Roundup: Advent photo essay, carol in a silo, multicultural Christmas, and more

PHOTO ESSAY: “Advent 2020: Comfort My People”: Community development and relief worker Kezia M’Clelland, a child protection in emergencies specialist, works in areas of disaster and conflict. Every December she compiles a set of news photographs published in The Guardian that year, pairing each with an Advent scripture. (I introduced her in a 2017 Advent roundup.) Text and image amplify each other and prompt deeper reflection on the themes of the season as well as an awakening to global crises and/or injustices. The photos in this year’s compilation include a schoolteacher bringing plastic-wrapped hugs to her quarantined students in Rio de Janeiro, flooded roadways in Honduras following Hurricane Eta, a Syrian family from Ariha breaking their Ramadan fast amid the rubble of their home, a Palestinian boy from the Khan Younis refugee camp standing on a pile of scrapped car parts, the aftermath of the Beirut port explosion in August (caused by improperly stored ammonium nitrate), a protester outside Dallas City Hall in the US insisting that all citizens’ presidential election votes be counted, and others.

Comfort, comfort my people
Photo: Pilar Olivares / Reuters [via], set to Isaiah 40:1 by Kezia M’Clelland

The rough ground shall become level
Photo: Aaref Watad / AFP [via], set to Isaiah 40:4 by Kezia M’Clelland

M’Clelland adds one new photo for each day of Advent and then releases them all in video slideshow form on December 24. Here are her photo compilations from 2019 (“Good News of Great Joy”) and 2018 (“Peace on Earth”):

She also made a photo compilation for Holy Week 2020.

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SONG: “He Who Made the Starry Skies”: For optimal acoustics, three Bruderhof women from the Fox Hill Community in Walden, New York, trek on over to a silo to sing a fifteenth-century processional carol written by the nuns of St. Mary’s, Chester, in England, a medieval nunnery of which nothing now survives. Both the words and music have been preserved in a ca. 1425 manuscript known as The Chester Mysteries. The original is in Latin (and is titled “Qui creavit coelum”), but singers Alina McPherson, Melinda Goodwin, and Coretta Marchant opt for an English translation. I am providing the sheet music here, courtesy of the Bruderhof Historical Archives. [HT: Tamara Hill Murphy]

He who made the starry skies (Lully, lully, lu)
Sleeping in a manger lies (Lully, lully, lu)
Ruler of all centuries (Lully, lully, lu)

Joseph brings the swaddling clothes (Lully, lully, lu)
Mary wraps the babe so mild (Lully, lully, lu)
In the manger puts the child (Lully, lully, lu)

Humbly clad, the King of kings (Lully, lully, lu)
Joy of heav’n to earth now brings (Lully, lully, lu)
Sweet above all earthly things (Lully, lully, lu)

Mary, ask thy little son (Lully, lully, lu)
That he give us of his joy (Lully, lully, lu)
Now and through eternity (Lully, lully, lu)

The Bruderhof is an Anabaptist Christian movement of more than three thousand people committed to peacemaking, common ownership, and proclamation of the gospel. They have twenty-eight settlements on four continents, made up of families and singles. Perhaps you know them through their publishing house, Plough. Their website reads, “Love your neighbor. Take care of each other. Share everything. Especially in these challenging times, we at the Bruderhof believe that another way of life is possible. We’re not perfect people, but we’re willing to venture everything to build a life where there are no rich or poor. Where everyone is cared for, everyone belongs, and everyone can contribute. We’re pooling all our income, talents, and energy to take care of one another and to reach out to others. We believe that God wants to transform our world, here and now. This takes a life of discipleship, sacrifice and commitment; but when you truly love your neighbor as yourself, peace and justice become a reality. Isn’t that what Jesus came to bring for everyone?”

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UPCOMING (ONLINE) CHRISTMAS CONCERTS:

“A Family Holiday Singalong with Dan and Claudia Zanes,” Tuesday, December 15, 6 p.m. EST: Presented by the Lebanon Opera House in New Hampshire, this multicultural concert will feature Christmas, Hanukkah, or New Year’s songs from France, Wales, Germany, America, Puerto Rico, Korea, Tunisia, and Haiti. You can download the set list, which includes lyrics and chords, at the registration link I’ve posted. Dan and Claudia Zanes are a musical couple from Baltimore (my neck of the woods!), and I’ve really enjoyed the daily song videos they’ve been releasing on YouTube since COVID started. Here they are in 2018 with Pauline Jean, singing “Ocho Kandelikas,” a Hanukkah song written by Flory Jagoda in the 1980s in the Judeo-Spanish language known as Ladino. (Update: Concert video available here.)

“Gospel Christmas: O Holy Night,” Friday, December 18, 6 p.m. EST: Presented by Washington National Cathedral, this program will feature gospel, jazz, and blues music interspersed with scripture readings. (Update: Concert video available here.)

“Lowana Wallace Christmas Concert,” Sunday, December 20, 9 p.m. EST: Canadian singer-songwriter Lowana Wallace [previously] incorporates subtle jazz styles into her arrangements of worship songs and her own compositions. Listen to a sampler from her wonderful Hymns & Carols album, and tune in this weekend! (Update: Concert video available here.)

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ARTICLE: “Making Space for a Multicultural Christmas” by Michelle Reyes: “How can each of us celebrate Christmas at the intersection of our faith and our culture, while welcoming differing cultural perspectives on Christ’s birth?” asks Dr. Michelle Reyes, VP of the Asian American Christian Collaborative and editorial director of Pax, in this Gospel Coalition article. She briefly discusses four different cultural traditions that highlight unique aspects of Jesus’s birth narrative: posadas in Central America, Kiahk in Egypt, parols (star-shaped lanterns) in the Philippines, and Día de los Reyes [previously] in Puerto Rico, Mexico, and other Hispanic countries.

(Related posts from my old blog: “Nativity Paintings from around the World”; “More Nativity Paintings from around the World”)

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PODCAST EPISODE: “God’s Global Family,” BibleProject: BibleProject, a nonprofit ed-tech organization and animation studio, produces one of my favorite podcasts, hosted by biblical scholar Tim Mackie and Jon Collins. (I found episodes 6–11 of their recently wrapped “Character of God” series, on the wrath of God, particularly illuminating.) “Family of God” is the name of the series they’re in now. In this first episode they discuss how Christianity is the most multiethnic religious movement in history, and how our humanity cannot be fully realized without understanding, appreciating, and being connected to the identity of every other culture. I link to it here because it dovetails nicely with the Reyes article and because I want to introduce you to the podcast, if you’re not already familiar with it, but also because Mackie spends time talking about the Basilica of the Annunciation in Nazareth, with its many culturally specific portrayals of Mary and Jesus from around the world.

Widayanto, Fransiskus_Mother Mary
Fransiskus Widayanto (Indonesian, 1953–), Bunda Maria (Mother Mary), 2006. Ceramic mosaic and relief sculpture. Basilica of the Annunciation, Nazareth, Israel. Photo © BibleWalks.com. Mary is depicted in a traditional Javanese kebaya.

Madonna and Child mosaic (Thailand)
Thai Madonna and Child, mosaic, Basilica of the Annunciation, Nazareth, Israel. Photo © BibleWalks.com.

Mveng, Engelbert_Our Lady of Africa
Fr. Engelbert Mveng, SJ (Cameroonian, 1930–1995), Our Lady of Africa, mosaic, Basilica of the Annunciation, Nazareth, Israel. Photo © BibleWalks.com. The inscription is from Zephaniah 3:10: “From beyond the rivers of Cush / my worshipers, the daughter of my dispersed ones, / shall bring my offering.”

As you know, diversity in biblical imagery, especially images of Jesus, is important to me, so I was delighted to hear this popular podcast tip their hat to this pilgrimage site in Israel that features a range of visual interpretations of the incarnation. You can view a compilation of the church’s national mosaics at BibleWalks.com. Most of them are not of high artistic quality, but I appreciate the initiative of inviting the nations to contribute their own localized representations. Above, I posted three that I particularly like.

Ride On, Ride On (Artful Devotion)

Sahi, Jyoti_Entry into Jerusalem
Jyoti Sahi (Indian, 1944–), Entry into Jerusalem, 2012. Oil and acrylic on canvas. Photo courtesy of the artist.

. . . Most of the crowd spread their cloaks on the road, and others cut branches from the trees and spread them on the road. And the crowds that went before him and that followed him were shouting, “Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest!” And when he entered Jerusalem, the whole city was stirred up, saying, “Who is this?” And the crowds said, “This is the prophet Jesus, from Nazareth of Galilee.”

—Matthew 21:8–11

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SONG: “Ride On, Ride On in Majesty!” | Words by Henry H. Milman, 1827 | Music by John Hatfield, 2017

Can’t view the embedded podcast player? Access the episode at https://hymnistry.simplecast.com/episodes/ride-on-ride-on-in-majesty-fae373c8. There you can also find chord charts.

Ride on, ride on in majesty!
Hark! all the tribes hosanna cry;
O Savior meek, pursue thy road
with palms and scattered garments strowed.

Ride on, ride on in majesty!
In lowly pomp ride on to die:
O Christ, thy triumphs now begin
o’er captive death and conquered sin.

Ride on, ride on in majesty!
The angel armies of the sky
look down with sad and wond’ring eyes
to see th’approaching sacrifice.

Ride on, ride on in majesty!
Thy last and fiercest strife is nigh;
the Father on his sapphire throne
expects his own anointed Son.

Ride on, ride on in majesty!
In lowly pomp ride on to die;
bow thy meek head to mortal pain,
then take, O Christ, thy pow’r and reign.

This year’s Palm Sunday music selection comes from Hymnistry, an excellent podcast that ran from 2015 to 2018. I’ve always liked Henry H. Milman’s hymn text “Ride On, Ride On in Majesty!,” but not the traditional tunes it’s typically paired with. So I was thrilled to hear this contemporary setting by John Hatfield. Hatfield’s introduction to the hymn starts at 5:51. He discusses the cognitive dissonance of Palm Sunday, a celebratory occasion with somber undertones, because we’re really cheering Jesus on to his death. He’s hailed as king, Hatfield says, and “his first act in office is to give himself up for us.” Milman’s text captures this paradox of victory through a cross, and Hatfield seeks to do so as well in his retuning, maintaining a happy energy throughout but sneaking in a minor chord. The actual hymn starts at 9:29.

In the first half of the episode, the Rev. Jacob Paul Breeze, pastor of Holy Family in downtown Houston, gives some illuminating historical background. He says that when Jesus entered Jerusalem during Passover, the Israelites took out the Hanukkah decorations (palm branches) instead! Why were they getting their holidays mixed up? Well, they weren’t. Waving palm branches, which were a symbol of prosperity and triumph in Judaism, is how they celebrated their ancestor Judah Maccabee’s cleansing of the temple in the second century BCE. (He recaptured Jerusalem from the Syrian Greeks and restored Jewish temple worship, which gave way to the first Hanukkah, really a belated celebration of the fall festival of Sukkot; see 2 Maccabees 10:1–8, cf. 1 Maccabees 4:54–60.) The Israelites’ waving of date palms as Jesus processed into their most holy city was their way of affirming him as their chosen one, Breeze says, to lead a revolt against the Romans and secure their freedom.

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I love the colorful flurry of excitement in Jyoti Sahi’s painting Entry into Jerusalem, where crowds gather in effusive praise of their new liberator. Birds and angels wing overhead, while green palm branches spill forth from the bottom right to carpet Jesus’s path.

Jyoti told me he started this painting after visiting Jerusalem for an interfaith meeting—his first trip to the Holy Land—where he presented a paper on art and meditation. He was fascinated by the surrounding landscape. The theme of Christ entering Jerusalem is related to the idea of Christ entering the human heart, he says.

The painting was acquired in 2018 by a visiting Italian monk for a Christian chapel in Sicily.

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Palm Sunday–related posts from the Art & Theology archives:

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This is the first in a series of eight Artful Devotions I’ve planned—one for each day of Holy Week and the Paschal Triduum. I’m posting this one several days ahead because it’s more substantial than the others; the rest I will endeavor to post in the early morning of the given day, from next Monday through Sunday (Easter!). Most of the world will be spending Holy Week at home this year due to the COVID-19 pandemic. Paul Neeley of Global Christian Worship has compiled a great list of resources to help individuals and families honor these days while in quarantine: https://globalworship.tumblr.com/post/613778966717841408/holy-week-at-home. I’m sure there are many more ideas and materials out there as well.

Also for Holy Week, I’d like to remind you of a digital gallery of contemporary global art I curated and commented on for the International Mission Board in 2017, with selections spanning six continents: https://www.imb.org/2017/04/07/journey-cross-artists-visualize-christs-passion-part-1/; https://www.imb.org/2017/04/12/journey-cross-artists-visualize-christs-passion-part-2/.

Holy Week art at IMB.org


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 Palm Sunday, cycle A, click here.

Roundup: Sheku Kanneh-Mason, Hanukkah lamps, building walls, and more

NEW MUSICAL ARRANGEMENTS FOR ADVENT/CHRISTMAS

For cello and piano: “In the Bleak Midwinter,” arr. Sheku Kanneh-Mason: Sheku Kanneh-Mason is a multi-award-winning cellist from England who, since being named 2016 BBC Young Musician of the Year, has gone on to release, this January with Decca, his first full-length album (a chart topper), to perform as a soloist at the marriage ceremony of Prince Harry and Meghan Markle, and to serve, for the 2018–19 season, as a Young Artist in Residence at the Royal Liverpool Philharmonic. Time magazine recently listed him as one of 25 Most Influential Teens of 2018. He’s nineteen years old.

Stream on Spotify | Purchase on iTunes

In a recent recording session at Abbey Road Studios, Sheku performed one of his own arrangements with his sister Isata Kanneh-Mason, a pianist who, like him, is on scholarship at the Royal Academy of Music. Sheku is the third of seven siblings, and all of them are musical. They competed together in 2015 on Britain’s Got Talent and regularly perform together. See the CBS Sunday Morning featurette “The family that plays together.”

This piece is, in the truest sense of the word, awesome. Gustav Holst’s melody, which the duo plays straightforwardly for the first verse, is already beautiful; Sheku’s creative coloring of each subsequent verse, utilizing different playing techniques, elevates the song’s beauty even more. I could listen to this on repeat all day long. Oh wait. I have.

For jazz trio and voice: “Love Came Down” and “Comfort Ye,” arr. Deanna Witkowski: This fall, jazz pianist and composer Deanna Witkowski released recordings of two of her arrangements of Advent/Christmas classics: Christina Rosetti’s “Love Came Down at Christmas” and, just last month, “Comfort Ye,” whose seventeenth-century text (based on Isaiah 40:1–8) is by Johann Olearius, with a later English translation by Catherine Winkworth. Witkowski is on piano, Daniel Foose is on bass, and Scott Latzky is on drums, making up the Deanna Witkowski Trio. Sarah Kervin is the vocalist.

“Love Came Down” (gospel/funk) – Purchase track on Bandcamp | Purchase piano/vocal score

“Comfort Ye” (gospel/R&B) – Purchase track on Bandcamp | Purchase choral (SAT) / piano score

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ART EXHIBITION: “Accumulations: Hanukkah Lamps,” Jewish Museum, New York City, October 12, 2018–February 9, 2020: This year’s Hanukkah celebrations have just passed (December 2–10), but the Jewish Museum in New York is still running, for quite a while, its exhibition of eighty-one Hanukkah lamps from its collection of nearly 1,050—the largest collection of Hanukkah lamps in the world. The lamps in the current show represent four continents, six centuries, and a range of materials. I’m most drawn to the modern ones, which rethink traditional ideas about the ritual object.

Hanukkah lamp (Belarus)
Hanukkah lamp from Stolin (Belarus), ca. 1885. Cast lead and tin, each 2 7/8 × 1 × 15/16 in. (7.3 × 2.5 × 2.4 cm). Jewish Museum, New York.

Kagan, Larry_Menorah Memories
Larry Kagan (American, 1946–), Menorah Memories, 1981–82. Welded steel scraps, 21 1/4 × 19 × 4 1/2 in. (54 × 48.3 × 11.4 cm). Jewish Museum, New York.

Erte_Tree of Life (menorah)
Erté (Romain De Tirtoff) (French, 1892–1990), Tree of Life, 1987. Polished bronze, 15 1/2 × 12 1/2 × 7 9/16 in. (39.4 × 31.8 × 19.2 cm). Jewish Museum, New York.

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ART ACQUISITION: Christ as the Man of Sorrows by Quentin Metsys: On November 27 the J. Paul Getty Museum announced its acquisition of Christ as the Man of Sorrows by Quentin Metsys (alternatively spelled Massys), one of the leading painters in sixteenth-century Antwerp, known for his delicate modeling and crisp details. For centuries, the painting has been in a private collection, previously unknown to art historians; the Getty purchased it in a private sale. Its discovery and attribution expands Metsys’s oeuvre and is already attracting much attention from scholars. After a short period of conservation and technical study, it will go on view in spring 2019, exhibited to the public for the first time in modern history. It is the first work by Metsys in the Getty’s collection.

Christ as the Man of Sorrows by Quentin Metsys
Quentin Metsys (Netherlandish, 1466–1530), Christ as the Man of Sorrows, ca. 1520–30. Oil on panel, 19 1/2 × 14 1/2 in. J. Paul Getty Museum, Los Angeles. [pre-conservation]

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SONG: “Why We Build the Wall” by Anaïs Mitchell: Hadestown is a 2016 stage-musical adaptation of a 2010 folk-opera concept album of the same name, both by singer-songwriter Anaïs Mitchell. It invites audiences on an epic journey to the underworld and back, following two intertwining love stories—that of Orpheus and Eurydice and of Hades and Persephone. I was struck by the current US political resonances of the song “Why We Build the Wall,” which Mitchell says she wrote in 2006. In this A Prairie Home Companion broadcast, Mitchell sings as Hades, king of the underworld, leading her minions in an anthem that celebrates the importance of a nonporous border. She is joined by Chris Thile on mandolin and vocals and by the First-Call Radio Players. The song starts at 1:07.

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VISUAL MEDITATION: Mother and Child by Gilly Szego: In a recent contribution to ArtWay, Anglican vicar Jonathan Evens reflects on a work by UK artist Gilly Szego, the wife of a Hungarian refugee. Szego painted Mother and Child in response to the expulsion of South Asians from Uganda in 1972 following a wave of Indophobia. St.-Martin-in-the-Fields, one of London’s most prominent churches, displayed the painting that year, helping to raise awareness of these refugees’ plight and that of others around the world. The figures could easily be read as the Virgin Mary and Jesus, who were themselves displaced from their homeland.

Mother and Child by Gilly Szego
Gilly Szego (British, 1932–), Mother and Child, 1972. Oil on canvas with wood frame and barbed wire, 52 × 48 in.

Evens shares some words from Rev. Dr. Sam Wells, St. Martin’s current vicar:

Jesus is a displaced person in three senses. Fundamentally, he is the heavenly one who sojourned on earth. And it didn’t go well: as John’s Gospel puts it, ‘He came to what was his own, and his own people did not accept him’ (John 1:11). Then he finds himself a refugee in Egypt, his parents fleeing Herod’s persecution. Third, he spends his ministry as an itinerant preacher and healer, with nowhere to lay his head.

Meanwhile the story of Israel is one of migration from beginning to end. Adam and Eve leave the Garden; Noah and family sail away from destruction; Abraham follows God’s call; Joseph and family head down to Egypt; Moses leads the people back; Judah is taken into exile in Babylon; Ezra and Nehemiah tell of the return. None of these people were going on a package holiday: they were refugees, asylum seekers or trafficked persons. There is precisely one verse commanding the children of Israel, ‘You shall love your neighbour as yourself’; there are no less than 36 verses saying ‘love the stranger.’ Care of the alien is how Israel remembers its history with gratitude.