Advent Prelude: Out of Darkness

LOOK: Serenade: A Christmas Fantasy by Joseph Stella

Stella, Joseph_Serenade: A Christmas Fantasy
Joseph Stella (Italian American, 1877–1946), Serenade: A Christmas Fantasy (La Fontaine), 1937. Oil on canvas, 43 1/8 × 37 1/8 in. (109.5 × 94.3 cm). Hirshhorn Museum and Sculpture Garden, Washington, DC.

Joseph Stella (1877–1946) [previously] was an Italian American painter who became an important figure in modern art. His Serenade: A Christmas Fantasy is not overtly religious, but it does incorporate a few elements traditionally associated with Christmastime—a starry night sky, a holly branch, an ox and ass, a dove—and has a mystical quality. In the center, a flower emerges from what appears to be a conch shell, its pistil and stamen glowing. The flower’s stem shoots up past an abstract, mobile-like object that could be shards of colorful glass or pieces of cut paper. It’s a visionary composition that is open to multiple readings.

Art historian Judith Zilczer comments on the painting in the exhibition catalog Joseph Stella: The Hirshhorn Museum and Sculpture Garden Collection (Smithsonian Institution, 1983):

Serenade: A Christmas Fantasy typifies Stella’s mature symbolist style. Framed by an arch, a fantastic tree form bisects the composition and serves as the central image of the painting. The colors of the iridescent prism surrounding the central axis recall the abstract geometric style of Stella’s Futurist canvases.

The meaning of Stella’s complex imagery remains elusive. The ox and ass in the upper right spandrel traditionally appear together in paintings of the Nativity. The image of the dove in the center of the lower border is the symbol of the Holy Ghost. These Christian symbols are consistent with the painting’s subtitle, A Christmas Fantasy. The painting is also known as The Fountain (La Fontaine). The treelike form in the center may represent an abstraction of a jet of water. The image of the fountain often served as an attribute of the Virgin Mary, who was regarded as the “fountain of living waters.” It is possible that in this canvas Stella has fused the image of the tree of life with the fountain as the symbol of the Virgin. The nightingale perched on the tendril [of the purple iris] in the lower left is the source of the serenade. (54)

I see in Serenade the promise of Advent—light emerging out of darkness, wondrous new life growing out of dormancy. There’s a coming fullness here, a blossoming. The chromatic spectrum refracted by the center object evokes a rainbow, the sign of God’s covenant with all living creatures in Genesis 9.

LISTEN: “Wonder” by MaMuse (Sarah Nutting and Karisha Longaker), on Prayers for Freedom (2018)

Oooh, I wonder
Oooh, I wonder
Oooh, I wonder
What is to come out of this darkness

I’ve been moving, moving, moving, moving through the darkness
Moving, moving, moving, moving through the darkness
Moving, moving, moving, moving through the darkness
I wonder when the light is cracking open

Oooh, I wonder
Oooh, I am filled with wonder
Oooh, I wonder
What is to come out of this darkness

I thought this candle had long gone out
I thought this candle had long gone out
I thought that it had long gone out
But today, today, today, today I can see
There’s still a flickering, flickering

Oooh, I wonder
Oooh, I wonder
Oooh, I wonder
What is to come out of this darkness

Burn, burn, burn, burning on the inside
Burn, burn, burn, burning like a bright light
Burn, burn, burn, burning on the inside
This light’s still burning, burning bright

I thought this candle had long gone out
I thought that it was long gone out
I thought that this candle had long gone out
But today, today, today, today I can see
There’s more than a flickering

Oooh, I wonder
Oooh, I am filled with wonder
Oooh, I wonder
What is to come out of this darkness

This song was written by MaMuse [previously], an acoustic folk duo who I’d say are “spiritual but not religious,” several years ago on the winter solstice. Watch a live video recording from January 2019 at the Chico Women’s Club in Chico, California, the two’s hometown.

Advent is sometimes mischaracterized as glum, but actually, joyfulness is a key aspect of the season. There’s a somberness, for sure, but it’s married with excitement for what’s coming.

I hope to capture this dual tone of Advent in my selection of art and music over the next twenty-four days. This is the first post in a daily series that will run to the end of Advent on December 24, and then for the duration of Christmas, from December 25 to January 6. Many of the songs in the series can be listened to on the Art & Theology Advent Playlist, Christmastide Playlist, and Epiphany Playlist on Spotify.

In the liturgical calendar, Advent-Christmas-Epiphany is known as the cycle of light. Many churches and families light candles around an Advent wreath, progressively more until Christmas, symbolizing the Light of the World getting nearer, dispelling more of the darkness.

May you be blessed this Advent season as you wonder and explore what is to come out of December’s darkness. May you discern with delight those places where “the light is cracking open,” where God is shining through.

Roundup: Advent video from Fuller Studio, making room for love, “Lord, Remind Me,” and more

VIDEO MEDITATION: “Yearning and Promise (Advent),” dir. Lauralee Farrer (2017): The first in the seven-part Liturgical Meditations series produced by Fuller Studio (a resource center affiliated with Fuller Theological Seminary), this four-minute video features Advent scripture readings by Fuller alum Paul Mpishi (MDiv, ’17) in his native Swahili, set to beautiful cinematography by Lindsey Sheets, Timothy Kay, and Jordan McMahon.

“Yearning and Promise” explores Advent and the expectant longing for the birth of Christ through cityscapes, wilderness, and water from Chicago and Malibu, with scriptures drawn from Isaiah 40 and Matthew 1. The audio for this video is in Swahili with subtitles in English, Spanish, Mandarin, and Korean—a poetic way to represent the primary tongues of our community. . . .

The liturgical calendar spans the life of Christ in a single year—from anticipation (Advent), to hope (Christmas), to transcendence (Epiphany), to lament (Lent), to redemption (Easter), to the birth of the church (Pentecost), and through long, numbered days (Ordinary Time) back to Advent. The liturgical meditation series to which this video belongs relies on nature to tell the story of God, accompanied by scriptures traditional to each season.

The other Liturgical Meditations are “Fear and Glory” (Christmastide), “Desire and Light” (Epiphany), “Hunger and Healing” (Lent), “Death and Resurrection” (Eastertide), “Fire and Wind” (Pentecost), and “Mystery and Love” (Ordinary Time). Full playlist here.

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SUBSTACK POST: “The Most Powerful Muscle in the World” by Stephanie Duncan Smith: Stephanie Duncan Smith, author of Even After Everything: The Spiritual Practice of Knowing the Risks and Loving Anyway, reflects here on the strong and capacious “womb-love” (Phyllis Trible’s term) of God, and on the physical transformation Mary underwent to make room for him in her own body. Advent, Smith writes, is about “stretch[ing] to make room for love.”

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ARTICLE: “The Birth of Eternity into Time: Contemplating the Incarnation with Piero della Francesca’s Madonna del Parto and Jorie Graham’s ‘San Sepolcro’” by Kathryn Stelmach Artuso, Mockingbird: This short article engages with a famous Italian Renaissance painting of the pregnant Mary (which the British writer Michèle Roberts calls “one of the most beautiful and powerful, sexy and numinous paintings of the Christian era”) and a modern ekphrastic poem about it.

Francesca, Piero della_Madonna del Parto
Piero della Francesca (Italian, ca. 1415–1492), Madonna del Parto, after 1457. Detached fresco, 100 × 80 in. (260 × 203 cm). Musei Civici Madonna del Parto, Monterchi, Italy.

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ZOOM GATHERING: Advent Art Salon, December 12, 5 p.m. ET: Image journal is hosting its fourth annual Advent Art Salon in two weeks, a free, hour-long virtual gathering featuring festive seasonal recipes, poetry readings, a musical performance, Advent reflections, and more. This year’s guests include poet Katie Hartsock, singer-songwriter Jon Guerra, composer Mike Capps, and writers Alex Ramirez (here’s his short story “Gabriel”), Meghan Murphy-Gill (author of The Sacred Life of Bread), and Jan Richardson.

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SONGS:

>> “Lord, Remind Me” by Jon and Valerie Guerra: From their album It’s Almost Christmas! Jon Guerra writes in the YouTube video description about how most days, hope feels naive; about the narratives in which we misplace our trust; about how Jesus, in his coming, tells a different narrative and brings our hope to fruition.

At Christmastime, Guerra writes,

Christians . . . celebrat[e] the arrival of a “shoot from Jesse’s stump.” It’s a transgressive celebration of fragility and vulnerability. We wanted a fully matured tree—God gave us a shoot coming from a stump. We wanted a strong leader—God gave us a vulnerable baby. We wanted a strength that dominates—God gave us a weakness that submits. We wanted victory—God gave us defeat, destitution, death.

How is this defying of our expectations hopeful? Well, theology at its atomic level says this: God is love. God doesn’t love as a decisive action, as though tomorrow the decision could be reversed. God is, always, love.

That love is not only towards humanity—it becomes humanity. It is not only compassionate towards the broken—it becomes the broken. It is unconditional love that becomes death—and in so doing, defeats it. It defies our expectations only to exceed to them.

So here’s to remembering hope in God’s unconditional love towards the desolate stumpiness of ourselves and the world this season—and to believing that this is not the end of the story. Lord, remind me.

>> “His Name Is Jesus” by Keiko Ying: Released this month on YouTube, this children’s Advent song by Keiko Ying celebrates Jesus as Emmanuel, “God with us.” Here is the lead sheet. The drawings and animation in the music video are by the songwriter’s thirteen-year-old daughter, Clara. [HT: Global Christian Worship]

Roundup: Tish Harrison Warren on Advent; make your own Advent wreath; prayer card pack; and more

Advent begins a week from Sunday, on December 1—a roughly four-week season leading up to Christmas, during which we prepare our hearts to receive the coming Christ. Here are a few resources.

Daily posts at Art & Theology: First I want to let you know that, as I’ve done for the past three years, I will be posting daily here on the Art & Theology blog for the duration of Advent and Christmastide, each day selecting a visual artwork and a piece of music that I feel dialogue fruitfully with each other about a seasonal theme. Many Christians like to read through a devotional book during Advent, and while I do appreciate good devotional writing, I sometimes grow bored of reading prose reflections on the Christmas story. For me, I’ve found that engaging the arts frequently opens up wonder and new angles of inquiry and deepens my longing and gratitude for Christ. Songs, art, and other creative expressions help me slow down and put me in a contemplative frame of mind, and that’s why I use them as companions throughout the liturgical year.

Advent 2024 promo

Though the United States (my country) is heavily represented in the selections, I’ve tried to be intentional about featuring works from a variety of geographic locales. So you’ll see contributions from Mexico, Peru, The Gambia, Kenya, Germany, Turkey, Croatia, Japan, India, the Philippines, and more—a reflection of the global nature of Christianity.

Sometimes I will provide some written context or explication for the song or artwork or relevant biographical details for its maker, but other times I will let the works stand entirely on their own.

I’m really excited to unroll this year’s series! Advent starts December 1, but tune in a day early on November 30 for a “prelude” post to kick things off. The final post in the series will be on Epiphany on January 6. You can view the archives from previous years here:

Advent 2023 | Christmas 2023
Advent 2022 | Christmas 2022
Advent 2021 | Christmas 2021
Advent 2020 (abbreviated)

In addition to the daily posts in the music-art format, I have a few poems lined up and will continue doing periodic link roundups to direct you to other great Advent and Christmas content around the web.

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THE DAILY PRAYER PROJECT: Advent 2024: The Daily Prayer Project, a liturgical publishing nonprofit I work for as curator and copyeditor, is entering its seventh year, and our latest Advent edition is out! The cover art is Look forward to the coming of God by Stanley Fung, a pastor and photographer from Taipei; it’s one of three artworks that receive dedicated attention inside.

Advent DPP

In addition to art, the magazine includes a poem, four song sheets, two mini-essays (one on the spiritual practice of encouragement, the other on nurturing the hidden life of Christ within us), and fourteen distinct liturgies, one for each morning and evening of the week (plus a different scripture reading for every day of the season). Here is one of the featured prayers in this edition, from the Christian Council of Nigeria:

Grant us, O God, a vision of our land that is as beautiful as it could be:
a land of justice where none shall prey on others;
a land of plenty where poverty shall cease to fester;
a land of kinship where success shall be founded on service;
a land of peace where order shall rest not on force
but on the love of everyone for their community.
Give us grace to put this vision into practice
through Jesus Christ our Lord.

Our Christmas edition will also be ready for purchase soon. It covers December 25, 2024, through March 4, 2025.

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VIDEO INTERVIEW: “Advent: The Season of Hope” with Tish Harrison Warren, Trinity Forum, December 1, 2023: In Celebration of Discipline, Richard J. Foster writes, “In contemporary society our Adversary (the devil) majors in three things: noise, hurry, and crowds. If he can keep us engaged in ‘muchness’ and ‘manyness,’ he will rest satisfied.” The pull toward those things is particularly strong in December. But Advent calls us, counterculturally, to quietness, slowness, and moments of solitude.

Here Tish Harrison Warren, an Anglican priest and the author of Advent: The Season of Hope from IVP’s Fullness of Time series, discusses the character and history of Advent, the three traditional practices associated with it, and how to wait well. She also encourages us to ask ourselves: Where do we need Christ to come in the next year? Where do we need healing? Where do we need to find hope in the next season of our life?

The Q&A starts at 38:00 and includes questions such as: How might the theme of judgment shape our observance of Advent? How do we practice Advent during a time of jollity and indulgence and parties without being perceived as a Scrooge?

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SONG: “Come to Us, Emmanuel” by Ordinary Time: Made up of Peter La Grand, Jill McFadden, and Ben Keyes, Ordinary Time is a trio whose music blends elements of folk, Americana, and traditional hymnody. This original song is from their 2007 album In the Town of David, and the music video is shot around Vancouver, where the three band members met when they were students at Regent College.

** This is one of seven songs by Ordinary Time featured on Art & Theology’s Advent Playlist. Join 2,859 others in following the playlist on Spotify, which offers over twenty-one hours of music for the season.

Check out, too, Ordinary Time’s newest album, released Friday, titled You Are My Hiding Place. Favorite track: “All Shall Be Amen Alleluia.”

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ARTICLE: “My Favorite Advent Wreath Supplies” by Ashley Tumlin Wallace: The Liturgical Home is one of my favorite blogs to follow. It’s run by Ashley Tumlin Wallace, a pastor’s wife and mom of four from Florida who collects recipes and traditions from around the world and compiles them into liturgical living guidebooks to help families celebrate the seasons of the church in their homes. In this blog post she shares how to make your own Advent wreath, collecting greenery from outside and purchasing a few basic items.

Here’s her Instagram video showing you how to put it all together:

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CARD PACK: The Light Has Come: 25 Illustrated Prayers with Activities for Advent, Christmas, and Epiphany by W. David O. Taylor and Phaedra Jean Taylor: Each of the twenty-five, 4 × 6 prayer cards in this pack includes a watercolor illustration by Phaedra Taylor, and on the other side a Bible verse, a collect prayer by David Taylor, and a suggested activity (e.g., stargazing, baking or buying a treat for a friend) or prayer prompt. Included are familiar themes, such as Hope, Joy, Shepherds, and Light, but also less familiar ones, like Feasting, Sorrow, Fear, and the Fantastical. There are also cards for Saint Nicholas Day, New Year’s Eve, New Year’s Day, and Epiphany. They are all held together in a cardstock sleeve.

The Light Has Come card pack
Peace (The Light Has Come)

The cards would work well in personal or family devotions, in a small group, or with church staff. “Our hope is that this box of cards will invite you to stop, look and listen afresh to the nativity narratives and to discover a story that truly heals and restores this very broken and beloved world of ours,” David writes in a blog post introducing the product.

You can order reproductions of the watercolors from this collection and others at Phaedra’s online shop.

Roundup: “What to Do After Voting,” Apsáalooke praise song, chapel service led by Terry Wildman (Ojibwe, Yaqui), and more

PRESS RELEASE: “The Creative Arts Collective for Christian Life and Faith Announces Launch of Its First Competitive Request for Proposals (RFP)”: The Creative Arts Collective for Christian Life and Faith [previously], an endowed initiative run by Belmont University in Nashville, has just opened its online Letter of Inquiry form for the 2025 Spring Grant Program. Form submission deadline: December 6, 2024.

The RFP is open to interested individual artists, artist collaboratives, church leaders, scholars/theologians, arts-affiliated organizations, faith-based nonprofit organizations, or institutions who reside or operate in the United States. Eligible applicants may submit proposals with requests ranging from $50,000 to $250,000 that may be used over one year. Chosen applications will then be requested to submit a full grant proposal for the competitive 2025 Spring Grant Program.

The 2025 grant-seeking theme is “Performing Shalom.” Applicants are invited to reflect the theme in their project or program, but it is not a requirement when applying for a grant. Please click here for more information.

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SUBSTACK POST: “On Artists, Kings, and Mending the Multiverse” by Houston Coley: A wise and rousing reflection after the US presidential election. Houston Coley is an Atlanta-based documentary filmmaker, video essayist (YouTube @houston-coley), podcaster, and writer on TV and film, who “cultivat[es] spiritual imagination around art and pop culture,” as one person put it.

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POEM: “What to Do After Voting” by James A. Pearson: The poet James Pearson shared this poem from his collection The Wilderness That Bears Your Name (Goat Tail Press, 2024) on Instagram on Election Day last Tuesday. He writes, “What’s driving [all our voting] are two things: Our common needs for love, safety, and belonging. And our often conflicting attempts to meet them. Rumi wrote: ‘Out beyond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.’ History is offering us a fork in the road. Let’s turn towards what we can do—vote. Then let’s find each other in that field and do the long, slow work of building a world where everyone has access to the love, safety, and belonging they need.” [HT: Amy Peterson]

He writes further on his website, “This poem doesn’t pretend to be a full prescription for what our country needs. It’s just my way of acknowledging that all electoral choices are imperfect. Because even more important is what happens between elections—the long, slow work of building a culture of love and justice for our politicians to live up to. And the better we do that work, the better our options will be next time elections come around.”

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SONG: “Apsáalooke Praise Song,” sung by Sarah Redwolf (née Bullchief): Sarah Redwolf is a member of Crow Nation in Montana and a follower of the Jesus Way whose Apsáalooke name is Baawaalatbaaxpesh (Holy Word). Here she sings a praise song by her grandmother Xáxxeáakinnee (Rides the Painted Horse). The Apsáalooke lyrics are below; I couldn’t find an English translation, and the artist has not yet returned a message I sent ten days ago, but I believe the song was written with Christian intent, as Christianity has been in Sarah’s family for generations. Her father, Duane Bull Chief, is a traveling Pentecostal preacher and the leader, with his wife, Anita, of Bull Chief Ministries, and Sarah has often led worship for church services and other Christian gatherings. What a beautiful voice!

Akbaatatdíakaata Dáakbachee
Huúlaa-k awúaleel akósh
Sáawe dée kush
Ahóohkaáshi, ahóohkaáshi, áaaaweelee-éeh

Akbaatatdíakaata
Baléelechiisaa awúaleel akósh
Ahóohkaáshi, ahóohkaáshi, áaaaweelee-éeh [source]

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LECTURE: “The Sign of Jonah” by Matthew Milliner, Marion E. Wade Center, Wheaton College, Illinois, October 3, 2019: This is the first lecture in a three-part series by art historian Matthew Milliner called The Turtle Renaissance that he developed into the book The Everlasting People: G. K. Chesterton and the First Nations (InterVarsity Press, 2021). (Here’s a well-written book review that I concur with; you can read an excerpt from the book here.) In the video, the talk starts at 8:49, followed by a response by Capt. David Iglesias, JD, of Kuna nation at 1:03:31, and then a Q&A starting at 1:25:27.

In conversation with Chesterton’s The Everlasting Man, Milliner explores contact points between Christianity and Indigenous North American art, symbol, ritual, and history. The discussion touches on pre-contact petroglyphs carved into Teaching Rocks near Peterborough, Ontario (one of them, a sun figure, quite possibly representing Gitchie Manitou, the Great Spirit—Christ incarnate?), the Sun Dance (which many Native Christians interpret as a prophecy of the Crucifixion), the Ghost Dance (about resurrection and renewal), the Mishipeshu (an underwater panther often representing death, which some Native Americans used to characterize white settlers), the Thunderbird, Black Elk’s vision of a mysterious figure with holes in the palms of his hands, and the cross as an axial tree conjoining the above and below worlds. Just as ancient Hebrew culture contained pointers to Christ, so too, Milliner argues, do the Indigenous cultures of North America. Artists, preachers, and visionaries from among the Ojibwe, Kiowa, Lakota, and other peoples are “our North American Virgils,” he says—Virgil being a Latin poet whose Fourth Eclogue, written around 40 BCE, prophesied the birth of a divine savior who would usher in a golden age.

Sun Dance Scene
Sun Dance Scene, Teton Lakota, Central Plains or Northern Plains, Wyoming, ca. 1885. Muslin cloth with watercolor paint, 36 × 91 1/2 in. (91.5 × 232.5 cm). Art Institute of Chicago. See 32:55 of Milliner’s lecture.

Vision of Jesus (Kiowa Ghost Dance)
Vision of a Kiowa man named Fiqi (Eater), received during the revived Ghost Dance, of Christ blessing the ceremony, collected by ethnologist James Mooney, ca. 1890. Pencil and crayon drawing from MS 2538, National Anthropological Archives, Smithsonian Institution, Washington, DC. See 38:49 of Milliner’s lecture and pages 11–12, 130, 142–44 of his book The Everlasting People.

Debassige, Blake_Tree of Life
See 59:24 of Milliner’s lecture and page 8 of his book The Everlasting People

There’s much more I could say, as there’s certainly more nuance and complexity to this, but instead let me simply refer you to Milliner’s lecture and finely footnoted book. There’s also a great audio interview with Milliner about The Everlasting People from November 2021, conducted by Jason Micheli for the Crackers and Grape Juice podcast.

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VIDEO: Chapel service led by Terry Wildman, November 6, 2023, Azusa Pacific University, California: Earlier this year I got to have dinner with Terry Wildman [previously] and his wife, Darlene, who form the Nammy Award–winning musical duo RainSong. It was exciting to hear all about their work with Native InterVarsity and other projects. They live in Maricopa, Arizona, on the traditional lands of the Pima and Tohono O’odham peoples. Wildman, who has both Ojibwe and Yaqui ancestry, was the lead translator, general editor, and project manager of the First Nations Version: An Indigenous Bible Translation of the New Testament. (The nativity narrative from the FNV translation of the Gospel of Luke, you may be interested to know, was adapted into an illustrated book titled Birth of the Chosen One: A First Nations Retelling of the Christmas Story, which just released this fall.)

Last November Wildman led a worship service for Azusa Pacific University students. Here are the key elements:

  • The opening three minutes are an animated video of the gospel story, narrated by Terry Wildman to a flute accompaniment by Darlene Wildman
  • 8:12: Blessing of the Gabrielino-Tongva people
  • 9:38: The Lord’s Prayer (FNV)
  • 10:57: Sermon: “Worship in Spirit and in Truth” (John 4:1–42)
  • 21:17: Reading of Psalm 8 (FNV)
  • 23:48: Song: “Lift Up Your Heads” by Terry and Darlene Wildman, based on Psalm 24
  • 28:40: Song: “Hoop of Life” by Terry Wildman – Native American powwows often feature hoop dancers, who dance a prayer that Creator will bring harmony and goodwill to all the gathered people. Wildman says, “I look at Jesus and I call him the Great Hooper Dancer. Because he’s the one who ever lives to pray for us, to make intercession for us, and when he dances his prayer, he is bringing harmony and balance to the whole world, to the whole universe. And if we follow him, if we give our hearts to him, he will produce that harmony and balance in us and with each other.”
  • 35:56: Song: “Nia:wen” (Mohawk for “Thank You”) by Jonathan Maracle of Broken Walls
  • 45:29: Closing prayer

Playlist: Christ the King

The final Sunday of the liturgical year—which this year is November 24—marks the Feast of Christ the King. This festival celebrates the reign of Jesus Christ over all of creation and every aspect of our lives.

“The belief in Christ as King finds its roots in the Christian understanding of Jesus as the Messiah, whose reign exists as both a present reality and a future hope,” writes Ashley Tumlin Wallace on her blog The Liturgical Home. “In the here and now, his reign manifests in the lives of believers who seek to live under his lordship. But the Feast of Christ the King also carries a sense of eschatological anticipation, signaling the ultimate culmination of time when the reign of Christ is fully realized.”

Unlike some who sit on earthly thrones, Christ is no tyrant; he’s a benevolent ruler who leads with love and perfect wisdom. He is high and lifted up, and yet he stoops down to us and attends to our cries. He’s so committed to our flourishing that he became one of us and sacrificed himself to save us from the Evil One and reconcile us to God. We owe him our praise, our deference, our all.

For Christ the King Sunday, I put together a Spotify playlist of songs that extol Christ as king of the cosmos and of our own hearts.

It includes traditional hymns like “All Hail the Power of Jesus’ Name” (below, sung by Paul Zach), “Come, Christians, Join to Sing,” “All Creatures of Our God and King,” “All People That on Earth Do Dwell,” “Praise to the Lord, the Almighty,” “O Worship the King,” “Crown Him with Many Crowns” . . .

In looking up hymns, I was delighted to find a new-to-me one from the nineteenth century by Josiah Conder called “The Lord Is King,” which Navy Jones set to a buoyant new tune:

There’s one song on the list whose text dates all the way back to the fifth century. Written in Latin by the Christian poet Sedulius, “Regnavit Dominus” (The Lord Is King) combines praises to the One who conquered death and feeds us with himself with the humble plea, “Kyrie eleison” (Lord, have mercy). Owen and Moley Ó Súilleabháin sing it to a twelfth-century melody:

The playlist also features several psalm settings, including two of Psalm 93, which opens,

The LORD is king; he is robed in majesty;
    the LORD is robed; he is girded with strength.
He has established the world; it shall never be moved;
    your throne is established from of old;
    you are from everlasting.

One is by Jacob Mwosuko, a member of the Abayudaya (People of Judah) Jewish community near Mbale in eastern Uganda. The text is in Luganda. Though Jews would read “LORD” as referring to God the Father, ever since the early church Christians have confessed Jesus not only as Lord (Master) but also as LORD (YHWH), consubstantial and co-eternal with the Father, sharing with him all rule, authority, power, and dominion.

Also from Africa, there’s the Resurrection-rooted salsa song “Jesus Reigns” by Joe Mettle of Ghana, which I learned while attending worship at a Nigerian friend’s church plant for African Christians in Maryland:

On a softer note, there’s the piano ballad “Wondrous Things” by Sandra McCracken, Patsy Clairmont, and JJ Heller of FAITHFUL, a collective of female Christian authors and artists formed in 2019. It lauds Jesus as king to the poor, the oppressed, and the brokenhearted. Heller and McCracken perform it with Sarah Macintosh in the following video:

This next one is more of a nostalgic pick for me: “Make My Heart Your Throne”:

Over two decades ago, when I was a young high schooler, I attended a Christian retreat. The worship leader for the weekend was a man named Carl Cartee, and I remember being struck by this original song of his that we all sang one night. Its words and melody imprinted on me, and all these years later I still find myself sometimes singing them in private as a prayer that Christ would be foremost in my affections and that I would cede control to him.

One of the keenest depictions of Christ’s kingship in scripture is in the book of Revelation, where his glory and triumph are on full display and he’s surrounded by worshipping throngs. Chapter 19, where the exiled John describes “the loud voice of a great multitude in heaven,” is the source text of the song “He Is Wonderful,” sung by Lowana Wallace with Lana Winterhalt and Josh Richert:

These three overlaid, harmonized vocal lines are so enthralling!

Wallace’s song is a simplified arrangement of “Revelation 19:1” by A. Jeffrey LaValley, who wrote it in 1984 for the gospel choir of New Jerusalem Baptist Church in Flint, Michigan, where he served as music director. You can listen to a more recent performance of “Revelation 19:1” on the album Jesus Is King (2019) by the Sunday Service Choir under the direction of Jason White, or in this Mav City Gospel Choir video from 2021, which features soloist Naomi Raine. The choir is directed by Jason McGee:

The build to such fullness of sound . . . wow! It really is evocative of the ample rejoicing in heaven around God’s throne that John the Revelator narrates—“like the sound of many waters and like the sound of mighty thunderpeals” (Rev. 19:6).

For a multilingual (English-Korean-Spanish) arrangement performed by students and staff at Fuller Theological Seminary in California, see here.

This is just a sampling of the eighty-plus songs on Art & Theology’s “Christ the King” playlist, exalting the One who lives and reigns supreme in the heavens and who will one day bring his kingdom to full fruition on earth.

Christ the King playlist cover

Cover art: John Piper (British, 1903–1992), Christ in Majesty, 1984, East Window, Chapel of St John Baptist without the Barrs, St John’s Hospital, Lichfield, Staffordshire, England

Roundup: Songs of thanksgiving, NYC art exhibitions, and more

SPOTIFY PLAYLIST: November 2024 (Art & Theology)

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SONGS:

In addition to the new, nonthematic playlist above, I also have a Thanksgiving Playlist that I published in 2021 and have been adding to sporadically. Here are three new songs, among others, that you can hear on it:

>> “I Just Want to Thank You, Lord” by Lynda Randle: Singer-songwriter Lynda Randle has been performing on the Gaither Homecoming videos and tours since 1993. Here she sings one of her original gospel songs with Gayle Mayes and Angela Primm.

>> “Thanks a Lot” by Raffi: Raffi Cavoukian, who goes by his first name only, is an Armenian Canadian children’s singer-songwriter and book author, best known for his song “Baby Beluga.” “Thanks a Lot” expresses gratitude—presumably to God, though God is not named—for the sun, clouds, wind, birds, stars, “the wondering me,” and so on. This live recording is on the 1984 release A Young Children’s Concert with Raffi. I’m guessing he told the kids in the audience to close their eyes, to help cultivate a prayerful state.

>> “Herraa Hyvää Kiittäkää” (Thank the Good Lord) by Herännäisnuorten kuoro: This hymn was originally written in Swedish by Jesper Swedberg in 1694 and was translated into Finnish six years later. It uses an older (1640) tune—nice and hearty! and in a minor key—by the German composer Heinrich Albert. You can follow along with the Finnish lyrics here.

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VIDEO: Jazz Vespers Worship Service, Duke Chapel, November 19, 2019: Duke University in Durham, North Carolina, has hosted a Jazz Vespers worship service nearly every March and November since 2014, a collaboration between Duke Chapel and the Duke Jazz Program. In this recorded service from the fall 2019 semester, Rev. Dr. Luke Powery (the chapel dean) leads the liturgy and Rev. Joshua Lawrence Lazard (the chapel’s minister for student engagement) delivers the sermon, which is from 1 Thessalonians 5:16–18: “Rejoice always, pray without ceasing, give thanks in all circumstances, for this is the will of God in Christ Jesus for you.” The music is led by Duke music professor John Brown, a Grammy-nominated jazz bassist and composer, and his Little Big Band. I can’t find the names of the two vocalists.

List of songs:

  • “Every Day Is a Day of Thanksgiving” by Shelby Wills
  • “Glory, Glory (Since I Laid My Burden Down)”
  • “Because of Who You Are” by Vicki Yohe
  • “I Feel Like Praising Him” by Shirley Caesar
  • “Amazing Grace” by John Newton
  • “Perfect Love Song” by Anita Wilson
  • “You Can’t Beat God Giving” by Billy Preston
  • “Thank You, Lord, for All You’ve Done for Me” by Walter Hawkins

Duke’s next Jazz Vespers service is Thursday, November 14, 2024, at 7 p.m. at Duke Chapel.

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LITANY: “Celebrating the Gifts of Immigrants” by Rev. Maren C. Tirabassi: “A prayer for the United States which has come to a time of conflict, when the discussion of immigration seems to be limited to a choice of two – fears of burden or pity for the vulnerable – ignoring the third truth – deep gratefulness.”

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VIRTUAL WORKSHOP: “Evocations: Advent Responsive Writing” with Marilyn McEntyre, Nov 26, Dec 3, Dec 10, Dec 17, 2024: Each Tuesday over the course of a month, from 7:00 to 8:30 p.m. ET, Marilyn McEntyre will be leading an online gathering of writers in reflecting on and working with words and images gleaned from centuries of song, poetry, and paintings that celebrate Advent, the season of waiting. Participants will engage in lectio divina and visio divina as a foundation for writing personal reflections, memoir, and poetry. Hosted by Image journal. Registration cost: $195.

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ART EXHIBITIONS:

I don’t know that I’ll be able to make it up to New York City before these two exhibitions close in January, but I will try! They both look excellent.

>> Siena: The Rise of Painting, 1300–1350, Metropolitan Museum of Art, October 13, 2024–January 26, 2025: Siena: The Rise of Painting, 1300–1350 examines an exceptional moment at the dawn of the Italian Renaissance and the pivotal role of Sienese artists—including Duccio, Pietro and Ambrogio Lorenzetti, and Simone Martini—in defining Western painting. In the decades leading up to the catastrophic onset of the plague around 1350, Siena was the site of phenomenal artistic innovation and activity. While Florence is often positioned as the center of the Renaissance, this presentation offers a fresh perspective on the importance of Siena, from Duccio’s profound influence on a new generation of painters to the development of narrative altarpieces and the dissemination of artistic styles beyond Italy.”

The New York Times published a glowing review of the exhibition, calling it “revelatory . . . the art show of the season.” Here’s a video tour:

>> Anything but Simple: Gift Drawings and the Shaker Aesthetic, American Folk Art Museum, September 13, 2024–January 26, 2025: “The Shakers, often celebrated for their minimalist approach to design, will be showcased in a new light with the exhibition Anything but Simple: Gift Drawings and the Shaker Aesthetic. Made by women in the mid-19th century and believed to represent divine messages, the ‘gift’ drawings on display represent a departure from the simplicity typically associated with Shaker material culture.

“Opening during the 250th year of Shakerism in the United States, the exhibition features drawings widely considered to be among the finest surviving examples of this rare type. These symbols of love and nature were often given as ‘tokens’ to other Shakers during meetings. Brightly colored and replete with intricate ornamentation, they represent a stunning world of celestial imagery. Compared to examples of Shaker clothing and furniture that will also be included in the exhibition, the vibrancy of the drawings will mark a distinct contrast with the clean lines typically associated with Shaker design.”

Cohoon, Hannah_The Tree of Life
Hannah Cohoon (American, 1788–1864), The Tree of Life, 1854. Ink and watercolor on paper, 18 1/8 × 23 5/16 in. Collection of the Hancock Shaker Village, Pittsfield, Massachusetts.

Medieval roundup: Julian of Norwich, stained glass at York Minster, Jewish hymn from Andalusia, and more

PODCAST EPISODES:

>> “Jack’s Bookshelf: Julian of Norwich” with Dr. Grace Hamman, Pints with Jack: The “Jack’s Bookshelf” podcast series explores the authors and books that influenced the life and writings of C. S. Lewis. Hosted by David Bates, this episode covers Julian of Norwich (ca. 1343–after 1416), an English anchorite and mystic who authored what editors call Revelations of Divine Love or The Showings, the first English-language book by a woman. The most famous quote from this work is “Sin is behoovely, but all shall be well, and all shall be well, and all manner of thing shall be well.” Medieval scholar Grace Hamman [previously] unpacks the quote and discusses other key passages and themes from Julian, as well as what little we know of her biography. An excellent introduction!

>> “Ben Myers—The Divine Comedy,” Life with God: One of the many gifts my parents have given me over the years was a four-month study-abroad stay in Florence during my junior year of college, where one of my courses was devoted to reading and studying—in its original Italian and in the author Dante Alighieri’s hometown!—the masterful trilogy of narrative poems known as La Divina Commedia, or The Divine Comedy in English. Moving through hell, purgatory, and heaven, it is an allegory of the soul’s journey toward God. I enjoyed hearing Dr. Benjamin Myers [previously], director of the Great Books Honors Program at Oklahoma Baptist University, discuss this deeply influential work from the early fourteenth century, and sharing one of his own poems, “Listening to Reggae at the Nashville Airport.”

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VIRTUAL TOURS OF CATHEDRALS:

Cathedrals are, among other things, repositories of sacred art. I’m so appreciative of digitization initiatives that seek to make some of those treasures available to global publics online. Here are two admirable examples.

>> The York Minster Stained Glass Navigator: York Minster in northeastern England has the largest collection of medieval stained glass in the UK, with the earliest pieces dating from the late twelfth century. On behalf of the Chapter of York, the York Glaziers Trust is undertaking to photograph it all. These photos are available for viewing online through the cathedral’s “Stained Glass Navigator,” which enables you to hover over panels to identify the scenes, zoom in for higher resolution, and see where each panel in situated in the context of the window’s larger narrative.

I especially recommend exploring the extraordinary Great East Window, which depicts the beginning and the end of all things. The top section opens with the seven days of creation, followed by other select scenes from the Old Testament, but the bulk of the window—and my favorite sequence—consists of scenes from the book of Revelation. The bottom row depicts historical and legendary figures associated with the history of York Minster.

St. John takes the book from the angel (York)
John Thornton of Coventry (British, fl. 1405–1433), St. John Takes the Book from the Angel (Rev. 10:8–11), 1405–8. Stained glass panel from the Great East Window, York Minster, York, England. Photo courtesy of the York Glaziers Trust.

The Dragon gives power to the beast (York)
John Thornton of Coventry (British, fl. 1405–1433), The Dragon Gives Power to the Beast (Rev. 13:1–3), 1405–8. Stained glass panel from the Great East Window, York Minster, York, England. Photo courtesy of the York Glaziers Trust.

Satan chained in the bottomless pit (York)
John Thornton of Coventry (British, fl. 1405–1433), Satan Chained in the Bottomless Pit (Rev. 20:1–3), 1405–8. Stained glass panel from the Great East Window, York Minster, York, England. Photo courtesy of the York Glaziers Trust.

>> Life of a Cathedral: Notre-Dame of Amiens: Located in the heart of Picardy in northern France, Amiens Cathedral is one of the largest Gothic churches of the thirteenth century, renowned for the beauty of its three-tier interior elevation, its prodigious sculpted decoration, and its stained glass. This website put together by Columbia University’s Media Center for Art History offers a detailed virtual tour of the cathedral, drawing attention to its architectural features and artworks, from the many stone relief sculptures over its four portals (my favorite) to the octagonal labyrinth that adorns the marble floor in the nave to the early sixteenth-century misericords in the choir stall.

Voussoir close-up, Amiens Cathedral
Detail of voussoirs from the south transept portal of St. Honoré at Amiens Cathedral, ca. 1240, featuring Adam working the ground, Noah building the ark, Jonah being disgorged from the fish, Hosea marrying Gomer, and other biblical figures and vignettes

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SONG: “Adon Olam,” performed by the Maqamat Masters, feat. Nissim Lugas: The well-loved text of this traditional Hebrew prayer in five stanzas probably originated in medieval Spain, having been first found in a thirteenth-century siddur (Jewish prayer book) from Andalusia. Drawn from the language of the Psalms, it praises God for both his transcendence and his immanence. He is incomparably great, the ruler over all, and yet he’s also a personal God, a refuge for those who call on him. The prayer’s title and opening phrase translates to “Master of the Universe” or “Eternal Lord.”

Various tunes have been used for the singing of this prayer over the centuries. The Maqamat Masters perform it here with a melody based on the traditional Armenian folk tune NUBAR NUBAR, arranged by Elad Levi and Ariel Berli. They also add to the prayer a few lines from the ghazals of the Persian Sufi poet Saadi (1210–ca. 1292), about the burning fire of God’s love; Lugas sings this Farsi passage from 3:06 to 4:08.

“Maqamat Masters is a unique group of musicians that coalesced around their work together teaching at the Maqamat School of Eastern Music in Safed, Israel,” 12 Tribes Music writes. “Each of the musicians is a master in a different traditional musical genre from the Middle East, and they bring their personal voices and decades of explorations together, to create a magical, new and innovative sound.”

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VIRTUAL EXHIBITION: The Faras Gallery: Treasures from the Flooded Desert: In 1960, Faras, a small town in Sudan near the Egyptian border, was one of the archaeological sites designated for flooding by the waters of the Nile to create Lake Nasser. Responding to an international call by UNESCO to preserve the area’s cultural heritage before it would be buried beneath the new reservoir, a Polish team led by Professor Kazimierz Michałowski proceeded with salvage excavations in 1961–64. Their efforts uncovered the wonderfully preserved ruins of a medieval cathedral, active from the eighth to fourteenth centuries (it was built on the remains of an early seventh-century church) and containing over 150 religious paintings, a trove of Nubian Christian art. By agreement with Sudan, half of the findings went to Poland’s National Museum in Warsaw, while the other half are kept in Sudan’s National Museum in Khartoum.

Nubian Madonna and Child
Wall Painting with Bishop Marianos under the protection of Christ and the Mother of God, early 11th century, excavated from Faras Cathedral in modern-day Sudan. Secco tempera on plaster, 247 × 155.5 cm. National Museum, Warsaw.

Excavation of Faras Cathedral

Curated by Paweł Dąbrowski and Magdalena Majchrzak and hosted by Google Arts & Culture, this virtual exhibition spotlights the wall paintings and artifacts from Faras that are housed in Warsaw. It discusses the importance of the discovery of the cathedral and the technical challenges of detaching the paintings (tempera on dry mud plaster) from the walls. It also includes digital reconstructions of the cathedral’s interior and exterior in 3D stereoscopy, as well as video elements. Here is one of the four videos from the exhibition:

Roundup: New book for All Saints’ Day, Bruce Onobrakpeya exhibition in DC, and more

NEW BOOK: Everything Could Be a Prayer: One Hundred Portraits of Saints and Mystics by Kreg Yingst: Released on October 15, this book features one hundred color block-print portraits by Kreg Yingst of folks in the family of God across time and place, along with one-page biographies. Get to know a wide range of Christian civil rights activists, scientists, environmentalists, social service workers, hymn-writers, artists, poets, evangelists, and monastics and the gospel impact they’ve made. The lineup is a mix of familiar and less familiar names, canonized saints and noncanonized. Examples include Brigid of Kildaire, Ignatius of Loyola, Satoko Kitahara, Dietrich Bonhoeffer, Mamie Till, Pandita Ramabai Dongre-Medhavi, and Black Elk. Click here to look inside.

Kreg Yingst book

The title of the book is taken from a quote by Martin de Porres (1579–1639), a Dominican friar from Peru and the first Black saint of the Americas: “Everything, even sweeping, scraping vegetables, weeding a garden, and waiting on the sick, could be a prayer if it were offered to God.”

Related events:

  • October 10–November 16, 2024: Art exhibition featuring the block prints from the book at The Gallery of Art, 36 W. Beach Dr., Panama City, Florida
  • October 26, 2024, 1:00–3:00 p.m.: Book signing at Barnes & Noble, 1200 Airport Blvd., Pensacola, Florida

Through November 1, Yingst is offering 25% off all original woodcuts and linocuts that were used as illustrations for the book; view the discounted pieces in the “Mystics, Saints & Poets” section of his Etsy shop. These are not inkjet-printed photographs of original artworks (which is what some artists misleadingly call “prints”) but are themselves original limited-edition relief prints hand-pulled on an antique proof press from carved blocks; they are made with black oil-based ink and watercolor. If you want original art in your home or to gift a friend or family member for Christmas, Yingst’s work is a great and affordable option!

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SONGS:

November 1 is All Saints’ Day, a feast for commemorating the lives and witness of our siblings in the faith who have gone before us. Here are two songs for the occasion.

>> “I Sing a Song of the Saints of God,” performed by Wendell Kimbrough: This charming little children’s hymn was written by Lesbia Scott and was first published in her native England in Everyday Hymns for Little Children (1929). In the United States the song first appeared in the Episcopal Hymnal 1940 with a tune that John Henry Hopkins, a member of the hymnal committee, composed for it, capturing the childlike cadences of the text.

>> “When the Saints” by Sara Groves: This song from Groves’s album Tell Me What You Know (2007) draws encouragement from the faithfulness of God-followers throughout history, from Moses, Paul, and Silas to Harriet Tubman and Mother Teresa to the martyr Nate Saint and his sister Rachel Saint to rescuers of sex-trafficking victims. It is a call to hearers today to pick up their cross and follow Christ into places of hurt and injustice, pursuing liberation of body and soul for all. The refrain quotes the traditional Black gospel song “When the Saints Go Marching In.”

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ART EXHIBITION: Bruce Onobrakpeya: The Mask and the Cross, National Museum of African Art, Washington, DC, June 21, 2024–January 21, 2025: A father of African modernism, Bruce Onobrakpeya (b. 1932) [previously] is one of Nigeria’s most celebrated artists, and I was thrilled this month to visit his first solo show in the US, which, as it turns out, is centered on his Christian-themed linocut prints! (The artist is Anglican.) Onobrakpeya’s career spans over six decades, and this Smithsonian exhibition is not meant to be representative of the breadth of his oeuvre, which also includes painting and sculpture and various subject matters; rather, it presents two foundational bodies of work from the late sixties, both commissioned by the Catholic Church, that helped launch the artist’s long and esteemed career.

The exhibition displays rare artist’s proofs of the biblical illustrations Onobrakpeya made for Ki Ijoba Re De (May Your Kingdom Come) (1968), a Yoruba-language textbook for students in their fifth and sixth years of Catholic primary school (it was part of the Nigerian National Catechism), as well as a complete narrative series of prints titled Fourteen Stations of the Cross, produced in 1969. I blogged about the artist’s Stations cycle back in 2014, when I saw a different edition at the SMA African Art Museum in Tenafly, New Jersey; you can view better photos on the High’s website. For more on the work of Fr. Kevin Carroll, the Catholic missionary who commissioned Onobrakpeya to paint a church mural of the Stations that became the basis of these linocuts and who helped facilitate the May Your Kingdom Come publication, see here.

Curated by Lauren Tate Baeza, Bruce Onobrakpeya: The Mask and the Cross first opened last year at the High Museum of Art in Atlanta. This is Baeza’s first exhibition as curator of African art at the High, and I’m so pleased that when she dug through the High’s extensive archives, it was a set of Christian prints by a leading Nigerian artist that most compelled her, that she could imagine building a unique exhibition around and that she felt must be pulled out of storage for more people to see. Hear Baeza discuss the exhibition from 23:28 to 35:58 of the video “African Modernisms: A Legacy of Connection.”

Onobrakpeya, Bruce_Station 1
Bruce Onobrakpeya (Nigerian, 1932–), Station I: Pilate condemns Jesus to death, 1969. Linoleum block print on rice paper, 24 × 34 in. (61 × 86.4 cm). High Museum of Art, Atlanta, Georgia. Photo: Victoria Emily Jones.

For his Stations of the Cross, Onobrakpeya “incorporat[ed] the rich patterns of Yoruba gelede and epa masks and stylized geometric patterns found in northern Nigerian architecture. Then he added generous adire motifs and his signature elongated figures and distortions of scale,” reads one of the gallery wall texts. He also embedded a critique of British colonial rule, portraying the Roman soldiers of Christ’s passion as British officers. (Nigeria had just attained independence from Great Britain earlier that decade, in 1960.) Pilate, though, is shown as a local Nigerian magistrate doing the bidding of the British government, highlighting a deeply felt tension in Nigeria’s then-recent political history.

I really appreciate the video components of the exhibition. One screen plays a compilation of clips from interviews Baeza conducted with the artist, and another displays a two-dimensional animation commissioned from Sadiki Souza specially for this exhibition, which brings to life Onobrakpeya’s fourteen Stations. Neither is available online, at least not that I can find.

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ZOOM EVENT: “Celebration of New Global Church Music Resources,” November 14, 9:00 a.m. CDT (12:00 p.m. ET): From Baylor University’s Dunn Center for Christian Music Studies: “We are excited to announce the launch of two website projects on November 14th! In collaboration with the Nigerian Baptist Theological Seminary, the third edition of the Nigerian Christian Songbook will be updated with new songs and content. In addition, a new project, the Global Church Music Bibliography, highlights underrepresented voices in church music scholarship. This is an interactive dashboard and map that features church music scholars writing about their own traditions outside of North America.” At the Zoom event on launch day, you will hear from various project participants. [HT: Global Christian Worship]

Nigerian Christian Songs
Global Church Music Bibliography

Roundup: Latin American classical music, Pedro Linares sculpture, Pope Francis on literature, and more

UPCOMING LECTURES:

I’m one of the artistic directors of the Eliot Society, a faith-based arts nonprofit in Annapolis. I’m really looking forward to our next two events this fall! If you’re in the area, I’d love for you to come out to these talks by a musician and a medievalist. They’re both free and include a time of Q&A and a small dessert reception afterward.

>> “A Place to Be: Gospel Resonances in Classical Music” by Roger Lowther, October 26, 2024, Redeemer Anglican Church, Annapolis, MD: “At its most basic, music is a collection of sounds. How those sounds are organized varies by country and culture and reflects their values, history, and heart-longings. Join Tokyo-based American musician Roger W. Lowther on a journey through the landscapes of Western and Japanese classical music and explore their unique and fascinating differences. Roger will lead from the piano as he demonstrates the musical languages of each tradition and show how they contain hidden pointers to gospel hope in a world full of suffering and pain.”

Roger Lowther lecture

I’ve heard Roger speak before, and he’s very Jeremy Begbie-esque in that he does theology through instrumental music. As a bicultural person, a New Englander having lived in Japan for almost twenty years (ministering to and through artists of all disciplines), he brings a unique perspective. In addition to discussing the defining features of the Western versus Japanese classical traditions, he’ll be performing a few piano pieces from each.

>> “Christ Our Lover: Medieval Art and Poetry of Jesus the Bridegroom” by Dr. Grace Hamman, November 23, 2024, St. Paul’s Anglican Church, Crownsville, MD: “If there was a ‘bestseller’ book of the Bible in the European Middle Ages, it would be the Song of Songs. When read allegorically, in the manner of medieval theologians like St. Bernard of Clairvaux, the book tells the story of the romance between Christ and the soul that culminates in Christ’s love shown on the cross. This is a story of mutual pursuit, the pain of desire and sacrifice, sensual delight, and true union. The idea of Jesus as a longing lover of each individual soul appeared everywhere by the later medieval period, in art, poetry, sermons, and the devotional writings of men and women alike.

“These themes and images can strike us as strange, even uncomfortable. An illustrated poem for nuns depicted the Song of Songs like a cartoon strip. Prayer books of wealthy nobles portrayed Christ’s wounds intimately. Poets wrote Christ in the role of a chivalric, wounded knight weeping and waiting for his lady. And yet, examining this ancient imagery of Jesus our Lover together can challenge us to greater vulnerability with our Savior, to refreshed understandings of God’s hospitality, and, in the words of Pope Gregory the Great, can set our hearts ‘on fire with a holy love.’”

Grace Hamman lecture

Grace is a fabulous teacher of medieval poetry and devotional writing, one whom I’ve mentioned many times on the blog before. Her Jesus through Medieval Eyes was my favorite book of 2023; read my review here. She has encouraged me to move in toward the strange and imaginative in medieval theology and biblical interpretation, because there’s often beauty and wisdom to be found there if we give it a chance. She has a keen awareness of the body of Christ across time and an appreciation for the gifts they’ve bequeathed the church of today, be they words, art, or whatever else.

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VIDEO: “Poet and Pastor: Christian Wiman and Eugene Peterson”: In this four-minute video from Laity Lodge, poet and essayist Christian Wiman and pastor and spiritual writer Eugene Peterson (best known for his Bible translation The Message) talk about prayer and spirituality. They each share a poem they’ve written: Wiman’s “Every Riven Thing” and Peterson’s “Prayer Time.” “People who pray need to learn poetry,” Peterson says. “It’s a way of noticing, attending.”

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ARTICLE: “Stop and read: Pope praises spiritual value of literature and poetry” by Cindy Wooden, National Catholic Reporter: On August 4 the Vatican published a letter by Pope Francis, a former high school lit teacher, on the important role of literature in formation. Read some highlights at the article link above, or the full letter here.

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SONG: “Teach Me How to Pray” by Dee Wilson: This jazz adaptation of the Lord’s Prayer premiered at Good Shepherd New York’s September 8 digital worship service. It is written and sung by Dee Wilson of Chicago.

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ARTICLE + PLAYLIST: “Latin American Fiesta!” by Mark Meynell: I always appreciate the selections and knowledge Mark Meynell [previously] brings to his 5&1 blog series for the Rabbit Room, each post exploring five short pieces and one long piece of classical music. This Latin American installment features Kyries from Peru and Argentina, a candombe air, a four-part Christmas anthem in Spanish creole from Mexico (I found an English translation!), an Argentine tango, and a dance chôro (Portuguese for “weeping” or “cry”) from Brazil. What diverse riches!

“Classical music, as conventionally understood, is not often associated with Latin America,” Meynell writes, “though, as we will see, this is a situation that needs rectifying. Some extraordinary soundworlds were being created long before the Conquistadores arrived from European shores, and together with the cultural impact of the transatlantic slave trade from Africa, the musical mix that resulted is unique. To put it at its most simplistic, we could say that the two key musical influences were the Catholic Church and the complex rhythms of percussion and dance; and often, it’s hard to tell where one ends and the other begins.”

View more from the 5&1 series here. In addition to “Latin American Fiesta!,” among the thirty-three posts thus far are “Autumnal Mists and Mellow Fruitfulness,” “Musical Thin Places: At Eternity’s Edge,” “Music in Times of Crisis,” “The Calls of the Birds,” and “It’s All About That Bass.”

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ARTWORK: The Old Man and Death by Pedro Linares: Last month I visited the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, for the first time and was delighted to stumble upon an exhibition that had just been put up, Entre Mundos: Art of Abiayala. On view through December 15, it highlights collection works made by artists with personal or ancestral ties to Mexico, the Caribbean, and Central and South America. The title translates to “Between Worlds,” and “Abiayala,” I learned, is a Guna (Kuna) word that means “land in its full maturity” or “land of vital blood”; it’s used by the Guna and some other Indigenous peoples to refer to the Americas.

Linares, Pedro_The Old Man and Death
Pedro Linares (Mexican, 1906–1992), El viejo y la muerte (The Old Man and Death), 1986. Papier-mâché and mixed media. Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Photo: Victoria Emily Jones.

Linares, Pedro_The Old Man and Death (detail)
Linares, Pedro_The Old Man and Death (detail)

For me the standout piece from the exhibition is The Old Man and Death by Pedro Linares, a dramatic tableau in the medium of cartonería (papier-mâché sculpture), a traditional handcraft of Mexico. Commissioned by the Wadsworth in 1986 for the artist’s MATRIX exhibition, it reinterprets Joseph Wright of Derby’s 1773 painting of the same name, one of the most popular works in the museum’s collection.

Wright, Joseph_The Old Man and Death
Joseph Wright of Derby (English, 1734–1797), The Old Man and Death, 1773. Oil on canvas, 40 × 50 1/16 in. (101 × 127 cm). Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Photo: Victoria Emily Jones.

Regarding the Wright painting, Cynthia Roman writes that it

masterfully combines Wright’s ability to depict a literary narrative with his skill in rendering a natural setting with accuracy and keenly observed detail. The subject of this painting is based on one of Aesop’s Fables or possibly a later retelling by Jean de la Fontaine. . . . According to the tale, an old man, weary of the cares of life, lays down his bundle of sticks and seats himself in exhaustion on a bank and calls on Death to release him from his toil. Appearing in response to this invocation, Death arrives. Personified here as a skeleton, Death carries an arrow, the instrument of death. Illustrating the moral of the tale that it is “better to suffer than to die,” the startled old man recoils in horror and instinctively waves him off, reaching for the bundle as he clings to life.

The Linares piece and its inspiration are placed side-by-side in the gallery, which also displays an alebrije by the same artist, papel picado, painted skulls, an ofrenda, and Diego Rivera’s Young Girl with a Mask.

Roundup: Animal church service, “Life/Blood” installation, and more

Have you been delighted or inspired by the Art & Theology blog this year or its Instagram offshoot, @art_and_theology? If so, please consider donating to the work through a secure online form or PayPal, or by buying me a book from my Amazon wish list (my address is privately stored). Thank you to my five regular monthly supporters, and others who have blessed me with one-off donations of funds and books. These gifts not only provide important material assistance but also serve as an emotional boost, a validation that my work has value and is worth continuing.

My blog-related expenses this year have included a replacement of my old laptop, a conference registration and travel fees, a trip to New York, museum admissions, books, licensing fees for two images (I occasionally pay for images when good photos are not available online), and the yearly WordPress Premium fee to keep this site ad-free and mapped to a custom domain. Donations will go toward covering these, and if there is any left over, toward a new camera lens that will enable me to take wider shots, great for cathedrals and for larger artworks in tight quarters.


SPOTIFY PLAYLIST: October 2024 (Art & Theology): Every month I create a digital mixtape of Christian and Christian-adjacent music that deserves attention, consisting of old and brand-new recordings alike. Two hours of beautiful, soulful expressions of praise, prayer, and lament for your ears and heart.

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VIDEO: Animal Service at Ely Cathedral: On September 22, Ely Cathedral in England held its annual animal service, attended by some 450 animal lovers and their pets and service animals, mainly dogs. “Our annual Animal Service is an opportunity to give thanks for the animal companions with whom we share our lives and our planet, to bring them into our Cathedral, to ponder how best to care for animals and to ask God to bless them.” Marley the donkey, from the Donkey Sanctuary, led a procession up the nave. The liturgy was led by Canon James Garrard, and, in addition to several congregational hymns, including “All Creatures of Our God and King,” the cathedral’s children’s choir, the Ely Imps, sang “The Barnyard Song” by Rhonda Gowler Greene and “Look at the World” by John Rutter.

In addition to a special prayer of confession, act of commitment, and benediction, the service included this litany from the Book of Common Prayer:

God said, “Let the waters bring forth living creatures, and let birds fly across the sky.”

We thank you for the teeming life of the seas,
And the flight of the birds.
Help us to protect the environment
So that all life may flourish.
God of life: Hear our prayer.

God said, “Let the earth bring forth living creatures of every kind.”

We rejoice in the variety of animal life.
Grant us grace to treat all animals with respect and care;
To protect endangered species,
To preserve the variety of habitats,
And to honor the delicate balance of nature.
God of life: Hear our prayer.

Heavenly Father, you have filled the world with beauty.
Open our eyes to behold your gracious hand in all your works,
That, rejoicing in your whole creation,
We may learn to serve you with gladness,
For the sake of him through whom all things were made,
Jesus Christ our Lord.
God of life: Hear our prayer.

Two volunteer representatives from the charity Medical Detection Dogs were invited to share about the work of dogs who are trained to detect the odor of human disease.

Several churches worldwide hold animal services around this time of the year, the Feast of St. Francis (known for his love and care of animals) being on October 4. These are usually in addition to the regular Sunday morning worship service and are not eucharistic. UMC’s Discipleship Ministries provides a sample liturgy for “A Service for the Blessing of Animals.” Many such services are held outdoors, such as the one organized annually by Washington National Cathedral, which is taking place this Sunday, October 6, at 2 p.m.

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ART INSTALLATION VIDEOS + PHOTOS: In July I mentioned the Vessel art trail organized by Art + Christianity, which places contemporary artworks in rural churches along the Welsh-English border (see here). On commission from A+C, Mud and Thunder has taken some wonderful photos and video of the seven sites on the trail, including interview footage with the artists. What follows are videos for Life/Blood by Lou Baker, Grace Vessel by Jane Sheppard, and Centre by Steinunn Thórainsdóttir. (The remaining videos are on pieces by Lucy Glendinning, Andrew Bick, Barbara Beyer, and Robert George.)

The art trail continues through October 31. Visit https://artandchristianity.org/vessel to view in situ photographs, and see the following links for information on free creative workshops led by the participating artists: on making sculptures of found natural materials, working with clay as a meditative practice, social knitwork, and drawing.

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POEMS:

>> “There’s a Special Providence” by Seth Wieck, Texas Poetry Assignment: Seth Wieck [previously] is a writer from Amarillo, Texas. Published the week of the last US presidential inauguration, this poem muses on the impermanence of earthly empires, contrasting such with the steady, indifferent labor of birds, which continues on through administration changes and the passing of generations. The title and opening line are a clever rhyming twist on a line from the final act of Shakespeare’s Hamlet, “There’s a special providence in the fall of a sparrow.” For the poetic speaker, there’s a sense of comfort in God’s sovereignty and an orientation toward Christ’s lordship that puts election poll results, though not negligible, in proper perspective.

In a Substack post from February 2021, Wieck wrote, “I am no politician’s acolyte; they’re public servants, not saviors. I catch some heat in private conversation when I say that I couldn’t care less about national politics. That’s not a true statement, but the tense conversations in which I claim my ambivalence usually leave me no room for nuance. Those conversations demand my total wide-eyed attention to the firehouse of information being created by national elections. But as Mary Oliver said, ‘The beginning of devotion is attention.’ Forgive me if I am unwilling to develop devotion for those people whose only interest in my community is the exploitation of our devotion and resources.”

>> “Jesus Heals a Paralytic” by Ryan Keating, Reformed Journal: Ryan Keating is a pastor on the Mediterranean island of Cyprus (he preaches in Turkish and English), an academic writer and poet, and the owner of Exile Coffee and Wine. This poem retells the miracle from Mark 2:1–12 in the voice of the paralyzed man whom Jesus heals. Whereas many artists depict the episode with ropes used as a lowering mechanism, Keating says it’s much more likely, given the typically low ceilings of Middle Eastern homes, that the man would have been received by “a net of hands” raised up by the people in the room.

The poem repeats the word “temple” three times, remarking how the man was “suspended / in a temple by a temple / and landed on holy ground / as a temple . . .” The temple is the place where the crowd is gathered because Jesus is in it, and the four faith-filled friends who bring the paralyzed man there themselves constitute a temple, and the man too becomes a temple, a dwelling-place of God, after being made whole by Jesus. Drawing on Old Testament imagery of the garden of Eden and the exodus, the final stanza is one of restoration. The sea of people parts as the man steps outside into a garden, his friends buoyed by amazement.

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ARTWORK: Intra-Venus by Marina Vargas: October is Breast Cancer Awareness Month, so I wanted to share an artwork I encountered on the subject this summer at the New Worlds: Women to Watch 2024 exhibition at the National Museum of Women in the Arts. Intra-Venus is a nude self-portrait in marble by Spanish artist and breast cancer survivor Marina Vargas, frankly depicting her body after a mastectomy, chemotherapy, and radiation. Owning her scars and her baldness, she uses the language of classical sculpture to monumentalize a common female experience. (The chance of a woman in the US getting breast cancer in her lifetime is 1 in 8, and more than 100,000 US women undergo some form of mastectomy each year; global statistics are harder to come by.) Vargas lost the use of her left arm for a time during treatment, but here she shows herself with her left arm raised in triumph. The sculpture highlights the heroism of women who endure breast cancer and the dignity of their changed form.

Vargas, Marina_Intra-Venus
Marina Vargas (Spanish, 1980–), Intra-Venus, 2019–21. Carrara marble, 77 1/2 × 26 3/4 × 26 in. Photo: Victoria Emily Jones.

Vargas, Marina_Intra-Venus