Roundup: Roger Lowther on “all things new,” Lord’s Prayer song playlist, and more

If you live in the Baltimore-Washington area, I hope I’ll see you at one or all of the Eliot Society events this fall! For “Heaven in a Nightclub” on October 26, we’re bringing in jazz pianist Bill Edgar from Philly to give a combo concert-lecture highlighting the spiritual roots of African American music. “The Art of Feasting” will kick off our Living Room Series on November 8, as Heidi Stevens, who teaches art at a local K-12 classical Christian school, will guide us in looking most especially at food table still life paintings from the Dutch Golden Age. On December 13, we’ll gather together again for more food and drinks and to collectively read Charles Dickens’s A Christmas Carol in character. Reserve your spots at https://eliotsociety.org/!

Heaven in a Nightclub

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CONFERENCE: The 2019 Madeleine L’Engle Conference: Walking on Water: I just caught wind of this great opportunity taking place November 15–16 at All Angels’ Church in New York City, where L’Engle was a member. “In celebration of Madeleine L’Engle’s centenary year, this inaugural conference brings together a diverse group of artists and seekers to explore, challenge, and deepen our creative lives. . . . The conference has a combination of keynote addresses, panel discussions, and workshops that will be of interest to people across faith traditions who are interested how faith and art inform each other. There will also be sessions on the works and influence of Madeleine L’Engle, and opportunities for alumni of her workshops to reunite and share stories.”

The conference is co-directed by Sarah Arthur, author of A Light So Lovely: The Spiritual Legacy of Madeleine L’Engle (book trailer below), and Brian Allain, owner of Writing for Your Life. The headline speaker is children’s author Katherine Paterson (Bridge to Terabithia; The Great Gilly Hopkins).

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LECTURE: “Defining the New” by Roger Lowther: In this sixteen-minute talk from the Community Arts Tokyo International Arts Festival in June [previously], Roger Lowther draws out the festival’s theme of “All Things New” through piano music—namely, Bach’s Prelude in C Major and Chopin’s “Raindrop” Prelude. Both start out prettily, move through a section of dissonance, and then find a new and richer beginning on the other side. “In this world full of sadness,” says Lowther, “we can find a new beginning.” He tells the story of a church piano in Kamaishi City that took on water in the March 11, 2011, tsunami. Rather than throw it out as beyond repair, the church spent much time, effort, and money fixing it up, even though it would have been much easier to just buy a new one. In doing so, they demonstrated the gospel hope of “all things made new.”

Lowther and his wife, Abi, are the directors of the MAKE Collective, “a network of artists [under Mission to the World] who, like Bezalel, have been called by name, by God, and have been filled with the Spirit of God in wisdom, understanding, knowledge, and all kinds of craftsmanship (Exodus 31:2-3). They have embraced their gifts and accepted their unique opportunity and responsibility that the holistic, prophetic, and pastoral expression of those gifts affords in their participation in the evangelical/cultural mandate—God’s reconciliation of all things to Himself, in the context of global church planting movements.” Their values include listening, questioning, experimenting, challenging, generosity, transparency, inclusion, and excellence.

I had lunch with the founder of MAKE, Berenice Rarig [previously], last year and am always encouraged by the thoughtful content of the organization’s bimonthly e-newsletter—some of which can be viewed on their new website, https://themakecollective.org/. Their September newsletter pointed me to a new video of five missionary artists, including the Lowthers, discussing art as community building, as storytelling, and as therapy, as well as beauty in brokenness:

VIDEO: “Can Arts Also Be Missions?” [transcript]

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PLAYLIST: Philip Majorins of Liturgy Letter curated an excellent playlist of various settings and performances of the Lord’s Prayer by artists ranging from jazz greats Duke Ellington and Vince Guaraldi to gospelers Aretha Franklin and the Staples Singers to contemporary folk rockers Sandra McCracken and Gungor to Serbian Orthodox singer Divna Ljubojević and even the Byzantine darkwave band Anastasis. And more!

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CROWDFUNDING CAMPAIGN: Earlier this year I participated in the Art Stations of the Cross pilgrimage/exhibition in Amsterdam. One of the stops was Mozes en Aäronkerk, which housed Masha Trebukova’s Anywhere, Anytime. This series of paintings on glossy magazine pages raises awareness of human suffering around the globe, providing visual prompts for prayer and action. The artist is seeking to reproduce the images in a standard print-book format for mass production, and she needs help funding the project. Donate at https://www.voordekunst.nl/projecten/9400-anywhere-anytime.

Anywhere, Anytime

Roundup: “Art as Mission,” Ken Myers on culture care, Quadri Plastici, heavy-metal hymn, cultural liturgies

“Translate: Art as Mission” symposium, February 25, 9 a.m.–3:30 p.m.: This Saturday, Third Church of Richmond, Virginia, is bringing together twenty practitioners, advocates, and theorists of the arts as front-line missions (both local and abroad) for a series of presentations and discussions that is free and open to the public. “Our aim is to demonstrate that ‘art as mission’ is not about using people and objects merely as ‘tools’ for missions or proselytization, but is about recognizing that generative, creative practices can and should be intrinsically, inherently ‘missional’ because they put on display and draw people towards the rich, abundant life we were made to experience and have together as God’s children, renewed as the Body of Christ. Together we’ll explore how the arts are a distinctively integrative, incarnational way to be human, and to bear the image of our creator God.” Click on the link to see the schedule and to find out more about the speakers.

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“Charged with the Grandeur of God: Faithful Imaginations in a Meaningful Creation” lecture, February 25, 7–9 p.m.: Also on Saturday, Ken Myers, founder and host of Mars Hill Audio and author of All God’s Children and Blue Suede Shoes: Christians and Popular Culture, will be speaking at Wallace Presbyterian Church in College Park, Maryland, on how alert imaginations enable us to receive the meaning in Creation and to rearticulate Creation’s meaning in works of art. A former arts and humanities editor for NPR, Myers writes of the mission of Mars Hill’s bimonthly “audio journal”: “We explore the various factors that have given modern Western culture its distinctive character. We also try to describe what cultural life — its practices, beliefs, and artifacts — might look like if it was the product of thoughtful Christian imaginations.” Each issue features guests from a variety of disciplines (poets, visual artists, scientists, philosophers, musicians and musicologists, social commentators, etc.); you can listen to back issues here, and read a 2013 profile on Myers from the Weekly Standard here. This event is sponsored by the Eliot Society, a new nonprofit in Washington, DC, that aims to “draw Christian faith and artistic culture back together, by promoting the thoughtful exploration of the work of creative men and women from both the past and the present.” Click here to RSVP.

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Last season’s Italia’s Got Talent featured a group called Quadri Plastici (“Living Paintings,” or “Tableaux”), which uses actors in period costumes and special lighting effects to recreate famous religious paintings in the flesh. According to the group’s website, the tradition of staging live reproductions of paintings originated in Avigliano in southern Italy in the 1920s: the participants, frozen in position, would be rolled into the town square on mule-drawn carts as part of the celebration of Saint Vitus’s feast day on June 15. In their television performance last year, Quadri Plastici recreated three Caravaggio paintings: The Crucifixion of Saint Peter, The Calling of Saint Matthew, and The Death of the Virgin. Gabriele Finaldi, director of London’s National Gallery, was impressed, and he commissioned the group to perform two of the paintings from the museum’s “Beyond Caravaggio” exhibition in October: The Taking of Christ and Salome Receives the Head of John the Baptist. To better engage the public, these stagings took place outside in Trafalgar Square.

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Through Paul Neeley’s Global Christian Worship blog, I discovered a gem of a song: a heavy-metal arrangement of the nineteenth-century Swedish hymn “Bred dina vida vingar” (Thy Holy Wings) by the Finnish worship band Metallmässa (Metal Mass). Unlike its marginal status in most countries, heavy metal music is mainstream in Finland, which has the most heavy metal bands per capita in the world. “Metal masses”—church services performed in a heavy-metal style—became a trend in 2006; into this current stepped the group Metallmässa, whose lead singer, Christer Romberg, was a contestant on the 2007 Finnish Idols. Their headbanging rendition of “Bred dina vida vingar,” performed in the music video below, is from their 2012 EP Sanctus. The words are by Lina Sandell, “the Fanny Crosby of Sweden”; the tune—which I think is just beautiful (and quite catchy!)—is a traditional Swedish folk tune. Metallmässa is no longer active, but Romberg can be found performing a cappella with his four siblings as part of Vokalgruppen Romberg.

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Recently I enjoyed listening online to James K.A. Smith’s lecture “A Postmodern Saint? Augustine in France,” given at Wheaton College on August 31, 2016. Because I’m interested in how culture shapes our longings (in particular, visual culture), the bit that starts at 19:57 jumped out at me:

Augustine is a remarkable exegete of cultural liturgies that beset us—the rites and rituals of ambition, consumption, privilege, that aren’t just things that we do but do things to us. The frat house, the football stadium, the rituals of Wall Street finance—these are quasi-religious sites in late modern culture, not because they purvey a message but because they are incubators of love that are rife with rituals that train and direct our hearts and our desires. And conversion is no magical panacea for that; belief doesn’t inoculate our loves from their immersion in those cultural liturgies. So we need to constantly take stock of the formation of our loves and longings, all the subtle ways that secular liturgies bend our desires toward earth rather than heaven.

Consider, too, the act of looking as a cultural liturgy: at our phones and computer screens; at the staged displays in store windows, and the staged photos on social media; at the thirty-second commercial the network forces us to watch before we get back to our show, or the billboard we can’t help but notice when we’re stuck in traffic. Sometime around the year 600, Pope Gregory I insightfully wrote that pictures teach us what to adore, what to imitate. What pictures do you see throughout the day? Is Christ one of them?