Roundup: Upcoming webinars and conferences

ONLINE LECTURES organized by the Centre for Marian Studies at St Mary’s University in Twickenham:

If you’d like to register for either of these (they’re free), email Catherine O’Brien at info@marianstudies.ac.uk. View additional online lecture offerings at https://www.marianstudies.ac.uk/post/research-seminar-schedule.

>> Annual Candlemas Lecture by Ayla Lepine, February 3, 2025, 7 p.m. GMT (2 p.m. ET): Rev. Dr. Ayla Lepine, who is the associate rector at St James’s Piccadilly in London and an art historian and theologian, “will explore two works of art featured in her forthcoming book, Women, Art, God. In the series entitled The Annunciation (A Study), Julia Margaret Cameron reimagined and reconfigured paintings by Renaissance artists including Perugino and Lippi. In her photography, blurred and hazy aspects of the image are suggestive of the Holy Spirit in this new technology.

“A century later, the American nun Sister Corita Kent produced a groundbreaking silkscreen print, The Juiciest Tomato of All. This artwork compared the Virgin Mary to a ripe fruit, with a title inspired by Del Monte tinned fruit and vegetable slogans from her local supermarket. By considering these two artworks by women from the nineteenth and twentieth centuries as a pair, new ways of encountering Mary in art history, theology, and prayer can emerge with unexpected resonance for the twenty-first century.”

Cameron, Julia Margaret_Annunciation
Julia Margaret Cameron (British, 1815–1879), After Perugino / The Annunciation, 1865. Albumen print from wet collodion glass negative, 19 1/2 × 15 in. Victoria and Albert Museum, London.

Kent, Corita_the juiciest tomato of all
Corita Kent (American, 1918–1986), the juiciest tomato of all, 1964. Serigraph, 29 3/4 × 36 in. © Estate of Corita Kent / Immaculate Heart Community.

>> “The Annunciation in Theology and Art: Shedding New Light on an Old Doctrine” by Tina Beattie, March 26, 2025, 3 p.m. GMT (10 a.m. ET): No details other than the title have been given about this lecture. But the speaker is a leading Marian theologian and writer whom I’ve been familiar with for some time, and an emerita professor of Catholic studies at the University of Roehampton. Her research is in the areas of gender, sexuality, and reproductive ethics; Catholic social teaching and women’s rights; theology and the visual arts, especially images of Mary; and the relationship between medieval mysticism, sacramental theology, and psychoanalytic theory.

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WEBINAR with Drew Jackson, Eugene Peterson Center for Christian Imagination, February 4, 2025, 7 p.m. ET: A conversation on the intersection of poetry, ministry, and Christian imagination. Registration is free. “Drew Jackson is a poet, speaker, and public theologian. He is author of God Speaks Through Wombs: Poems on God’s Unexpected Coming and Touch the Earth: Poems on the Way. . . . Drew received his B.A. in Political Science from the University of Chicago and his M.A. in Theology from Fuller Theological Seminary. He currently works as the Managing Director of Mission Integration for the Center for Action and Contemplation, and lives in Brooklyn, NY, with his wife and daughters.”

Webinar with Drew Jackson

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CONFERENCES/SYMPOSIA:

>> Calvin Symposium on Worship, Calvin University, Grand Rapids, Michigan, February 5–7, 2025: “An ecumenical conference dedicated to worship and learning, bringing together people in a variety of roles in worship and leadership from across the country and around the world.”

>> Contemporary Art as/in Pilgrimage, Columbia University, New York, February 11, 2025: Organized by the Association of Scholars of Christianity in the History of Art, this one-day symposium “will explore such questions as: Are galleries, museums, art expos, and art installations the new ‘slow spaces’ for spiritual sustenance and transcendent experiences? How are temples, churches and other ‘religious’ sites transformed by artist installations intended to invoke deep spiritual encounter and healing? And how is the art of contemporary artists working in a diversity of media and practice seen through the lens of pilgrimage?”

The keynote speaker is Kathryn R. Barush, author of Imaging Pilgrimage: Art as Embodied Experience (Bloomsbury, 2021). She will be joined by eleven other presenters. Plus, Elissa Yukiko Weichbrodt, author of Redeeming Vision: A Christian Guide to Looking at and Learning from Art, will lead attendees in the practice of intentional looking at the Cathedral of Saint John the Divine.

Our Lady of Ferguson
Mark Doox (American, 1958–), Our Lady, Mother of Ferguson and All Those Killed by Gun Violence, 2016. Acrylic and gold leaf on wood, 48 × 36 in. Cathedral of Saint John the Divine, New York. Photo: Victoria Emily Jones, 2022.

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Meredith Bergmann (American, 1955–), September 11th: A Memorial, 2012. Bronze on pedestal of steel and glass, containing reinforced concrete and brick from the rubble of the World Trade Towers, 78 × 22 × 24 in. Cathedral of Saint John the Divine, New York. Photo: Victoria Emily Jones, 2022.

>> Square Halo Conference, Trust Performing Arts Center, Lancaster, Pennsylvania, March 7–8, 2025: “The Square Halo conferences have offered times not only of fascinating and inspiring ideas in a high caliber of wide and varied presentations, but also of rich, meaningful interactions, dialogue, and (in a deep sense of this word) fellowship. Creativity, collaboration, and community . . . an apt description of what [takes] place” (Matthew Dickerson).

The keynote speaker is Diana Pavlac Glyer, who teaches literature, history, theology, and philosophy in an integrated Great Books curriculum at Azusa Pacific University, and the Saturday-night concert will feature Thomas Austin and Skye Peterson.

>> The Breath and the Clay, Winston-Salem, North Carolina, March 21–23, 2025: “This year we will explore how the light gets in through the fragments of our stories, our lives and our art. We are each built of broken pieces, a mosaic of joys and sorrows, of mundane and miraculous happenings. When we surrender the full spectrum of our human experience, even our pain, doubts and sorrows can heal into art. Through our workshops, keynote talks, immersive gallery and performances, we will explore various facets of the creative life and how everything from inspiration to the everyday, from family to vocation and community coalesce to reveal a hidden wholeness.”

Presenters include Sho Baraka, Vesper Stamper, Justin McRoberts, Cheryl Bridges Johns, Elissa Yukiko Weichbrodt, and more.

>> Illuminate: Art and Faith, Southern Adventist University, Collegedale, Tennessee, March 31–April 1, 2025: “Author and theologian Frederick Buechner famously wrote, ‘Pay attention to the things that bring a tear to your eye or a lump in your throat because they are signs that the holy is drawing near.’ Paintings, poetry, music, and other creative mediums hold strong potential to do just that—to indirectly communicate powerful truths, many of which have eternal consequences. Are we open to what they’re telling us? Will we utilize these tools to share important stories (including The Story) with others? Join us for two rich days of education, inspiration, and community! . . .

“This year’s conference will include a variety of hands-on workshops (flash fiction, drawing, songwriting), as well as sessions exploring fascinating figures, including C. S. Lewis, Madeleine L’Engle, Eugene Peterson, Kurt Vonnegut, Dorothy Sayers, Vincent van Gogh, Norman Rockwell, Ludwig van Beethoven, Duke Ellington, and many more.”

Among the session leaders and performers are art historian Elissa Yukiko Weichbrodt (Redeeming Vision), writer Douglas McKelvey (Every Moment Holy), film and literature scholar Mary McCampbell (Imagining Our Neighbors as Ourselves), pastor Russ Ramsey (Van Gogh Has a Broken Heart; Rembrandt Is in the Wind), illustrator John Hendrix (The Mythmakers; Go and Do Likewise!), and singer-songwriter Andy Gullahorn.

>> Visible and Invisible: Surprising Encounters in Theology and the Arts (DITA 2025), Duke University, Durham, North Carolina, September 4–7, 2025: I’ll be attending this one! Organized by Duke Initiatives in Theology and the Arts. “How can the arts help us open up the very heart of the Christian faith, celebrated at the Council of Nicaea in 325, that Jesus Christ is ‘one in being’ with God? Featuring world-class academics, artists, musicians, and clergy from around the globe and a robust range of programming, DITA2025 is a four-day symposium at Duke University celebrating Nicaea and the myriad surprises the Creed holds in store for artists, academics, clergy, and parishioners today. . . .

“By pairing theologians with poets, clergy with novelists, dancers with liturgists, musicians with scholars, the symposium will generate a series of meetings rarely offered in academic and artistic settings. Including interactive keynotes, plenary presentations, seminar lectures, applied workshops, an evening concert, and more, DITA2025 is a unique opportunity to experience the arts and the academy in action.”

Leah Glenn
Dancer and choreographer Leah Glenn performs an original work, The Youngest of Nine, at DITA 2019.

Speakers include Rowan Williams, Chigozie Obioma, Natalie Carnes, Sandra McCracken, James K.A. Smith, Malcolm Guite, Amy Peeler, and Josh Rodriguez. Early-bird registration ends February 15.

Roundup: World-rhythm hymns, the Hillbilly Thomists, 19th-century gameboards, and more

CALL FOR APPLICATIONS: 2025 Artist Residency at Village Church, Beaverton, Oregon:Village Church is seeking an Artist in Residence for 11 months of 2025, February to December, to create a lasting, creative impact on the wider community and church. The artist will create original work, lead art showcases, inspire future generations, and use art as a bridge between the tech culture surrounding the church, with the spiritual and theological. This residency offers the chance to create art that reflects God’s beauty, promotes worship, and connects people in meaningful ways.”

Applicants must have a minimum of five years of experience. If chosen, you will receive a monthly stipend, free housing, and studio space and will have the cost of all art supplies covered. The pastor tells me that the original application deadline of January 15 is being extended.

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NEW(ISH) ALBUM: The Hymnal by Life in Grooveland: Released last April. From World Music Central: “Life in Grooveland’s The Hymnal reimagines traditional hymns with dynamic, world music-influenced rhythms, creating an album that brings together spirituality and groove. Produced and arranged by Nashville session drummer and percussionist Justin Amaral, this fascinating instrumental collection features ten exquisitely crafted duets presenting some of Nashville’s most talented and inventive musicians, including Jeff Coffin (Dave Matthews Band, Béla Fleck), Fats Kaplin (Mitski, Jack White), Paul Niehaus (Lambchop), and Billy Contreras (Ricky Skaggs). Amaral’s versatile drumming, which ranges from subtle to explosive, provides the backbone for each track, layering rhythm to amplify each hymn.” Thanks to blog reader Ted Olsen for bringing this to my attention!

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PODCAST EPISODE: “The Hillbilly Thomists: Bourbon, Bluegrass, and the Bible,” No Small Endeavor: I really enjoyed this! “There aren’t many Billboard-charting bluegrass bands made up entirely of Dominican friars, who play their shows clad in white tunics and rosaries. In fact, there is precisely one such band: the Hillbilly Thomists. ‘A Thomist is someone who follows the thought and theological teaching of Saint Thomas Aquinas,’ they explain. ‘We combine it with a little bit of humor about our human condition.’ In this episode, they talk about their theology and vocation, as well as how they manage life on the road as priests who have taken a vow of poverty. Plus, they give live performances of some of their finest songs.”

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NEW POEM: “Jesus, Son of Gop” by Sarah M. Wells: Exposing the ridiculousness of followers of the nonviolent Christ sanctioning violence, this satirical poem is a response to a politician’s egregious misappropriation of the apostle Paul’s “armor of God” language. It’s an alternate history that rewrites how Jesus’s arrest in the garden went down. Listen to Wells discuss the poem on The Reformed Journal Podcast.

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EXHIBITION: Playing with Design: Gameboards, Art, and Culture, September 13, 2024–January 26, 2025, American Folk Art Museum, New York City: I saw this show last weekend and was absolutely delighted by it! Curated by Emelie Gevalt with Austin Losada, it features over one hundred handmade gameboards, mostly nineteenth century, from the exuberant collection of Bruce and Doranna Wendel. Many are of familiar games I used to play as a child—Parcheesi (which I learned originated in India, its name an adaptation of the Hindi word for “twenty-five”), checkers, Chutes and Ladders—and others are creative variations on the typical racing board game. There is also a fortune-telling game, in the vein of the Magic 8 Ball! The objects on display—hand-carved and hand-painted and from the imaginations of common folk—are interesting both culturally and aesthetically.

Gameboards exhibition

Two that made me chuckle contain religious references. “Gameplay, especially cards, was sometimes thought to encourage vice, in particular gambling or idleness,” the gallery label reads. So board makers sometimes incorporated spiritual aphorisms or precepts into the design to counteract the corrupting influence and remind players to uphold Christian virtues even in moments of leisure. A Parcheesi board instructs players to “Love God by loving each other”—and I can’t make out what the Chinese checkers board says, other than “The Lord . . . your . . . God . . .”

Parcheesi Board
Possibly Ira M. Countryman or Jimmy Hall, Parcheesi Board, late 19th century. Paint on wood, 21 × 21 in. American Folk Art Museum, Gift of Doranna and Bruce Wendel, 2024.7.3. Photo: Victoria Emily Jones.

Chinese Checkers Board
Possibly George Clark, Chinese Checkers Board, late 19th or early 20th century. Paint on wood, 17 1/2 × 15 in. Collection of Doranna and Bruce Wendel. Photo: Victoria Emily Jones.

There are just two weeks left to see the exhibition. (And as I mentioned in November, there’s also an exhibition of Shaker gift drawings on view, also through January 26.) View more photos at the AFAM link above, and also here.

The American Folk Art Museum is one of the few FREE museums in New York, and I’ve enjoyed it so much every time I’ve been there. (See the blog post “The biblical imagination of folk sculptor Annie Hooper,” documenting one of my previous visits.) It’s small—only three galleries. It’s on the Upper West Side of Manhattan, right off the Lincoln Center subway stop.

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Interested to see what books I read in 2024? Goodreads has put together a “My Year in Books” page! Follow me on Goodreads if you want to stay apprised of my latest reads, want-to-reads, and star ratings.

My Year in Books

Epiphany: Nothing but a Child

LOOK: The Nativity of Christ by Irakli Parjiani

Parjiani, Irakli_The Nativity of Christ
Irakli Parjiani (Georgian, 1950–1991), The Nativity of Christ, 1990. Oil on canvas, 100 × 132 cm.

LISTEN: “Nothing but a Child” by Steve Earle, on Copperhead Road (1988)

From the compilation album To: Kate—A Benefit for Kate’s Sake, sung with Allison Moorer, 2005:

Once upon a time in a far-off land
Wise men saw a sign and set out across the sand
Songs of praise to sing, they traveled day and night
And precious gifts to bring, guided by the light

They chased a brand-new star, ever towards the west
Across the mountains far, but when they came to rest
They scarce believed their eyes, they’d come so many miles
And this miracle they prized was nothing but a child

Refrain:
And nothing but a child could wash those tears away
Or guide a weary world into the light of day
And nothing but a child could help erase those miles
So once again we all can be children for a while

Now all around the world, in every little town
Every day is heard a precious little sound
And every mother kind and every father proud
Looks down in awe to find another chance allowed [Refrain]

Outro:
Nothing but a little baby
Nothing but a child


This is the final post in my 2024/25 Advent–Christmas series. Thanks for journeying with me! If you feel so led, please consider donating; I’ve been having trouble with the embedded Stripe form often rejecting credit cards and then WordPress disabling it (do any of you know of a secure but reliable credit card processor that does not require donors to make an account and that integrates well with WordPress?), but PayPal and Amazon are still options.

I wish you all a very happy Epiphanytide!

Christmas, Day 12: The Brown King

LOOK: Breaking Point, etc., by Rosa-Johan Uddoh

Uddoh, Rosa-Johan_Breaking Point
Rosa-Johan Uddoh (British, 1993–), Breaking Point, 2021. Billboard-style collage. Photo: Anna Lukala, from Practice Makes Perfect, Focal Point Gallery, Southend-on-Sea, England, May 18–August 28, 2021.

Uddoh, Rosa-Johan_Breaking Point (detail)
Rosa-Johan Uddoh, Breaking Point (detail)

Rosa-Johan Uddoh is an interdisciplinary artist based in London who, “through performance, writing and multimedia installation, . . . explores places, objects and celebrities in British popular culture, and their effects on self-formation,” she writes on her website.

In her first institutional solo show, Practice Makes Perfect at Focal Point Gallery in Southend-on-Sea, she explored how the white European imagination constructed Blackness through the figure of Balthazar, who according to Christian tradition was one of the three magi who visited the infant Jesus, offering him the gift of myrrh. Since the fifteenth century Balthazar has typically been depicted as Black, as it was imagined that he came from Africa (whereas the other two magi were supposedly from Europe and Asia, the three known continents at the time). Uddoh notes that Balthazar is one of the first Black people of importance that British schoolchildren encounter, and in fact the first public performance she ever gave was as Balthazar in a primary-school Nativity play, a role she had been cast in by her teacher.

The centerpiece of the Practice Makes Perfect exhibition was Breaking Point, a billboard-sized mural that depicts 150 Black Balthazars extracted from European paintings from the late Middle Ages onward and rearranged into friendship groups. These groupings “allow Balthazar to escape the isolation associated with being the only Black character of importance in Christian iconography whilst also highlighting that the Black figures behind the artistic imagery were real sitters, which is also a testament to early African immigration into Europe, a phenomenon often overlooked in mainstream history.”

Installed on either side of Breaking Point was a scroll bearing a piece of experimental writing by Uddoh, titled Nativity. (She later performed this text in 2022 at the London art gallery Workplace, with Adeola Yemitan and Ebunoluwa Sodipo.) It opens, “In the beginning, they did the Nativity. Everyone in it was pink; well, the main characters anyway . . .”

Uddoh, Rosa-Johan_Nativity
Nativity, 2022, performance by Rose-Johan Uddoh with Adeola Yemitan and Ebunoluwa Sodipo at Workplace, London. Photo: Damian Griffiths.

In 2022 Uddoh expanded this body of work with another solo show, Star Power at Workplace. It featured the series You Can Go Ahead and Talk Straight to Me and I Sell the Shadow to Support the Substance (scroll through select images below), the artworks made of acrylic and vinyl on board. The former title is a quote from Toni Morrison’s 1975 speech “A Humanist View,” given at Portland State University as part of a public forum on the theme of the American Dream. The latter is a quote from Sojourner Truth—she wrote the phrase on the bottom of a self-portrait she took, selling copies of it across America to raise funds for her abolitionist activism.

  • Uddoh, Rosa-Johan_Star Power
  • Uddoh, Rosa-Johan_Star Power
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Lastly, here’s an amusing collage from Practice Makes Perfect:

Uddoh, Rosa-Johan_Get up mate, we're going to the protest
Rosa-Johan Uddoh, Get up mate, we’re going to the protest, 2021

The image of the three kings in bed is taken from the ca. 1480 Salzburg Missal. (In the original they’re inside an initial E, which introduces the text for the introit for the Feast of the Epiphany, “Ecce advenit dominator Dominus.”) In the Middle Ages it was common for artists to depict the magi in bed together when they receive the angelic warning not to reveal the location of the baby Jesus to King Herod, who intends to harm him (Matt. 2:12). There’s nothing sexual about it—it’s just a compositional practicality, to show the three men in one space, having the same dream at the same time.

In Uddoh’s playful remix, she has a slew of Balthazars leaning over the bed to wake up their sleeping comrade so that he can join them in a protest for racial justice.

LISTEN: The Ballad of the Brown King by Margaret Bonds, 1954, rev. 1960 | Words by Langston Hughes, 1954/60 | Arranged by Malcolm J. Merriweather for strings, harp, and organ, 2018 | Performed by the Dessoff Choirs and Orchestra, dir. Malcolm J. Merriweather, on Margaret Bonds: The Ballad of the Brown King and Selected Songs, 2019 (soloists: Laquita Mitchell, soprano; Noah Stewart, tenor; Lucia Bradford, mezzo-soprano; Ashley Jackson, harpist)

I encourage you to listen to all nine movements! (The piece is twenty-five minutes long.) But if you want just a taste for now, here are two selections: movements 1 and 7.

I. Of the Three Wise Men

Of the three wise men who came to the King
One was a brown man, so they sing
Alleluia, Alleluia

Of the three wise men who followed the star
One was a brown king from afar
Alleluia, Alleluia

. . .

VII. Oh, Sing of the King Who Was Tall and Brown

Oh sing of the king who was tall and brown
Crossing the desert from a distant town
Crossing the desert on a caravan
His gifts to bring from a distant land
His gifts to bring from a palm tree land
Across the sand by caravan
With a single star to guide his way to Bethlehem
To Bethlehem where the Christ child lay

Oh sing of the king who was tall and brown
And the other kings that this king found
Who came to put their presents down
In a lowly manger in Bethlehem town
Where the King of kings a babe was found
The King of kings a babe was found
Three kings who came to the King of kings
And one was tall and brown

Margaret Bonds (1913–1972) was an African American composer, pianist, arranger, and teacher, best remembered for her popular arrangements of African American spirituals and her frequent collaborations with her friend Langston Hughes, especially the cantata The Ballad of the Brown King.

Dedicated to Rev. Dr. Martin Luther King Jr., The Ballad of the Brown King honors the African king Balthazar of Christian tradition, a figure extrapolated from the Gospel of Matthew’s account of the “wise men from the east” who came to worship the Christ child and bestow gifts. Bonds wanted to celebrate the wisdom and devotion of this dark-skinned brother, and his active presence at the Nativity, giving “the dark youth of America a cantata which makes them proud to sing,” she wrote in a letter.

She commissioned Hughes to write the libretto. She wrote to him, “It is a great mission to tell Negroes how great they are.” Remember, this was at the burgeoning of the civil rights movement. There were very few images of Black wealth and admirability being projected by mainstream culture at the time. Balthazar was an exception.

The Grammy-nominated conductor Malcolm J. Merriweather, who fueled a revival of interest in Bonds’s work (more on him below), said in an interview with Presto Music:

Regardless of the racial accuracy, this narrative [of an African king participating in the story of Christ’s birth] gives African Americans a positive image rarely portrayed in history, books, and art. A brown sovereign, traveling in majesty and splendor? It is unheard of. African Americans are not just descendants of slaves; we come from great kings or queens that ruled kingdoms with sophisticated political and economic systems on the continent of Africa.

The initial version of The Ballad of the Brown King premiered in December 1954, but Bonds and Hughes later revised and expanded it. The new version premiered December 11, 1960, at the Clark Auditorium of the YWCA in New York, sung by the Westminster Choir of the Church of the Master. The concert was presented as a benefit for the Southern Christian Leadership Conference.

The cantata is made up of nine movements with parts for soprano, tenor, baritone, and choir. Stylistically, the work has been described as neo-Romantic, but it also draws on gospel, jazz, blues, and calypso traditions.

The only commercial recording ever made of it is the one released by Avie Records in 2019. Newly arranged by Malcolm J. Merriweather, the piece is performed there by the Dessoff Choirs and Orchestra under Merriweather’s direction.

Bonds had scored the cantata for full orchestra—brass, woodwinds, strings (including harp), and percussion. But because hiring an orchestra of that size is expensive and he wants to see this work more widely performed, including in church contexts, Merriweather arranged the piece for a pared-down ensemble of harp, strings, and organ, omitting the winds and brass (whose parts he essentially absorbed into the new organ part). He also enlivened the harp part to add texture.

For more context on Bonds and on this most popular cantata of hers, here’s a great thirty-minute conversation between John Banther and Evan Keeley from a 2022 episode of the Classical Breakdown podcast, produced by WETA Classical in Washington, DC:

Epiphany roundup: 12+ ways to celebrate, Ted Nash’s “We Three Kings,” and more

BLOG POST: “On the Twelfth Day of Christmas: 12+ ways to keep celebrating with the rest of the world (loads of links!)” (Watch & Do for Twelfth Night and Epiphanytide) by Tamara Hill Murphy: In this blog post from 2019, spiritual director and writer Tamara Hill Murphy has compiled a wonderful roundup of resources for Twelfth Night (January 5) and the Feast of Epiphany (January 6), on such things as chalking the door, stargazing, making origami Christmas stars, baking a Three Kings Cake, Three Kings Day parades, Christmas tree bonfires, and more. She shares several videos, including this one of Denis Adide reading “The Journey of the Magi” by T. S. Eliot, shot in locations around Bristol:

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INSTRUMENTAL JAZZ: “We Three Kings,” arr. Ted Nash: This Grammy-nominated arrangement by Ted Nash of “We Three Kings” is performed by the Jazz at Lincoln Center Orchestra, directed by Wynton Marsalis (the trumpeter in the Santa hat), featuring Nash on soprano sax.

I really love this unique rendition, which, with all its dissonance, is different from all the others I’m familiar with. James Johnson, one of the YouTube commenters on the video, writes: “I think this rendition is transporting. Listen to it. Close your eyes and you can feel the hot dry wind of the desert blowing in your face. You may wonder why make this trip at all, and then, that star. That amazing star. Yep, we can make it past a few more dunes, beyond Herod, and on to . . . ‘a manger’? And the rhythm section just pushes me on. . . . This earthly trinity, Melchior, Caspar, and Balthazar, are the hippest trio in Jerusalem and I want to go where they go, know what they know.”

This performance appears on the orchestra’s live album Big Band Holidays (2015) [previously].

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NEW ARTWORK: Christmas in the Air Raid Shelter by Olya Kravchenko: For Christmas 2024, with Russia still deploying cruise missiles and suicide drones against Ukraine, Ukrainian iconographer Olya Kravchenko constructed a three-dimensional painting that shows the Holy Family huddled in the basement of an apartment complex, hiding out from air raids. A large, bright star hovers overhead, showing the three magi to the spot where Jesus lies.

Kravchenko, Olya_Christmas in the Air Raid Shelter
Olya Kravchenko (Ukrainian, 1985–), Christmas in the Air Raid Shelter, 2024. Plywood, tempera, and gilding, 67 × 40 × 25 cm.

This piece can be seen through January 26 at the eighty-fourth annual Krippenausstellung (Nativity Scene) exhibition at RELiGIO: Westfälisches Museum für religiöse Kultur (Westphalian Museum of Religious Culture) in Telgte, Germany, whose theme is “Heller Stern” (Bright Star).

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SONG: “Magi, Kings of Persia” by Michael Adamis, from the suite 4 Christmas Idiomela: Performed by Cappella Romana under the direction of Alexander Lingas, this choral piece by the Greek composer Michael Adamis (1929–2013) is a setting of an Eastern Orthodox liturgical text for Christmas that translates to:

The magi, kings of Persia, manifestly recognizing the King of heaven who was born on earth, arrived in Bethlehem, led by the radiant star, bearing choice gifts of gold, frankincense and myrrh; and falling down, they offered worship, for they beheld the Timeless One lying in the cave as a babe.

The video is from Cappella Romana’s 2020 Christmas concert.

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BLOG POST: “‘So glorious a gleam, over dale and down’” by Eleanor Parker: Medievalist Eleanor Parker shares two medieval English carols (text only; the original music does not survive) about the visit of the magi, a popular theme in that era. She translates them into modern English and provides commentary.

Christmas, Day 11: Maligayang Pasko! (Merry Christmas)

LOOK: Ang Kahulugan ng Pasko by Kristoffer Ardeña

Ardeña, Kristoffer_The Meaning of Christmas
Kristoffer Ardeña (Filipino, 1976–), Ang Kahulugan ng Pasko (The Meaning of Christmas), 1995. Acrylic on chipboard, 59 × 45 cm. © missio Aachen.

About 88 percent of the population of the Philippines is Christian—it’s the only Asian country where Christianity predominates—and Christmas is the most festive holiday of the year.

Filipino artist Kristoffer Ardeña celebrates the Christmas story and its ongoing impact in his painting Ang Kahulugan ng Pasko, which translates to “The Meaning of Christmas.” He wrote the following extended statement about it for the December 1996 issue of Image: Christ and Art in Asia, a publication of the Asian Christian Art Association. From what I can tell, this organization is no longer active.

Christmas—what does it really mean to us? Parties, extravagant decorations, frivolous gifts and all those materialistic things—do they manifest the true meaning of Christmas?

Sometimes we get so used to celebrating Christmas that we forget the truth behind it. In my painting Ang Kahulugan ng Pasko I want to express what Christmas means to me and to the ordinary people whom we hardly notice.

The Christmas lantern

The most popular Philippines Christmas symbol is the star lantern, or parol (see top of artwork). All that is needed to make a star lantern are ten long and five short bamboo sticks, string, starch and paper.

Although rice paper was traditionally used to cover the lantern, nowadays Japanese paper, foils or plastics are used and bulb lights have replaced the traditional candle inside the lantern.

The star lantern is a Filipino innovation of the Mexican piñata which was introduced to our country during the Spanish colonial period.

The five-pointed star lantern represents the star of Bethlehem. Stars produce the elements that make life possible, and in death they sow the seeds of new stars and planets across the heavens. The earth is built in part from the ashes of dead stars, and I think human beings are literally star children. We and all other life forms are collections of atoms forged in stellar furnaces.

It was through this star that the shepherds and the magi were guided, and it may well be the same star that calls us to remember and beckons us to search for the child in the manger—for he is the truth behind Christmas.

By living and dying, a star generates new worlds; the life and death of the infant that the star of Bethlehem symbolises created a new spiritual world.

The banig, or native handwoven mat

The banig is made from abacca, buri or other dried plant fibres woven together. Motifs and designs differ regionally. The banig is where gatherings happen. It is placed on the ground so that rituals, dialogues, recreation or mere eating sessions may occur. It calls us together, it draws us to gather.

The candles

The use of votive candles most probably came from the Roman practice of burning candles as a mark of respect to a person, and in this painting the candles symbolise respect for Christ. But there is more to a candle. It is believed that candles are also a form of prayer.

During fiestas and other holy occasions we offer candles, and we light candles during birthdays or when we visit our dear departed loved ones.

The bananas

During Christmas our front doors are adorned with three bunches of bananas still attached to their stalks. They are placed there during the Advent season and are not taken down before Epiphany. These bananas represent the Holy Family.

Whenever the visitors come to our home we offer them some of these bananas because we believe that these bananas have been blessed by God and that we should share His blessings with others.

I included these bananas as well as the star lantern in this painting because, just like my ancestors, I believe they add meaning to Christmas.

The people surrounding the Holy Family

(1) The northern tribesman of Luzon and the Metro Aide worker (the one who sweeps and keeps our streets clean). These two represent the people both near (the Metro Aide worker) and far (the tribesman) who have been guided by the star to bear witness to the birth of Jesus, just as the shepherds were led to the manger to pay homage to the king.

I chose the Metro Aide worker because I feel that we get used to his presence when he cleans our streets and we hardly take notice of him or thank him for what he does; yet here he is with his broom, giving praise and thanks.

(2) The fisherman, the vegetable vendor and the balut (duck egg) vendor. The Magi brought gold, incense and myrrh, and here are the fisherman with his best catch, the vegetable vendor with her freshest and best vegetables and the balut vendor with the best duck eggs to offer Jesus.

I placed these people in the painting rather than the rich and extravagantly dressed because I believe that Christmas is universal and for everybody. It is not only for the rich but for the modest poor people as well.

The offering we give to Jesus is not merely an act of human generosity; it is a religious act. It is an act which is sacramental and sacrificial. We have worked on these gifts, and we bring them to Jesus and offer them and offer ourselves.

(3) The comanchero. He is the “marine” of Christmas, the first to welcome and the last to go. He is the caroller. He sings and plays his instruments to the tune of Christmas songs to announce Christmas.

He uses ethnic as well as indigenous instruments—tambourines made of beer bottle caps, drums made of cans and cloth, maracas made of coconut shell with mango seeds inside. Just as the vendors offer their goods, he offers his songs to Jesus.

The dove and house lizards

Just as there were cows, horses and many farm animals, the dove and house lizards in this painting represent more than that. They are there to bear witness to this glorious event. The dove, which is the universal symbol of peace, unveils yet embraces the Holy Family.

With regard to the house lizards, I adhere to the superstition that every day at six in the evening they come down from the ceiling to kiss the floor in reverence to God. This belief tells me that we human beings, stewards of God’s creation, must do more than that.

La Sagrada Familia (The Holy Family)

In this painting I represented Joseph as a farmer and Mary as his wife. Jesus is wrapped in striped layette cloth distinctive to the Igorot tribe of Luzon, and as a sign of kingship he wears a necklace made of animal bones, which is characteristic of an Igorot chieftain.

This is one of nine artworks featured in an article I wrote last Christmas for Christianity Today, “How Asian Artists Picture Jesus’ Birth from 1240 to Today.” 

LISTEN: “Ang Pasko Ay Sumapit” (Christmas Has Arrived) | Tagalog words by Levi Celerio, 1950, based loosely on a 1933 Cebuano carol text, “Kasadya Ning Takna-a,” by Mariano Vestil | Music by Vicente Rubi, 1933 | Performed by the Bayanihan Philippine Dance Company on A Philippine Christmas, 1964, reissued 1991

Ang Pasko ay sumapit
Tayo ay mangagsiawit
Ng magagandáng himig
Dahil sa ang Diyos ay pag-ibig

Nang si Kristo’y isilang
May tatlóng haring nagsidalaw
At ang bawat isá ay nagsipaghandóg
Ng tanging alay

Koro:
Bagong Taón ay magbagong-buhay
Nang lumigayà ang ating Bayan
Tayo'y magsikap upang makamtán
Natin ang kasaganaan!

Tayo’y mangagsiawit
Habang ang mundó'y tahimik
Ang araw ay sumapit
Ng Sanggól na dulot ng langit

Tayo ay magmahalan
Ating sundín ang Gintóng Aral
At magbuhát ngayon
Kahit hindî Paskô ay magbigayan!
Christmas has come
Come, let us go forth singing
Beautiful hymns
For God is love

When Christ was born
There were three kings who did visit
And each one did present
A unique offering

Refrain:
’Tis New Year, so we must reform our lives
That our nation might be joyful
Let us strive that we might achieve
Prosperity

Come, let us go forth singing
While the world is silent
The day has arrived
Of the Infant sent from heaven

Let us love one another
May we follow the Golden Rule
And from now on
Though it not be Christmas, let us keep giving [source]

I really like the recording above, which has rollicking instrumentation to back the voices, but here’s an a cappella performance that’s also good, from 2006, by the Philippine Madrigal Singers:

Christmas, Day 10: He Has Come

LOOK: Little Christ by Roman Barabakh

Barabakh, Roman_Little Christ
Roman Barabakh (Ukrainian, 1990–), Маленький Христос (Little Christ), 2018. Cyanotype on paper. Edition 2 of 6.

LISTEN: “He Has Come, the Christ of God” | Words by Horatius Bonar, 1857 | Music by Ryan DeLange, 2016 | Performed by Janelle Jackson and Mike Juday, 2017

He has come, the Christ of God:
Left for us his glad abode;
Stooping from his throne of bliss
To this darksome wilderness.

Refrain 1:
He has come, the Prince of Peace:
Come to bid our sorrows cease;
Come to scatter with his light
All the shadows of our night.

He, the mighty King, has come,
Making this poor earth his home:
Come to bear our sin’s sad load,
Son of David, Son of God.

Refrain 2:
He has come, whose Name of grace
Speaks deliverance to our race:
Left for us his glad abode,
Son of Mary, Son of God.

Unto us a Child is born:
Ne’er has earth beheld a morn,
Among all the morns of time,
Half so glorious in its prime.

Refrain 3:
Unto us a Son is given:
He has come from God’s own heaven,
Bringing with him from above
Holy peace and holy love.

While he was a worship pastor at Bayou City Fellowship in Houston, Ryan DeLange wrote a new tune for this nineteenth-century Christmas hymn by Horatius Bonar, a Scotsman who is best known for “Be Still, My Soul.” To hear DeLange discuss what drew him to this hymn, see season 2, episode 2 of the Hymnistry podcast, which aired December 5, 2016. He performs the song at 9:22 of the episode, and at 27:01, Pastor Jacob Breeze charges listeners to “keep the party going” for all twelve days of Christmas.

Click here for the chord chart.

The 2016 video above is from Scarlet City Church in Columbus, Ohio. The singer is Janelle Jackson, and she’s accompanied on guitar by Rev. Mike Juday, who was the church’s music pastor at the time but who is now the associate rector of Village Church Anglican in Greenville, South Carolina.

Christmas, Day 9: Pretty Little Baby

LOOK: What You Gonna Name That Pretty Little Baby? by Aminah Brenda Lynn Robinson

Robinson, Aminah_Mother and Child_reduced
Aminah Brenda Lynn Robinson (American, 1940–2015), What You Gonna Name That Pretty Little Baby?, 1992. Pen and ink on typewriter paper. © Aminah Brenda Lynn Robinson Trust.

Aminah Brenda Lynn Robinson (1940–2015) was an artist working in multiple media whose work celebrates Black history and culture. She was a lifelong resident of Columbus, Ohio, and bequeathed her art, writings, home, and personal property to the Columbus Museum of Art, who established the Aminah Robinson Legacy Project in 2020.

The drawing above is one of twenty-six from Robinson’s excellent book The Teachings: Drawn from African-American Spirituals (Harcourt Brace Jovanovich, 1992). These drawings, she writes in the introduction, “have grown from the stories and songs that were given to me by my family and my early teachers, and I offer them here to the children of today’s troubled world and the children of tomorrow. They carry a message of dignity, knowledge, and wisdom . . . speak of survival, of freedom and determination, of love and faith, of justice and of hope . . .”

The artist’s estate is represented in the US by Fort Gansevoort in New York, which is currently showing Aminah Brenda Lynn Robinson: Character Studies through January 25.

Another exhibition of her work, Aminah Robinson: Journeys Home, a Visual Memoir, will be touring nationally for the next few years: to the Springfield Museum of Art in Ohio (February 1–July 13, 2025), the Newark Museum of Art in New Jersey (October 16, 2025–March 1, 2026), the Mobile Museum of Art in Alabama (March 26, 2026–January 9, 2027), and two remaining venues to be announced. This is a major exhibition that brings together Robinson’s drawings, prints, paintings, textiles, collages, homemade books, dolls, “hogmawg” sculptures (made of a mixture of mud, clay, twigs, leaves, lime, animal grease, and glue), and “RagGonNon” pieces (monumental swaths of fabric encrusted with buttons, beads, and other found objects) to create a portrait of her life.

LISTEN: “Mary, What You Gonna Name That Pretty Little Baby?,” African American spiritual | Arranged by Alex Bradford, 1961 | Performed by Princess Stewart and Marion Williams on Black Nativity: Gospel on Broadway! (Original Broadway Cast), 1962

Mary, Mary, what you gonna name that pretty little baby?
Mmm, mmm, pretty little baby
Mmm, mmm, pretty little baby
Glory be to the newborn King

Some call him one thing, I think I’ll call him Jesus
Mmm, mmm, sweet Jesus
Mmm, mmm, (ain’t he sweet?) sweet Jesus
Glory be to the newborn King

Some call him Jesus, I think I’ll call him Wonderful
Mmm, mmm, wonderful
Mmm, mmm, he’s so wonderful
Glory be to the newborn King

Some call him Wonderful, I think I’ll call him Emmanuel
Mmm, mmm, King Emmanuel
Mmm, mmm, (ain’t he the king?) Emmanuel
Glory be to the newborn King

Some call him Emmanuel, I’m gonna call him the Prince of Peace
Mmm, mmm, Prince of Peace
Mmm, mmm, Prince of Peace
Glory be to the newborn King

Some call him Prince of Peace, I’m gonna call him Jesus
Mmm, mmm, sweet Jesus
Mmm, mmm, (ain’t he sweet?) sweet Jesus
Glory be to the newborn King

Mary, Mary, what you gonna name that pretty little baby?
Mmm, mmm, pretty little baby
Mmm, mmm, pretty little baby
Glory be to the newborn King

This Christmas spiritual, a dialogue between an unnamed visitor and the new mother Mary, has been recorded by many artists. I think I like the original cast recording from the Langston Hughes musical Black Nativity best, featuring soloist Princess Stewart on the first verse and Marion Williams on the remaining six, backed by the Stars of Faith.

But here’s a handful of other versions I like. Because the song was passed down orally, it has taken on different lyrical variations and accrued new verses. Some reference the wise men.

>> “The Virgin Mary Had One Son” by the Staple Singers, arr. Roebuck “Pops” Staples, on The 25th Day of December (1962):

>> “The Virgin Mary Had One Son” by Josh Garrels, on The Light Came Down (2016):

>> “What ’Cha Gonna Call the Pretty Little Baby” by the National Lutheran Choir, dir. David M. Cherwien, arr. Ronald L. Stevens, on Christ Is Born (2016):

>> “Glory to the Newborn King” by Chicago a Cappella, dir. Jonathan Miller, arr. Robert Leigh Morris, on Holidays a Cappella Live (2002):

>> “Virgin Mary Had One Son” by Joan Baez and Bob Gibson, live at the 1959 Newport Folk Festival (see also “Virgin Mary,” a bonus track on the 2001 Vanguard reissue of Baez’s 1966 album Noël):

Christmas, Day 8: “Again and again his name laughs in my mouth”

A praising of God is what laughter is, because it lets a human being be human.

Laughter is a praise of God, because it lets a human being be a loving person.

Laughter is praise of God because it is a gentle echo of God’s laughter, of the laughter that pronounces judgment on all history.

Laughter is praise of God because it foretells the eternal praise of God at the end of time, when those who must weep here on earth shall laugh.

The laughter of unbelief, of despair, and of scorn, and the laughter of believing happiness are here uncannily juxtaposed, so that before the fulfillment of the promise, one hardly knows whether belief or unbelief is laughing.

—a found poem by Kathleen Norris, made up of sayings by Karl Rahner, from Amazing Grace: A Vocabulary of Faith (Riverhead, 1999), pp. 257–58

LOOK: You Shall Laugh by Soichi Watanabe

Watanabe, Soichi_You Shall Laugh
Soichi Watanabe (Japanese, 1949–), You Shall Laugh, 2011. Oil on canvas, 16 × 12 in. (41 × 31 cm). Kwansei Gakuin University Chapel, Kobe, Japan. Photo courtesy of the artist.

Soichi Watanabe is a Japanese Christian artist who served as the 2008–9 artist in residence at the Overseas Ministries Study Center (OMSC) in New Haven, Connecticut (now at Princeton Theological Seminary). OMSC published a catalog of his work, titled For the Least of These: The Art of Soichi Watanabe, in 2010, featuring forty-three of his paintings.

Watanabe doesn’t supply facial features for his human figures because he wants viewers to be able to see themselves in the characters portrayed. He concentrates on form and color.

I was introduced to this painting of his through the OMSC-sponsored Zoom presentation he gave on February 3, 2021. There he said, “We can laugh as the love of God is being poured out on us . . . the laughter of knowing that the Lord is with us in pain and sorrow.” The wave shape at the bottom, he told me in an email, is a reference to the tsunami of March 11, 2011, which wiped out his home city of Ishinomaki and accelerated his mother’s dementia.

Watanabe also painted a companion piece, With Those Who Weep, which shows the same three figures huddled together in a mass, one comforting the two who are crying. Together, the paintings encourage us to fully feel our griefs and our hurts, and to be present to one another through those experiences, but also to hold on to joy, which transcends circumstance.

The artist pointed out to me that the three figures in You Shall Laugh resemble a flower spreading out its petals. The kanji for “bloom,” he says, originally meant “laugh” and was written as “birds sing, flowers laugh.”

LISTEN: “Jesus soll mein erstes Wort” (Jesus shall be my first word) from Gott, wie dein Name, so ist auch dein Ruhm (God, as your name is, so also your praise is to the ends of the world) (BWV 171) | Words by Picander (Christian Friedrich Henrici), 1728 | Music by Johann Sebastian Bach, 1728 | Performed by Kathleen Battle and Itzhak Perlman on J. S. Bach: Arias for Soprano and Violin, 1991

Jesus soll mein erstes Wort
In dem neuen Jahre heißen.
Fort und fort
Lacht sein Nam in meinem Munde,
Und in meiner letzten Stunde
Ist Jesus auch mein letztes Wort.
Jesus shall be my first word
uttered in the new year.
Again and again
his name laughs in my mouth,
and in my last hour
Jesus will also be my last utterance.

English translation © Pamela Dellal, courtesy of Emmanuel Music Inc. Used with permission.

This aria is the fourth movement of a cantata Bach composed for his church in Leipzig for New Year’s Day 1729. January 1 is also the Feast of the Holy Name of Jesus, since Jesus was given his name when he was eight days old (Luke 2:21). Read the full libretto of BWV 171 here, and listen to the full cantata here. (It’s only sixteen minutes.)

For the excerpt I’ve chosen a recording by the legendary American operatic soprano Kathleen Battle, who is accompanied by the equally famous Israeli American violinist Itzhak Perlman.

Christmas, Day 7: In the Beginning

LOOK: Incipit to the Gospel of John from the Book of Kells

Incipit to the Gospel of John
Incipit to the Gospel of John, Book of Kells, ca. 800. Trinity College Dublin MS 58, fol. 292r.

Made by Celtic monks in a Columban monastery around the year 800, the Book of Kells—an illuminated Gospel book named after the monastery of Kells in County Meath, Ireland, where it spent eight centuries—is one of the most beautiful manuscripts ever created. Pictured here is the lavishly decorated opening page of the Gospel of John, which bears the words “In p/rinci/pio erat ver/bum [et] ver[b]um” (“In the beginning was the Word, and the Word . . .”). The passage continues on the following page.

Bernard Meehan, the former head of research collections and keeper of manuscripts at Trinity College Dublin, describes the lettering on folio 292r:

The letters IN P, filled with interlacing snakes, crosses and abstract ornament, dominate the composition. Snakes form the letters RIN and C, with C taking the form of a harp, played by the man who forms the letter I. The urge of the artist to decorate has taken precedence over legibility, to the extent that the letters ET and B are missing from the last line. [1]

Because some of the letters are difficult to discern, I’ve done my best to trace them in red in this graphic:

In the beginning (letters traced)

The text unfolds in four rows. The column on the left forms the I and doubles as the left stem of the N. The diagonal stroke of the N passes through the cross-shape, and its right stem is formed by another blue column, which also doubles as the stem of the P.

The following R, I, N, and C are beige and blue serpentine figures, tangled together, the latter shaped like a harp and being “played” by a seated man whose torso forms an I.

Book of Kells, fol. 292r (detail)

The remaining text is organized in two rows and is black. As Meehan mentioned, the artist-monk unintentionally omitted the ET and B in “et verbum.” And the final M is upside down, an artistic variation.

(Related post: “The Book of Kells,” a poem by Howard Nemerov)

Book of Kells, fol. 292r (Christ)

Scholars disagree on who the curly-haired figure at the top is, holding a book: some suppose it’s John the Evangelist, the author of the fourth Gospel, while others think it’s Christ the Logos. I’m in the latter camp. Christ is often shown in art sitting on a throne holding a book, representing the gospel—as on folio 32v of this very manuscript. And a full-page portrait of John already appears on the opposite page, folio 291v; granted, the iconography is similar, but it would be an unusual choice to repeat a person in the same pose on a single page spread. Also, as art historian Heather Pulliam points out, the yellow and red striations that encompass the figure resemble flame—a “throne of light,” writes Françoise Henry—an attribute more befitting of the figure of Christ than of John. [2]

The identity of the smaller figure on the right who’s drinking from a red chalice is also debated. Again, it could be either John or Christ. According to an apocryphal legend that first appeared in the second-century Acts of John and that was popularized in the thirteenth-century Golden Legend, a pagan priest challenged John to drink a cup of poisoned wine to test whether his God was truly powerful enough to protect him. John blessed the cup, downed the wine, and suffered no harm. That’s why in art one of John’s attributes is a chalice with a serpent in it, representing the poison rising out and the triumph of Christian faith.

Book of Kells, fol. 292r (detail)

On the other hand, the drinking figure may be Christ drinking the cup of suffering (John 18:11). The monstrous head to the right supports either interpretation—it could be Satan tormenting Christ in Gethsemane, or in John’s case, the threat of death by poison, or the evil intent of the pagan priest who sought to discredit him.

Additional possibilities have also been posited. Małgorzata Krasnodębska-D’Aughton argues that the man is meant to be a generic Christian partaking of the Eucharist, [3] whereas Pulliam suggests that the cup represents not the blood of Christ but “the chalice of wisdom received from the breast of Christ.” [4] She cites Augustine’s first tractate on the Gospel of John:

Thence John, who said these things, received them, brothers, he who lay on the Lord’s breast, and from the breast of the Lord drank in what he might give us to drink. But he gave us words; you ought then to receive understanding from the source, from that which he drank who gave to you; so that you may lift up your eyes to the mountains from where shall come your aid, so that from there you may receive, as it were, the cup, that is, the word, given you to drink; and yet, since your help is from the Lord, who made heaven and earth, you may fill your breast, from the source. [5]

In Pulliam’s interpretation, the man imbibes the words of God—that is, scripture—providing a model for us to emulate.

Click here to digitally browse the Book of Kells in full.

Notes:

  1. Bernard Meehan, The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College Dublin (Thames & Hudson, 1994, 2008), 34.
  2. Heather Pulliam, Word and Image in the Book of Kells (Four Courts Press, 2006), 180–83; cf. Françoise Henry, The Book of Kells: Reproductions from the Manuscript in Trinity College, Dublin (Thames & Hudson, 1974).
  3. Małgorzata Krasnodębska-D’Aughton, “Decoration of the In principio initials in early Insular manuscripts: Christ as a visible image of the invisible God,” Word and Image: A Journal of Verbal/Visual Enquiry 18, no. 3 (Fall 2002): 117.
  4. Pulliam, Word and Image, 185.
  5. Augustine, In Joannis Evangelium 1.1, PL 35: 1382.

LISTEN: “The Word Was God” by Rosephanye Powell, 1996 | Performed by the University of Pretoria Camerata, dir. Michael Barrett, 2022

In the beginning was the Word, and the Word was with God, and the Word was God.

The same was in the beginning with God.

All things were made that have been made. Nothing was made he has not made.

While this choral anthem is not a Christmas song per se, it is a setting of John 1:1–3, the opening of the great prologue of the Incarnation. These first three verses are about Christ’s eternal being, his oneness with the Father, and his active role in creation. I can’t hear them without anticipating verse 14: “And the Word was made flesh, and dwelt among us . . .”

“The Word Was God” is by Dr. Rosephanye Powell (pronounced ro-SEH-fuh-nee) (born 1962), an African American composer, singer, professor, and researcher. One of her most popular and widely recorded works, it is full of rhythmic energy and drive. Read detailed notes by Powell here, where she explains her musical choices and their theological significance.