come
And let your will be done
Here on earth as it is
In heaven (In heaven)
In heaven (In heaven)
To view other video content from Urbana 15, including songs and sermons, see https://2100.intervarsity.org/resource-keyword/urbana-15. Urbana has been held triennially since 1946, and its worship always demonstrates a commitment to global multiculturalism.
Also, hear more from Moanike’ala Nanod-Sitch:
- “Cultural Protocol: Honoring Creator, Creation, and His First Peoples”
- “Justice,” from the Flourishing Communities series
- “The Spirit’s Anointing for Justice”
- “Amazing Grace” in Diné, ‘Ōlelo Hawai‘i (Hawaiian), and English
EXHIBITION: “God is . . . ,” May 14–23, gallery@oxo, London: The winning entry from the second Chaiya Art Awards competition, along with forty-nine shortlisted others, are being exhibited in London’s South Bank starting tomorrow. The exhibition also has a virtual option, which I received an advance preview of, along with the catalog. Read my review at ArtWay.eu. There is a diverse range of responses to the theme of “God is . . . ,” in a range of media!
VIRTUAL CONCERT: “I Should Be Glad”: On May 2 the Choral Society of Durham and the Duke University Chorale put on a virtual concert, performing songs of lament and hope. They sing of “hours that go on broken wings” and “the unchanging ache of things”; of “this long, hard climb, carr[ying] ancestral sorrow”; of violence and murder; of God’s seeming absence; of feeling like a “moanin’ dove.” But they also sing invitations to be glad, to lay down one’s burden, to see beauty, to soar. Click here for a copy of the program, which contains credits, texts, and translations. I really enjoyed the selection of pieces—most were new to me—and the execution (technical and artistic) is excellent. An hour very well spent. Note that in lieu of a ticket charge, a $10 donation is recommended.
Among the songs are contemporary choral settings of traditional prayers, a civil rights hymn, and the world premiere of the five-movement Where We Find Ourselves by Michael Bussewitz-Quarm (she/her), inspired by the photographs of Hugh Magnum. Magnum, who was white, ran an integrated portrait studio in the Jim Crow South from 1897 until his death in 1922, photographing white and Black clients with equal dignity. The glass plate negatives and contact prints languished in his family’s moldering tobacco barn in Durham, North Carolina, until the 1970s, when they were discovered prior to the property’s slated demolition. They were transferred (many of them damaged) to the Duke University archives, where they again lay mostly dormant until being recently dug out by photographer-writers Margaret Sartor and Alex Harris, who compiled and presented them as an exhibition and accompanying book. Bussewitz-Quarm’s composition is a moving meditation on these timeworn photographs, and the lyrics by Shantel Sellers are pure poetry.
- “I Should Be Glad” by Susan LaBarr (composer) and Sara Teasdale (lyricist)
- “Sometimes I Feel,” traditional African American spiritual, arr. Alice Parker and Robert Shaw
- “Meet Me Here” (from Considering Matthew Shepard) by Craig Hella Johnson
- “Wanting Memories” by Ysaye M. Barnwell
- “Hymn for These Times” by Jay Rogers (composer) and Meggan Moorhead (lyricist)
- “Ave Maria” by Robert Nathaniel Dett (composer)
- “Our Father” by Paul D. Weber (composer)
- “Where We Find Ourselves” by Michael Bussewitz-Quarm (composer) and Shantel Sellers (lyricist)
- “Hymn to Freedom” by Oscar Peterson (composer) (arr. Paul W. Read) and Harriette Hamilton (lyrics)
POEM COMMENTARY: “The Night” by Henry Vaughan, commentary by Dr. Grace Hamman (blog post | podcast episode): I’ve featured poems by Henry Vaughan several times on this blog but not the one that just might be his most famous: “The Night,” about the Pharisee Nicodemus’s midnight rendezvous with Jesus (see John 3). It contains the beautiful and much-lauded line “There is in God, some say, / A deep but dazzling darkness . . .” Medieval literature scholar Grace Hamman [previously], podcaster and blogger at Old Books with Grace, reads and unpacks the poem, first giving some historical and biographical context. Vaughan was an Anglican Welshman living during the English Civil War when the Puritans were in power, which means he was cut off from the forms of worship through which he was used to encountering Christ. This, Hamman says, influenced his writing of the poem and of the larger collection, Silex Scintillians, it’s a part of.
She has made the commentary available in both written and audio form.
EDITORIALS by JAMES K.A. SMITH:
When I see a James K.A. Smith [previously] byline, I know what follows is going to be good. He’s a fantastic thinker, writer, and speaker—and he’s the editor in chief of my favorite arts journal, Image. Below is a link to the opening editorial he wrote for each of the last two issues. (The whole journal is full of rich content. Subscribe!)
>> “Healing the Imagination: Art Lessons from James Baldwin,” Image no. 107 (Winter 2020): Here Smith engages with James Baldwin’s 1964 essay “The Uses of the Blues,” in which Baldwin discusses how we “project onto the Negro face, because it is so visible, all of our guilts and aggressions and desires”; white America invents stories and images of Black Americans that reflect our disfigured imaginations. “The imagination is a form of habit, a learned, bodily disposition to the world. . . . It’s the imagination—well- or malformed—that determines what I see before I look,” Smith writes.
He connects Baldwin’s essay to Jesus’s parable of the good Samaritan, showing how the priest and the Levite had different habits of perception than the protagonist. “To see the person before me as an enemy or animal”—or, I would add, a burden—“is a failure of imagination; to see a neighbor instead is a feat of the imagination. Our society is grappling with a soul-sickness that is ultimately an infection of our imagination.” We reflexively imagine others as threats, competitors, adversaries.
The arts can play a huge role in reshaping our imaginations, in retraining us to see people rightly. “I dream of a third Great Awakening,” he says, “in which our imaginations would be reborn, a sanctification of sight baptized by stories and images such that even our first glance is holy. The tents for this revival would be galleries and cinemas; we’ll sing from poems and novels; the altar call will invite us to attend plays and contemplate sculpture.” He’s not saying art should replace church or religion but that art is a powerful agent of spiritual and perceptual formation; “the arts pluck the strings of our imagination uniquely.”
In their March 3 episode, “Healing the Imagination, with James K.A. Smith,” The Weight podcast had Smith on to expound on some of the points in the editorial, to unpack this musing: “Could it be that the arts are more likely to move the needle on our collective perception of one another?” He discusses definitions of “culture” and “art,” both creational goods (God has deputized human beings to unfurl the tacit possibilities he has folded into creation!); the influence of Augustine and Kuyper on his thought; the “transcending, opening, decentering” potential of artistic encounters; his experience of becoming an American citizen; and why he believes national healing will come not primarily through politics but through the arts. He mentions a few commendable recent examples of churches’ hospitality toward artists, citing Pope John Paul II’s 1999 Letter to Artists, written “to all who are passionately dedicated to the search for new ‘epiphanies’ of beauty so that through their creative work as artists they may offer these as gifts to the world,” and Redeemer Church of Knoxville, who converted the unused rooms of their building into artist studios for the larger community to use.
“Christian communities, if they actually really care about healing the soul of a nation, could do no better than to invest in the arts,” Smith says. “Not so we can go make Thomas Kinkade paintings or Kirk Cameron movies or whatever, but so that we have artists who are actually speaking to our neighbors in ways that meet them as human.”
>> “How to Visit a Museum: Disciplines of Availability,” Image no. 108 (Spring 2021): “Aesthetic experiences I didn’t go looking for that burrow their way most deeply into my psyche . . . are only possible if I am cultivating a way of life that puts me in front of artworks that don’t conform to my preferences. That might mean signing up for the disciplines of an aesthetic way of life in which I am puzzled or frustrated or decentered by the feeling of ‘not getting it.’ It means approaching paintings and poems without expecting immediate returns. In my experience, the way of surprise lies in listening to a community of friends bear witness to what has captivated them and letting my puzzlement be an impetus to explore new territory. When Shane McCrae gushes about a poet who has felt inaccessible to me, I assume I have something to learn. And so I taste and see. A life hungry for aesthetic surprise does not settle for daily doses of predictably poignant comfort; instead, I need to expose my palate to strange, maybe even unsavory tastes as a way of making myself available for the sublime. While we can’t manufacture the surprise, we can learn to make ourselves available.” Read more at the link.
Reminds me of a creative prompt given last November by Corey Frey of The Well Collaborative in Frederick, Maryland: “Find a challenging poem or work of art or piece of music that doesn’t trigger your appreciative mechanism quite so easily. Sit with it. Let it confuse you. Allow its toe to creep in the crack of the door of your respect (re-spect: look a second time).”
EXHIBITION: Otherwise/Revival, Bridge Projects, Los Angeles, April 9–June 26, 2021: Curated by Jasmine McNeal and Cara Megan Lewis, this group exhibition visualizes the impact of the historic Black church—specifically the Black Pentecostal movement—on contemporary artists. Included are several artists I’ve featured on the blog before—Lava Thomas [here], Kehinde Wiley [here], Clementine Hunter [here], Letitia and Sedrick Huckaby [here]—plus twenty-six others.
I regret that I won’t be able to see the exhibition in person, but there’s a wealth of relevant content available on the gallery’s website, including photos, artist bios and statements, and commentaries. I haven’t fully delved in yet, but some of the artist names are new to me, and I look forward to jumping over to their websites to learn more. There’s also a series of free events that have been scheduled. The premiere of the virtual music performance yes! lord by Ashton T. Crawley and a symposium on the Azusa Street Revival have already passed (both are archived online for on-demand viewing), but here are some upcoming opportunities you can reserve a spot for:
- May 1: “Jazz and the Gospel” with Daniel E. Walker, Ashon T. Crawley, Dario Robleto, Norman Teague, Lava Thomas, and Folayemi (Fo) Wilson
- May 15 (in-person): “Beauty Redeemed: The History and Celebration of African American Spirituals,” a lecture-performance by Ruth Naomi Floyd
- May 22: “Process and Language” with Linnéa Gabriella Spransy Neuss, Kenturah Davis, Caroline Kent, and Christina McPhee
- May 29: “Photography and Representation” with Susan Anderson
- June 5: “Pentecostalism, Soul Music, and the Winding Road of Racial Healing” with David M. Bailey
- June 12: “Healing Pathways: Reclaiming Art and Spirituality” with Dr. Thema Bryant-Davis
ARTICLE: “5 Films About the Beauty of Resurrection” by Brett McCracken: “Resurrection’ tropes are so familiar in certain genres that they can numb us to the jarring beauty and bracing surprise of resurrection. But other films capture the magic and shock of resurrection by situating it within more mundane realities and contexts. Here are five of my favorite examples of this kind—movies that capture resurrection in all of its miraculous, unsettling, hope-giving glory.” One of his selections is Happy as Lazzaro, which I saw last year and enjoyed:
>> Hymns I by Lovkn: Steven Lufkin is a singer-songwriter from Phoenix, Arizona, recording under the name Lovkn. His latest EP, a collection of eight acoustic hymn covers, was released April 2. (Also, he’s currently raising funds to record an album of original songs, to be released later this year: kickstarter.com/projects/lovkn/new-album-2021.)
>> Prayers for the Time of Trial by Joel Clarkson: Released April 7, this EP comprises five original SATB choral compositions by Joel Clarkson, which he recorded with his sister Joy Clarkson. My favorite is the first, “Lighten Our Darkness,” a setting of the Book of Common Prayer’s Collect for Aid Against Perils: “Lighten our darkness, we beseech thee, O Lord; and by thy great mercy defend us from all perils and dangers of this night; for the love of thy only Son, our Savior, Jesus Christ. Amen.”
The other four are “Sub Tuum Praesidium” (Beneath Thy Protection), a third-century hymn to the Virgin Mary as Theotokos; “Hail King,” a poem by Joel’s other sister, Sarah Clarkson, that marvels how rocky cliffs and sea waves and herring gulls sing God’s praises in their own way; “Ubi Caritas,” an ancient hymn centered on the theme of Christian charity; and the simple benediction “May the peace of the Lord be with you now and always.”
In addition to composing music, Joel is also a professional audiobook narrator and the author of Sensing God: Experiencing the Divine in Nature, Food, Music, and Beauty.
ORTHODOX CHANT: Russian Kontakion of the Departed: At Prince Philip’s funeral service at St. George’s Chapel at Windsor Castle on April 17, a choir of four sang, among other pieces, the Russian Kontakion of the Departed, translated into English by William John Birkbeck and arranged by Sir Walter Parratt. “The Russian Kontakion of the Departed is an ancient Kiev chant with its origins in the Russian Orthodox liturgy. This moving chant expresses the sorrow of grief but reminds us of the Christian hope of everlasting life; in the face of sadness, we sing Hallelujahs.” [HT: Global Christian Worship]
Give rest, O Christ, to thy servant with thy saints:
where sorrow and pain are no more;
neither sighing but life everlasting.
Thou only art immortal, the creator and maker of man:
and we are mortal formed from the dust of the earth,
and unto earth shall we return:
for so thou didst ordain,
when thou created me saying:
Dust thou art und unto dust shalt thou return.
All we go down to the dust;
and weeping o’er the grave we make our song:
Alleluia, alleluia, alleluia.
VISUAL LITURGY: “After Ezekiel” by Madeleine Jubilee Saito: Remember those flip books you probably encountered as a kid—the ones with a series of images that gradually change from one page to the next, giving the illusion of animation when viewed in quick succession? Well, this is a digital version of that. In 2019 cartoonist and illustrator Madeleine Jubilee Saito created an image sequence intended to be swiftly clicked through as part of the Easter Vigil at a church in Boston. It was inspired by the story of Ezekiel in the valley of dry bones (Ezek. 37). Very compelling!
As the church continues in this fifty-day season of Eastertide to celebrate the resurrection of Christ, here are some songs I’ve come across for the occasion and really enjoyed. A few are brand-new, while others are new performances.
Good Shepherd New York, a church in Manhattan, has a phenomenal team of in-house musicians and collaborators from coast to coast. They provide music for weekly digital worship services as well as release recordings under the name Good Shepherd Collective. Check out their Easter service from April 4! The songs are listed below.
- “Christ the Lord Is Risen Today” by Charles Wesley / “Celebrate Jesus” by Gary Oliver (1:35)
- “Here Comes the Sun” by the Beatles (3:50)
- “Morning Has Broken” by Eleanor Farjeon (6:59)
- “Easter Dawn” by David Gungor (11:31)
- “Because He Lives” by Bill Gaither (15:27)
- “Waymaker” by Donald Vails (20:45)
The GSC has posted “Here Comes the Sun” as a standalone video on Instagram. It features Brennan Smiley on lead vocals and acoustic guitar; Liz Vice on harmonizing vocals; Charles Jones on Hammond organ; John Arndt on piano; Jesse Chandler on flute, clarinet, and saxophone; Joseph M on electric guitar; Tyler Chester on bass guitar; and McKenzie Smith on drums. The art and stop-motion animation are by Boston-based artist Soyoung L Kim.
“Hallelujah” (Chorus) from the Messiah by George Frideric Handel, 1742 | Performed by the Orquesta Barroca Catalana (Catalan Baroque Orchestra), the Barcelona Ars Nova choir, and 352 other singers, 2020 [HT: Global Christian Worship]
Last year the Fundación la Caixa in Barcelona launched project #YoCanto Aleluya, soliciting professional and amateur singers alike throughout Spain and Portugal to be part of a “virtual choir,” a phenomenon that has exploded since the pandemic has made live musical concerts a health risk. Participants were asked to submit a video of themselves singing Handel’s famous “Hallelujah” chorus. Igor Cortadellas of Igor Studio then developed a concept for digitally merging all 352 submissions by projecting them on the interior architecture of Barcelona’s Basilica of Santa Maria del Mar (or overlaying them in postproduction?), and he directed a small team to execute this vision. What a feat! The final video was released a few months ago at Christmastime.
“Hallelujah” concludes part 2 of 3 of the oratorio, which covers Christ’s passion and death, resurrection, ascension, and the first spreading of the gospel. The words of the chorus are taken from Revelation 19:6, 11:15, and 19:16. For another blog post featuring an excerpt from Handel’s Messiah, see the Artful Devotion “Worthy Is the Lamb.”
“Easter Dawn” | Words by Malcolm Guite, 2012 | Music by Zebulon M. Highben, 2021: A conductor, composer, and scholar of sacred music, Dr. Zebulon M. Highben serves as director of chapel music at Duke University. This year he wrote a choral setting of Malcolm Guite’s sonnet “Easter Dawn,” about Mary Magdalene’s encountering the risen Christ on Easter morning. Sung by the Duke Chapel Choir, it premiered last Sunday as part of the chapel’s Easter service and will be part of the online spring concert “Faith & Hope & Love Abide: Meditations on Resurrection,” which goes live tomorrow (April 11) at 4 p.m. EDT (view the program).
“Keep the Feast (Pascha Nostrum)” by Ryan Flanigan: For this new song, Ryan Flanigan of Liturgical Folk adapted the words of the Pascha Nostrum (“Our Passover”), a traditional Christian hymn for Eastertide that, after the Reformation, was preserved in English in the Book of Common Prayer. It is based on 1 Corinthians 5:7–8, Romans 6:9–11, and 1 Corinthians 15:20–22. Flanigan wrote a fun new melody for it, which he demos here.
“Zinda Yeshua (Jesus Is Alive)” by Blesson Varghese and James Bovas: This Hindi-language Easter song is from Grace Ahmedabad, an Assemblies of God church in the Indian state of Gujarat. James Bovas sings lead, with Priscilla Mozhumannil on supporting vocals. See the YouTube description for a full list of credits. [HT: Global Christian Worship]
“Judah’s Lion” | Words by Fulbert of Chartres, ca. 975–1028, and Rick Barnes, 2016 | Music by Rick Barnes, 2016 | Performed by Covenant Presbyterian Virtual Choir and Orchestra, Birmingham, Alabama, 2021