Come, Weak and Wounded (Artful Devotion)

Kershisnik, Brian_Wounded Saint
Brian Kershisnik (American, 1962–), Wounded Saint, 2002. Oil on panel, 40 × 30 in.

Blow the trumpet in Zion; sound the alarm on my holy mountain! Let all the inhabitants of the land tremble, for the day of the LORD is coming, it is near . . .

Yet even now, says the LORD, return to me with all your heart, with fasting, with weeping, and with mourning; rend your hearts and not your clothing. Return to the LORD, your God, for he is gracious and merciful, slow to anger, and abounding in steadfast love, and relents from punishing.

—Joel 2:1, 12–13

Let me hear joy and gladness; let the bones that you have crushed rejoice.

—Psalm 51:8

The sacrifice acceptable to God is a broken spirit; a broken and contrite heart, O God, you will not despise.

—Psalm 51:17

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SONG: “Come, Ye Sinners, Poor and Needy” | Words by Joseph Hart, 1759, with anonymous refrain, ca. 1811 | Music: American folk melody (RESTORATION), published in William Walker’s Southern Harmony, 1835 | Performed by Keith and Kristyn Getty, on The Greengrass Session: Six Hymns from the Old World and the New, 2014

Come, ye sinners, poor and needy,
Weak and wounded, sick and sore;
Jesus ready stands to save you,
Full of pity, love, and pow’r.

I will arise and go to Jesus,
He will embrace me in His arms;
In the arms of my dear Savior,
Oh, there are ten thousand charms.

Come, ye thirsty, come, and welcome,
God’s free bounty glorify;
True belief and true repentance,
Every grace that brings you nigh.

Come, ye weary, heavy-laden,
Lost and ruined by the fall;
If you tarry till you’re better,
You will never come at all.

Let not conscience make you linger,
Nor of fitness fondly dream;
All the fitness He requireth
Is to feel your need of Him.

The singing-songwriting duo Keith and Kristyn Getty [previously], who are married, are from Northern Ireland and split their time between there and Nashville, Tennessee, in the United States. In 2014 they recorded a medley of the (American) shape-note hymn “Come, Ye Sinners” with a traditional Irish reel tune known as MUSICAL PRIEST, blending the musics of their two homes. The song starts out at a slow, weary pace with spare violin accompaniment and then picks up with a brisk guitar and other strings, including a free-ranging fiddle. The dirge gives way to celebration—this is the movement of Lent.

“Come, Ye Sinners” appears in hymnals with slight variations in verses, sometimes with an additional two, but the text above is one of the most commonly used. The anonymous refrain (“I will arise . . .”), which makes an oblique reference to the parable of the prodigal son, was added to Hart’s text sometime in the nineteenth century; it is a “floating lyric” found in Southern hymnals as early as 1811.

Though I most associate the hymn with the tune RESTORATION (sometimes called ARISE), it has been set to several tunes over the years, both traditional and contemporary. These include BEACH SPRING, GREENVILLE (which uses a different refrain), and ones by Todd Agnew and Matthew S. Smith, to name a few.

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In his painting Wounded Saint, Brian Kershisnik [previously] shows us a young woman with downcast eyes and a bleeding gash in her right arm. This wound, a metaphor for the pain she carries inside, could be self-inflicted or inflicted by others or both, but either way, her child gently leads her forward toward healing, as two angels support her from behind. “Poor and needy, weak and wounded, sick and sore,” the woman returns to her God, whose light emanates faintly from her head. In his arms, as the hymn says, “there are ten thousand charms”—ten thousand graces, ten thousand traits that fascinate, allure, delight . . . and make whole.

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I’ve just published a piece on the Christians in the Visual Arts (CIVA) blog to mark Ash Wednesday tomorrow. It’s a short reflection on the interactive installation hash2ash by the Warsaw-based art collective panGenerator, which uses digital technology to turn selfies into a pile of ash. “Dust you are, and to dust you shall return,” as the liturgy goes. Visit https://civa.org/civablog/remember-you-are-dust/ to read more.


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 Ash Wednesday, cycle A, click here.

Roundup: “O Children, Come”; the Christmas story through news photos; Messiaen and the Incarnation; art from Bethlehem; nativity musical soundtrack

SONG: “O Children, Come” by Keith and Kristyn Getty: The Gettys are an Irish married couple who are major contributors to the modern Christian hymn-writing movement. I really enjoyed singing this song of theirs at church last week (CCLI 7036340); it was my first time hearing it. The acoustic performance below is from the Gettys’ 2015 Christmas concert. They’ve also recorded it with Ladysmith Black Mambazo.

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PHOTO ESSAY: “Alternative Nativity”: Kezia M’Clelland works with children affected by conflict in the Middle East and raises public awareness through her blog, Kezia Here and There. In 2015 she compiled news photos that document the refugee crisis and set them to excerpts from St. Matthew’s account of Christ’s birth and the prologue to St. John’s Gospel—a very powerful pairing that gives impetus to our Advent cry, “Come, Lord Jesus!” This is not a generic mashup; each photo was carefully selected to amplify a corresponding scripture text.

Alternative nativity1
“About that time Caesar Augustus ordered a census to be taken throughout the Empire. This was the first census when Quirinius was governor of Syria. Everyone had to travel to his own ancestral hometown to be accounted for.” (Photo via Reuters. Displaced Yazidis escape across the Syrian border by foot, fleeing violence from the Islamic State militants who have taken over their home town of Sinjar.)
Alternative nativity2
“So Joseph went to Bethlehem. He took with him Mary, his fiancée, who was obviously pregnant by this time.” (Photo via Al Jazeera. A refugee father with his pregnant wife and daughter asks for permission to enter into Hungary near Roszke as the border fence with Serbia is closed by Hungarian police.)

For each subsequent Advent, M’Clelland has released something in a similar vein: the video “Hope Is on the Way” in 2016 (embedded below), and this year, daily scripture verses, mainly from the Old Testament prophets, emblazoned across photos from today’s Middle East (to go to the next entry, scroll to the bottom of the link and click “Advent Day 2”). “This year again these Advent pictures and words will speak of a hope that is now and not yet,” she writes. “I am grateful that Advent gives us the freedom to weep and to hope, to rejoice and to grieve, to wait for and to recognise the Christ who is already here among us.”

Marrying the Christmas story with contemporary photojournalism can teach us to “pray with the Bible in one hand and a newspaper in the other,” as the popular adage goes. As we see the world’s brokenness, it should intensify our fervor for Christ’s shalom and impel us to action.

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UPCOMING MUSIC & ART EVENT: “Messiaen and the Incarnation,” December 20, 8 p.m., St. Mary’s Addington, London: Next Wednesday evening, Dr. Edward Forman will be performing three movements each from the French avant-garde composer Olivier Messiaen’s organ suite La Nativité du Seigneur (The Nativity of the Lord) and piano suite Vingt regards sur l’Enfant-Jésus (Twenty Contemplations on the Infant Jesus). Messiaen was a committed Christian who sought to express theological truths in a fresh, modern idiom. Like much of his output, these two works reject the Western conventions of forward motion, development, and diatonic harmonic resolution, so they can be difficult for first-time hearers. But this complexity, this sense of the unexpected, is appropriate for the mystical content they seek to convey.

Inspired by the unique palette of sounds, textures, and rhythms of Nativité, British artist Sophie Hacker translated these into visual form. After deeply studying the music, in 2007 she created nine mixed-media panels in response—one for each movement—using slats of wood, nails, lead, wire, tree bark, and other found objects; you can see some of her process in the video below. These premiered at Winchester Cathedral in 2008. Then again in 2015 Hacker participated in another Messiaen-inspired artistic collaboration, under the direction of pianist Cordelia Williams, with poets Michael Symmons Roberts and Rowan Williams. This project is called “Between Heaven and the Clouds: Messiaen 2015.”

La Nativité du Seigneur by Sophie Hacker
Sophie Hacker (British), La Nativité du Seigneur (The Nativity of the Lord), 2007. Mixed media on nine canvases, 60 × 60 cm each. Photo: Mike J. Davis.

To guide us through the listening experience, St. Mary’s will be projecting Hacker’s artworks onto a screen during the playing, and interspersing it with poetic reflections on the theological themes—from the Bible, Messiaen, Roland Riem (Icons of the Incarnation), and other sources. “We think it is equally pointless to try to explain Messiaen’s music in words as to attempt a sensible account of what it means for God to become human,” writes Forman in the booklet that will be provided to attendees. “We hope that the visual effects, words and music will enhance each other in ways that are inspiring and provoking.”

Messiaen’s compositions are definitely more challenging than the standard Christmas music fare, so I am grateful that St. Mary’s has the boldness, vision, and talent to offer them to the public, and in the meaningful context (which you likely won’t get in the concert hall) of meditation on the mystery of the Incarnation.

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ARTIST PROFILE: Zaki Baboun: Zaki Baboun is a Palestinian Christian artist living in Beit Jala, a suburb of Bethlehem. He paints religious scenes in oils on olive wood, which you can browse and purchase here—either the originals or reproductions on Christmas cards.

The first video below contains a short, two-minute interview with Zaki and shows him painting The Journey of the Magi; the second shows him painting The Good Shepherd.

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ALBUM: The Unusual Tale of Mary and Joseph’s Baby by Waterdeep: I saw the world premiere of this nativity musical last summer in New York (read my review here), and it really helped shepherd my imagination into a deeper understanding of Mary and Joseph’s social and emotional realities. Now the album is out! The songs express the many ups and downs the Holy Couple likely underwent in their faith journeys to bring the Messiah into the world, with the theme of deliverance standing in highest relief. (Mary’s opening song, “I Want to Be Delivered,” is what spurs, much to her shock, the Annunciation, and the finale, “Walk Through the Sea on Dry Land,” draws everyone into a joyful reminiscence of God’s mighty hand in ages past, manifest in the present through the birth of the Christ child.) Comedy is provided through invented characters like Joseph’s friend Benjamin, the innkeeper and his wife, and a shepherd named Naphtali.

The Unusual Tale of Mary and Joseph's Baby album cover

The most poignant scene, for me—and hence probably my favorite song—is the “Magnificat.” The biblical account doesn’t tell us much about Mary’s state of mind at this point, so the writers imagine her coming to Elizabeth filled with fear, and Elizabeth building her up, preaching truth to her (and sharing her own story of shame), helping her move from doubt to confidence. Elizabeth’s song is what emboldens Mary to sing. Their “Magnificat” is later reprised by the full cast immediately following Christ’s birth, concluding part 1.

The new album is not an original cast recording; instead the songs were recorded by their writer, Don Chaffer, and his wife, Lori, and released under the Waterdeep moniker. Stream on Spotify; sample and purchase at Amazon or iTunes.