The Beatitudes (Artful Devotion)

Finished Haywood Street Fresco
Christopher Holt (American, 1977–), Haywood Street Beatitudes, 2018–19. Fresco, 9 1/2 × 27 ft. Haywood Street Congregation, Asheville, North Carolina. Photo: John Warner.

“Blessed are the poor in spirit, for theirs is the kingdom of heaven.

“Blessed are those who mourn, for they shall be comforted.

“Blessed are the meek, for they shall inherit the earth.

“Blessed are those who hunger and thirst for righteousness, for they shall be satisfied.

“Blessed are the merciful, for they shall receive mercy.

“Blessed are the pure in heart, for they shall see God.

“Blessed are the peacemakers, for they shall be called sons of God.

“Blessed are those who are persecuted for righteousness’ sake, for theirs is the kingdom of heaven.

“Blessed are you when others revile you and persecute you and utter all kinds of evil against you falsely on my account. Rejoice and be glad, for your reward is great in heaven, for so they persecuted the prophets who were before you.”

—Matthew 5:3–11

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SONG: “Beatitudes” by Bernice Johnson Reagon | Performed by Sweet Honey in the Rock, live at Carnegie Hall, November 7, 1987

Bernice Johnson Reagon (born October 4, 1942) is a song leader, composer, scholar, and social activist who in the early 1960s was a founding member of the Student Nonviolent Coordinating Committee’s Freedom Singers in the Albany Movement in Georgia. In 1973 she founded the all-black female a cappella ensemble Sweet Honey in the Rock, based in Washington, DC. Reagon, along with other members of the SNCC Freedom Singers, realized the power of collective singing to unify the disparate groups who began to work together in the 1964 Freedom Summer protests in the South. ‘After a song,’ Reagon recalled, ‘the differences between us were not so great. Somehow, making a song required an expression of that which was common to us all. . . . This music was like an instrument, like holding a tool in your hand.’” [source]

Reagon was the creator and host of the Peabody Award–winning NPR series Wade in the Water: African American Sacred Music Traditions, which originally aired in 1994 in twenty-six parts. (All the episodes are freely accessible online!) Under Reagon’s guidance, the production team traveled all over the country to record baptismal and congregational services, concerts, and interviews with a range of performers, composers, and community members. A four-CD set was released as a companion to the series.

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The Haywood Street Beatitudes fresco was completed last year in the sanctuary of Haywood Street Congregation in Asheville, part of whose mission is “breaking down barriers that divide the ‘haves’ from the ‘have-nots’ and reminding each person of their worth, their goodness.” The principal artist is Christopher Holt, and he worked with a team of four others. To learn more about the fresco, visit the interactive website https://visit.haywoodstreetfresco.org/, which includes many photos and sketches that document the making process in detail, information about the people pictured and an interpretive guide, and comments from participants in the project. All the quotes and photos in this section I’ve sourced from there.

The Rev. Brian Combs, who is shown emerging from behind the stone wall on the right, founded Haywood Street Congregation in 2009 to be a place of welcome for those struggling with addiction and/or homelessness. “The most painful part of holding a cardboard sign at the intersection,” he says, “is not the humiliating public declaration of helplessness or having trash thrown at you, or watching the automatic doors lock down. By far, from what I’ve heard after a decade of listening, is the refusal of so many drivers, idling just feet away at the red light, to even make eye contact.”

Commissioning this fresco—a permanent medium in which paint joins with plaster, making the image inseparable from the church architecture—is one way in which Haywood Street is “affirming sacred worth, restoring human dignity, and sabotaging the shame of poverty.” Fresco painting reached its zenith in the Italian Renaissance, but “too often . . . religious art . . . was made over in the image of those in power who were paying for it. God was rendered European and male. Jesus was more prince than peasant. Salvation meant being upper class.” The Haywood Street Beatitudes contains a more racially and socioeconomically diverse set of individuals that is reflective of the makeup of the community. Its message is that “God continues to show up in everyday life among the unhoused and the housed, the poor and poor in spirit, the meek, the merciful, and the hungry.” 

The skyline, with its Appalachian Mountain vista, offers an idealized portrait of Asheville. Some historical buildings are visible in the background, such as the racially segregated Stephens-Lee High School (on the top of the hill), which opened in 1923 and became a center for culture and arts and a source of pride for the Black community; it closed in 1965 as part of the county school board’s integration plan, and in 1975 most of it was bulldozed.

Haywood Street is most known for its Downtown Welcome Table ministry: family-style meals are served—with cloth napkins and on china plates!—on Wednesdays and Sundays in the church’s dining room, where people from all backgrounds are encouraged to come and eat together and enjoy fellowship. (Due to COVID-19 restrictions, meals are currently served to-go.) “We are a ministry that acknowledges each of us has gifts and each of us has needs. While some come with hunger from the body, others come with a hunger in their souls.” The website goes on to explain that visitors can “expect roles to be reversed. If you are coming to give, you might be asked to receive, to simply sit and have lunch. . . . If you are coming to receive, you might be called upon to serve.”

Haywood Street fresco
Haywood Street fresco (detail)

“Table is the defining metaphor at Haywood Street,” signifying relationship and togetherness. In the fresco, community members prepare the table and hold it up, led by Miss Mary (center); “keep the house open and be generous with your life,” she says. Holding her hand is Dave, a US Air Force veteran who grew up in Alabama in a culture where he was told never to touch a Black person. At Haywood he has overcome the prejudice he was formerly steeped in.

Other pictured individuals include Edward, the church organist; Robert, a gardener who arranges flowers for the altar and dining room tables each week; Soleil, a little girl who loves coming to Haywood Street for the desserts and who is whispering into Robert’s ear; Wayne (bottom right), who initially came to Haywood Street through its Respite ministry, which provides a safe place for homeless adults to rest, recover, and be cared for following a hospital discharge; and so on.

Haywood Street fresco (detail)

All are underneath the blessing hands of God and the rainbow of God’s promise.

Flanking the scene are two sentinel figures, each holding a light so that those in the darkness can find their way. The one on the left is modeled after Charles, a community member who died of cancer in May 2019, a few months before the fresco was completed. He was foundational to the church, as he lived on the streets and vouched for Haywood Street to all his friends when it was just getting started. His dog, Emma, sits in front of him, next to an open pouch of his woodworking tools. The other light-bearer, on the right, is Jeanette, a single mom who “came for lunch” one day between job interviews “and found love.” She is a care minister at Haywood Street and is on the board of directors. The two hold the Communion elements: Charles, a wine flask, and Jeanette, a sheaf of wheat.

Shout-out to Alexandra Davison, director of Culture Care RDU and a docent at the North Carolina Museum of Art, whose blog post “Lent, COVID-19 & the Beatitudes on Haywood Street” introduced me to this fresco.

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I’ve addressed the Beatitudes in previous Artful Devotions, which feature

For more Beatitudes-related art, see the Visual Commentary on Scripture exhibition “Blessed,” curated by Rebekah Eklund, a professor of New Testament, theology, and ethics at Loyola University Maryland. I appreciate how she addresses descriptive versus prescriptive interpretations of the Beatitudes. She examines (1) an illumination from a French medieval moral treatise that shows seven women in a “virtue garden,” each representing a different beatitude; (2) an Ethiopian-inspired canvas painting by contemporary American artist Laura James, which places the Beatitudes in the context of chattel slavery; and (3) the central panel of the Ghent Altarpiece [previously], where seven groups of saints gather round a bleeding Lamb.

Blessed (VCS exhibition)

“All three artworks place a Christ-figure in the centre: the tallest tree in the middle of the garden tended by prayer, an African Jesus with open arms delivering the Sermon on the Mount, or the slaughtered Lamb standing triumphantly on the altar of his sacrifice and surrounded by angels. This centrality suggests Christ’s role not only as the speaker of the Beatitudes but also as their embodiment and fulfilment.”


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

To view all the Revised Common Lectionary scripture readings for All Saints’ Day, cycle A, click here.

Forever Blessed (Artful Devotion)

Kussudiardja, Bagong_Christ and the Fishermen
Bagong Kussudiardja (Indonesian, 1928–2004), Christ and the Fishermen, 1998. Oil on canvas. Source: Ron O’Grady, ed., Christ for All People: Celebrating a World of Christian Art (Asian Christian Art Association, 2001), page 67

But the saints of the Most High shall receive the kingdom and possess the kingdom forever, forever and ever.

—Daniel 7:18

And he lifted up his eyes on his disciples, and said:

“Blessed are you who are poor, for yours is the kingdom of God.

“Blessed are you who are hungry now, for you shall be satisfied.

“Blessed are you who weep now, for you shall laugh.

“Blessed are you when people hate you and when they exclude you and revile you and spurn your name as evil, on account of the Son of Man! Rejoice in that day, and leap for joy, for behold, your reward is great in heaven; for so their fathers did to the prophets. . . .”

—Luke 7:20–23

Christians believe that the forever kingdom foreseen by the Old Testament prophet Daniel (in the vision that precedes the above verse) is the same kingdom that Jesus inaugurated in the New Testament. As Jesus preached the Beatitudes, he described those who would possess said kingdom: the meek, the merciful, and so on.

Daniel’s vision was of “one like a son of man” who was given, by the Ancient of Days, everlasting dominion over all peoples. Jesus uses the title “Son of Man” for himself all throughout the Gospel of Luke. He is the ruler of that expansive kingdom that had been prophesied about centuries earlier. It’s a kingdom that extends across the realms of earth and heaven, which will one day be joined back together. Its citizens are the saints of old (who trusted in God’s promises) and the saints of today.

On All Saints’ Day (November 1) we remember the powerful spiritual bond we have with our fellow “citizens” in heaven. We celebrate the examples they have left us, giving thanks for their lives.

Below is a song by a living saint that invites us into God’s kingdom and to “see with new eyes,” paired with a painting by a saint who has passed on, which shows Jesus building the kingdom.

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SONG: “Behold Now the Kingdom” by John Michael Talbot | Performed by John Michael Talbot and Terry Talbot, on The Painter (1980)

Grammy Award–winning singer-songwriter John Michael Talbot came to faith in 1975 while rock-’n’-rolling and shortly after joined the Jesus Movement. He converted to Catholicism in 1978 and two years later founded the Brothers and Sisters of Charity, an integrated monastic community with celibate brothers and sisters, singles, and families. He now lives at St. Clare Monastery in Houston, where he is still writing and producing music, donating all his proceeds to charities. On the album The Painter, he sings with his brother, Terry.

John Michael Talbot

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Bagong Kussudiardja (1928–2004) [previously] was a well-known dancer and choreographer from Indonesia who combined classical Javanese dance with modern dance, the latter of which he studied under Martha Graham in the 1950s. He was a Christian, and several of his dance-dramas were based on events from the life of Christ: the Nativity, the Crucifixion, and the Ascension, for example. He was also a visual artist who pioneered batik painting in Indonesia, although he worked in oils too. In 1958 he founded Pusat Latihan Tari Bagong Kussudiardja (Bagong Kussudiardja Center for Dance), followed by Padepokan Seni Bagong Kussudiardja (Bagong Kussudiardja Center for the Arts) in 1978, which is still flourishing. He was honored with a Google Doodle on his birthday in 2017.

Bagong Kussudiardja

Kussudiardja’s Christ and the Fishermen shows Jesus on an Indonesian beach (notice the traditional fishing boats in the background) wearing modern dress: a blue bathing suit, a white tank top, and yellow-rimmed sunglasses. He gestures expressively as he preaches to his new disciples who, in their contouring, are reminiscent of shadow puppets (wayang).

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For All Saints’ Day devotions from the previous two lectionary cycles, see:

  • “Sky World,” featuring a song in Mohawk by Theresa Bear Fox and a fancy dance by Apsáalooke hip-hop artist Supaman
  • “Around the Throne,” featuring an early Renaissance altarpiece from Italy and a late Renaissance motet from Spain

For other thematically related Artful Devotions, see:

  • “Shine Like a Star,” featuring a contemporary Ukrainian icon and an American folk song from the 1953 Ruth Crawford Seeger songbook, American Folk Songs for Christmas
  • “Cloud of Witnesses,” featuring a Paduan dome fresco of heaven and a hymn by Brian Wren and Gary Rand

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

To view all the Revised Common Lectionary scripture readings for All Saints’ Day, cycle C, click here.

Sky World (Artful Devotion)

Tomorrow begins Allhallowtide, a three-day Christian festival in which the saints in heaven are remembered. Several friends of mine have lost loved ones this year—siblings, parents, uncles—and just this month my church said goodbye to one of its dear members who passed on. All Hallows’ Day, the central observance of the triduum, recognizes that a spiritual bond still exists between the departed saints and those on earth, whom Christ binds together in one communion. So let us honor this week the memory of those who have gone before us in faith, praising our great and gracious God who sanctifies his people—and who is preparing a family reunion like no other!

Visitations by Joseph Kinnebrew
Joseph Kinnebrew (American, 1942–), Visitations: Gifts; A Slight Lapse of Purpose; Hand Stands; Yea; Majorette, 1994–97. Cast iron, 54 to 69 inches tall. Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan. Photo: Victoria Emily Jones.

. . . they seemed to have died, and their departure was thought to be an affliction, and their going from us to be their destruction; but they are at peace. . . . Their hope is full of immortality.

—Wisdom of Solomon 3:2–4

(Note: The Wisdom of Solomon, or the Book of Wisdom, is a deuterocanonical book, meaning it is part of the Septuagint but not the Hebrew canon and therefore is not recognized as canonical by Protestants. However, it still contains spiritual wisdom and, as Martin Luther believed, is “useful and good to read” alongside the inspired scriptures.)

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SONG: “Sky World” | Words and music by Theresa Bear Fox, 2015 | Performed by Teio Swathe (vocals) and Supaman (dance), 2017

“Sky World” was written in Mohawk and English by Theresa Bear Fox of the Akwesasne Mohawk Nation as a song of remembrance for those who have passed on. An abridged version was recently recorded by Teio Swathe and released as a music video with Apsáalooke hip-hop artist Supaman fancy-dancing (that’s actually the name of the style!) in White Sands, New Mexico. On October 12 the video won a Nammy Award.

Ha io ho we iaa
Ha na io ho we ia he
Io ha io ha io ho we ia
Ha na io ho we ia he
Ha io ha io ho we ia
Ha na io haioho we ia
Iooho we ia
We ha na io ho we ia he

Let’s put our minds together as one
And remember those who have passed on to the sky world
Their life duties are complete, they are living peacefully
In the sky world, in the sky world

Supaman lives on the Crow Nation reservation in south-central Montana. His own music fuses rapping with traditional Native American sounds and aims to inspire hope; he is best known for his “Prayer Loop Song,” which has over 2.3 million views on YouTube. In 2011 Supaman was interviewed on NPR’s All Things Considered, where he shared the story of his conversion to Christianity as an adult and the influence it has had on his life and work.

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This world is not conclusion;
A sequel stands beyond,
Invisible, as music,
But positive, as sound.

—Emily Dickinson


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

To view all the Revised Common Lectionary scripture readings for All Saints’ Day, cycle B, click here.

Around the Throne (Artful Devotion)

Predella of the San Domenico Altarpiece (Fiesole)
Predella of the San Domenico Altarpiece at Fiesole, ca. 1424, probably by Fra Angelico (Italian, ca. 1395–1455). Tempera and gold leaf on panels, 32 × 244 cm. National Gallery, London.

This week the Revised Common Lectionary assigns an additional set of readings, on top of Sunday’s, for the special celebration of All Saints’ Day (Hallowmas) on November 1. Among them is John’s vision of a multitude of angels and faithful departed surrounding the enthroned Christ in heaven, sounding forth his praise.

After this I looked, and behold, a great multitude that no one could number, from every nation, from all tribes and peoples and languages, standing before the throne and before the Lamb, clothed in white robes, with palm branches in their hands, and crying out with a loud voice, “Salvation belongs to our God who sits on the throne, and to the Lamb!” And all the angels were standing around the throne and around the elders and the four living creatures, and they fell on their faces before the throne and worshiped God, saying, “Amen! Blessing and glory and wisdom and thanksgiving and honor and power and might be to our God forever and ever! Amen.”

—Revelation 7:9–12

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O quam gloriosum est regnum (“O how glorious is the kingdom”) — A cappella motet for four voices composed by Tomás Luis de Victoria, 1572 | Performed by the University of Utah Chamber Choir

O quam gloriosum est regnum
in quo cum Christo gaudent omnes sancti!
Amicti stolis albis,
sequuntur Agnum quocumque ierit.

O how glorious is the kingdom
in which all the saints rejoice with Christ!
Clad in robes of white,
they follow the Lamb wherever he goes.

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Explore the individual panels from Fra Angelico’s “court of heaven” predella in greater detail on the National Gallery of London’s website, and rejoice this All Saints’ Day in the Christian witness of those who have gone before us!

The Virgin Mary with the Apostles and Other Saints
Probably Fra Angelico (Italian, ca. 1395–1455), The Virgin Mary with the Apostles and Other Saints, ca. 1424. Tempera and gold leaf on panel, 32 × 64 cm. From the San Domenico Altarpiece predella, National Gallery, London.

Christ Glorified in the Court of Heaven
Probably Fra Angelico (Italian, ca. 1395–1455), Christ Glorified in the Court of Heaven, ca. 1424. Tempera and gold leaf on panel, 31.7 × 73 cm. From the San Domenico Altarpiece predella, National Gallery, London.

Saints and Martyrs (Fra Angelico)
Probably Fra Angelico (Italian, ca. 1395–1455), The Forerunners of Christ with Saints and Martyrs, ca. 1424. Tempera and gold leaf on panel, 31.9 × 63.5 cm. From the San Domenico Altarpiece predella, National Gallery, London.


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

To view all the Revised Common Lectionary scripture readings for All Saints’ Day, cycle A, click here.

Shine Like a Star (Artful Devotion)

Saints by Olya Kravchenko
Icon by Olya Kravchenko (Ukrainian, 1985–)

“And those who are wise shall shine like the brightness of the sky above; and those who turn many to righteousness, like the stars forever and ever.”
—Daniel 12:3

“On that day the Lord their God will save them,
as the flock of his people;
for like the jewels of a crown
they shall shine on his land.”
—Zechariah 9:16

“Then the righteous will shine like the sun in the kingdom of their Father.”
—Matthew 13:43

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SONG: “Shine Like a Star in the Morning” | American folk song, adapted by Elizabeth Mitchell from a string trio arrangement by Ruth Crawford Seeger | Performed by Elizabeth Mitchell, Simi Stone, and friends on The Sounding Joy (2013)

Though passed off as a Christmas song on this Smithsonian Folkways album, “Shine Like a Star in the Morning” seems to me especially fitting for All Saints’ Day (November 1), as it draws on those biblical passages that equate righteousness with heavenly resplendence. “Shine, shine all around the throne of God,” the song goes.

Gerard Manley Hopkins, in his poem “The Starlight Night,” makes the same connection:

Look at the stars! look, look up at the skies!
O look at all the fire-folk sitting in the air!
The bright boroughs, the circle-citadels there!
Down in the dim woods the diamond delves! the elves’-eyes!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . Christ and his mother and all his hallows.


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

Matthew 13:43 belongs to the Gospel lection for July 23, 2017 (Proper 11, cycle A). To read the passage in full, along with the week’s three other Revised Common Lectionary scripture passages, click here.