Roundup: (Virtual) Arts conference, Psalm 129 jazz-hip-hop-folk fusion, and more

This year’s The Breath and the Clay creative arts gathering, on the theme of “Reenchantment,” is taking place March 17–21, with both in-person (in Winston-Salem, North Carolina) and virtual options. Registration for virtual attendees is pay-what-you-wish. Presenters include theologian Jeremy Begbie, poet Pádraig Ó Tuama, singer-songwriter Joy Ike, contemplative author Christine Valters Paintner, dancer Camille D.C. Sutton, and many more . . . including me! On the evening of March 18 I’ll be giving a twenty-minute talk titled “Saying Yes: The Annunciation in Contemporary Art,” which will be archived online afterward. (The global church celebrates the feast of the Annunciation the following week, on March 25.) Here’s the description:

The story of Jesus’s miraculous conception in the womb of Mary, a first-century Galilean peasant girl, told in Luke 1 has activated the imaginations of artists since the early Christian era. When an angelic messenger came and told Mary she had been chosen to bear God’s Son, she cycled through a range of emotions before ultimately accepting the call, stepping onto a path that, though scary, would be life-giving not only for her but also for her religious and ethnic community and for the whole world.

God invites us to participate in his work in the world and gives us the grace to do it. When his voice breaks through our safe, predictable routines, calling us to something big, do we respond with brave obedience? In this talk Victoria Emily Jones will share a handful of contemporary artworks that visualize that pivotal moment in salvation history when Mary said yes and set in motion the incarnation. These works show us the wild beauty of God’s plans and can help us tune our ears to the annunciations in our own lives.

(The title slide image is a detail of an Annunciation painting by Jyoti Sahi.)

I’m always impressed by the variety of artists, arts professionals, and art lovers that director Stephen Roach manages to bring together for The Breath and the Clay. Click here to learn more and to register.

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ONLINE LENT SERIES:

>> VCS Lent 2021: The Visual Commentary on Scripture is highlighting a different exhibition from its archives for each week of Lent, with new content including a video introduction to the week by Ben Quash and an audio reading of each of the three constituent commentaries.

The first week was on the theme of Covenant and covers Genesis 8:20–9:17. Stefania Gerevini curated three artworks from Italy that convey some aspect of the rainbow as divine promise: a thirteenth-century mosaic from the Basilica di San Marco in Venice, a colorful dome fresco (fifteenth century) from the Cappella Portinari in Milan, and a contemporary light installation by Dan Flavin at Santa Maria Annunciata in Chiesa Rossa, also in Milan.

Week 2, on Prophecy, explores the Suffering Servant of Isaiah 53. Jonathan Koestlé-Cate comments on three modern artworks: Crucified Tree Form by Theyre Lee-Elliott, a crucifix by Germaine Richier (which sparked outrage when it was unveiled at Notre-Dame de Toute Grâce, Assy, in 1950), and an installation by postminimalist artist Anish Kapoor at the church of Saint Peter, Cologne.

>> “The Many Faces of Jesus”: I’ve been enjoying this Lenten series (on blog and podcast) by medievalist Dr. Grace Hamman, who makes medieval lit super accessible. “For Lent, Old Books With Grace will share and explore some medieval representations of Jesus in art and literature—the versions of Jesus that dominate the medieval church’s imagination. These medieval portrayals of Jesus may strike us as odd, threatening, charming, creative, stupid, or inspiring. In attending to these versions of Jesus, I hope for a few end goals: the first is that we may expand our Christian imagination. Perhaps a side of Jesus that has never occurred to you, or been sideswept by our contemporary culture, will suddenly illuminate an aspect of the Jesus of scripture. The second is that we may better identify the ways that we ourselves have culturally contained and portrayed Jesus, in positive and negative ways. Often the strangeness of the past helps us recognize the weird or damaging things we believe in order to make Jesus more palatable, understandable, or like us.”

Christ and his bride
Jean Bondol, “The bride (Ecclesia) and bridegroom (Christ),” from a Bible Historiale made in Paris, 1371–72. The Hague, MMW, 10 B 23, fol. 330v.

So far she has covered Jesus as judge, lover, and knight.

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RETUNED HYMNS:

>> “Up from My Youth (Psalm 129)” by Advent Birmingham, feat. CashBack and Terence June Gray: This is such a strange and compelling fusion! “An 1806 hymn by Isaac Watts meets hip-hop meets Johnny Cash meets folk meets New Orleans jazz meets industrial steel factory.”

Led by Zac Hicks, Advent Birmingham [previously] is a group of worship musicians from the Cathedral Church of the Advent in downtown Birmingham, Alabama. Hicks wrote this new tune for Isaac Watts’s metrical paraphrase of Psalm 129 and integrated a rap by guest artist Terence June Gray from Memphis. Singing lead (and playing drums) is Leif Bondarenko, the front man of the Johnny Cash tribute band CashBack. The video was filmed at Birmingham’s historic Sloss Furnaces. Available on iTunes, Amazon, and Spotify.

You can read the lyrics here, which include a slight revision of Watts’s verse 6.

>> “Thy Mercy, My God”: Words by John Stocker, 1776; music by Sandra McCracken, 2005; performed by Ellen Petersen Haygood (of The Petersens bluegrass band), 2018.

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POETRY READING: “Phase One” by Dilruba Ahmed, read, with commentary, by Pádraig Ó Tuama, Poetry Unbound: What do you find hard to forgive in yourself? What might help? In this poem, the poet makes a list of all the things she holds against herself: opening fridge doors, fantasies, wilted seedlings, unkempt plants, lost bags, feeling awkward, treating someone poorly. Dilruba Ahmed repeats the line ‘I forgive you’ over and over, like a litany, in a hope to deepen what it means to be in the world, and be a person of love.”

Joyful Lent (Artful Devotion)

Genesis 9:13 by Sawai Chinnawong
Sawai Chinnawong (Thai, 1959–), Genesis 9:13, 2004. Acrylic on canvas, 27 × 27 in.

Then God said to Noah and to his sons with him, “Behold, I establish my covenant with you and your offspring after you, and with every living creature that is with you, the birds, the livestock, and every beast of the earth with you, as many as came out of the ark; it is for every beast of the earth. I establish my covenant with you, that never again shall all flesh be cut off by the waters of the flood, and never again shall there be a flood to destroy the earth.”

And God said, “This is the sign of the covenant that I make between me and you and every living creature that is with you, for all future generations: I have set my bow in the cloud, and it shall be a sign of the covenant between me and the earth. When I bring clouds over the earth and the bow is seen in the clouds, I will remember my covenant that is between me and you and every living creature of all flesh. And the waters shall never again become a flood to destroy all flesh. When the bow is in the clouds, I will see it and remember the everlasting covenant between God and every living creature of all flesh that is on the earth.”

God said to Noah, “This is the sign of the covenant that I have established between me and all flesh that is on the earth.”

—Genesis 9:8–17

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MUSIC: Keyboard Sonata in C Major (K. 159, L. 104) by Domenico Scarlatti | Arranged for banjo by Béla Fleck and for mandolin by Edgar Meyer | Performed by Béla Fleck and Chris Thile on Perpetual Motion (2001)

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This art and music may seem inappropriately light and bright for the first Sunday of Lent, a season that’s stereotypically thought of as gloomy and self-deprecating. But the Old Testament reading the Revised Commentary Lectionary assigns to this day is God’s covenant with Noah after the Flood, a passage filled with great hope.

Contrary to popular misconceptions, Lent does not mean forty days of beating yourself up. It literally means “springtime,” and it’s a time of renewal in preparation for Easter. Self-examination is a major component, yes, but so is grabbing hold of the divine promise—of God’s wondrous love and mercy.

In my church’s liturgy (and this is common across denominations), the confession of sin is always followed by words of assurance—a verse of scripture, spoken by the pastor, that reminds us of the pardon we receive through Christ. We are not left in the darkness of our failures; we are brought into the light, and given power to live as children of the light. Repentance is a joyous thing! That’s why the Constitution on the Sacred Liturgy, a Second Vatican Council document, refers to Lent as the “joyful season.” It’s joyful because God’s mercy is amazing.

After forty days on a dark boat, and then some, Noah, his family, and a whole bunch of animals come out to a renewed earth, and to a promise painted across the sky in bright colors that never again will all God’s creation be destroyed. Similarly, during Lent we choose to enter a period of darkness, taking stock of our sin. It can seem like a rocking journey, but it’s really a period of regeneration, and when we arrive at Easter we receive, as confirmation of the new life that’s possible, the resurrected Christ. He’s there for us all along—we need not wait till Lent’s over to enter his forgiveness and to rise with him. But we also don’t want to skip over the necessary steps of first acknowledging the depth of our sin, and confessing it with a contrite heart.

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Excerpt from “The Agreement” by Henry Vaughan, from Silex Scintillans:

But while Time runs, and after it
Eternity, which never ends,
Quite through them both, still infinite,
Thy covenant by Christ extends;
No sins of frailty, nor of youth,
Can foil His merits, and Thy truth.

And this I hourly find, for Thou
Dost still renew, and purge and heal:
Thy care and love, which jointly flow,
New cordials, new cathartics deal.
But were I once cast off by Thee,
I know—my God!—this would not be.

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Tomorrow is Ash Wednesday, and I have a poem planned for publication here at Art & Theology. But I also wrote a short visual meditation for the Anglican Church in North America, which you can find at the bottom of their Lent website, https://giftoflent.org/. It’s on Ted Prescott’s mixed-media artwork All My Sins, which incorporates paper ash, the residue left over from the artist’s burning of a list of his personal sins.

All My Sins by Ted Prescott
Theodore Prescott (American, 1944–), All My Sins, 1996. Cherry, lead, hand-blown glass, paper ash, and silicon, 36.5 × 24.5 × 5 in.


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 the First Sunday of Lent, cycle B, click here.