Roundup: Ecotheology, “Kadosh,” black church music, and more

I didn’t post an Artful Devotion this week, as I struggled to satisfactorily put together image and song for any of the readings, but I’ve now cycled through all three lectionary years on the blog, which are stored in the archives. For content on Sunday’s lectionary reading from the psalms, Psalm 133, see “When Brothers Dwell in Unity (Artful Devotion)” (featuring a Chicago mural by William Walker and a joyful new psalm setting from the Psalter Project); see also the poem “Aaron’s Beard” by Eugene Peterson.

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NEW ALBUM: Quarantine Sessions by Eric Marshall: Eric Marshall is the frontman of and songwriter for the meditative art rock band Young Oceans. During the COVID-19 quarantine he recorded eleven of the band’s old songs acoustically in his home studio—just his voice and guitar—and has released them digitally on Bandcamp. Several music artists have been making lo-fi records during this season, and I’m digging it!

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ART COMMENTARIES from ART/S AND THEOLOGY AUSTRALIA

Art/s and Theology Australia is an online publication that aims to provoke public reflection and promote research on conversations between the arts and theology, predominantly in Australian contexts. Here are a few articles from the recent past that I particularly enjoyed.

Galovic, Michael_Creation of Light in the Heavens
Michael Galovic (Serbian Australian, 1949–), Creation of Lights in the Heavens, n.d.

^^ “Jesus Dreaming: A Theological Reaction to Michael Galovic’s Creation of Lights in the Heavens by Merv Duffy: Creation of Lights in the Heavens by contemporary artist and iconographer Michael Galovic is an authentically Australian reading and rewriting of one of the Byzantine creation mosaics at Monreale Cathedral. Like its visual referent, it shows the Logos-Christ seated on the cosmos, hanging the sun in place (medieval artists tended to show God the Son, who is depictable, as Creator), but the gold background, used in icons to represent the eternal uncreated light of God, is replaced with dots, curves, and circles that represent the Dreamtime of Aboriginal theology, the origin of time and eternity.

Dunstan, Penny_Sixteen Earth Bowls
Penny Dunstan, Sixteen Earth Bowls, 2018. Installed at Holy Trinity Anglican Church, Merriwa, for the Festival of the Fleeces.

^^ “Sixteen Earth Bowls” by Penny Dunstan: Soil scientist and visual artist Penny Dunstan has crafted bowls out of topsoil from rehabilitated coal mines in the Hunter Valley in Warkworth, New South Wales, which she exhibits in churches, among other places. “Making earth bowls is a way of thinking about my ethical responses to soil use in a post-mining landscape,” she writes. “It is a way of thinking with my heart and not just my head. As I work with each Hunter Valley topsoil, I come to understand each as an individual, a special part of God’s creation. Each soil behaves according to its own chemical nature and historical past when I fashion it into a bowl shape. . . .

“These soils, full of tiny lives, are responsible for growing our food, making our air and storing atmospheric carbon. Our very lives as humans on the earth depend on them. By fashioning these soils into bowls and placing them in sacred places, I hope to remind us to honour the earth that we stand upon, that earth that speaks to us by pushing back at our feet.” (Note: See also Rod Pattenden’s ArtWay visual meditation on Dunstan’s work.)

Finnie, Andrew_The Body of Christ, the Tree of Life
Andrew Finnie (Australian, 1957–), The Body of Christ, The Tree of Life, 2014. Pigment print on Hahnemuhle paper, 78 × 182 cm.

^^ “The Cross and the Tree of Life” by Rod Pattenden: “One of the pressing questions for the Church is how we see Christology being renewed in the face of climate change and the potential for the quality of life on this planet to decline,” writes art historian Rod Pattenden [previously]. “Who is Jesus for us in the midst of the profound changes that are occurring to the earth, water, and air of our world? . . .

Andrew Finnie’s image The Body of Christ, The Tree of Life”—a large-scale ecotheological digital collage—“is an attempt to re-imagine the figure of Christ in conversation with the earth and the networks that sustain human life in all its thriving beauty. Here, the traditional figure of the cross has become entwined in the roots of the tree, a tree of life that is giving form to the variety and beauty of the natural world.”

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SONG: “Kadosh” by Wally Brath, sung by Nikki Lerner: The Kedushah is part of the Amidah, the central prayer of the Jewish liturgy. Its first verse is taken from the song of the seraphim in Isaiah 6:3: “Holy, holy, holy, is the LORD of hosts; the whole earth is full of his glory!” (Kadosh means “holy.”) In this original composition for voice, piano, and string quartet, Wally Brath [previously] has combined this Hebrew exclamation from the book of the prophets with an English excerpt from the Lord’s Prayer taught by Jesus in Matthew 6:10: “Thy kingdom come, thy will be done on earth as it is in heaven.” [HT: Multicultural Worship Leaders Network]

The performance captured in this video, featuring Nikki Lerner, took place at Winona Lake Grace Brethren Church in Winona Lake, Indiana, on July 11, 2020. A full list of performers is given in the YouTube description.

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CONCERT FILM: Amen! Music of the Black Church: Recorded before a live audience at the Second Baptist Church in Bloomington, Indiana, and airing April 26, this PBS special explores the rich traditions, historical significance, and meaning of black church music. Dr. Raymond Wise leads the Indiana University African American Choral Ensemble in twenty-one spirituals, hymns, and gospel songs, showing how black church music is not monolithic. He demonstrates the stylistic spectrum you can find among black church communities using a song text derived from Psalm 24:7–10 (“Lift up your heads . . .”): one performed with the European aesthetic preferred in more affluent congregations, one a classical-gospel hybrid, and one pure gospel. One thing I learned from the program is that there is a tradition of shape-note singing in the black church! (See, e.g., The Colored Sacred Harp.) [HT: Global Christian Worship]

Music of the Black Church

Here’s the set list:

  • “We’ve Come This Far by Faith” by Albert Goodson
  • “Kumbaya”
  • “Run, Mary, Run”
  • “Oh Freedom”
  • “What a Happy Time” by J. M. Henson and J. T. Cook
  • “Amazing Grace” by John Newton
  • “Ain’t Got Time to Die” by Hall Johnson
  • “I’ve Been ’Buked”
  • “Lift Up Your Heads” by Emma Louise Ashford, arr. Lani Smith
  • “Lift Up Your Heads” by Clinton Hubert Utterbach
  • “Lift Up Your Heads, All Ye Gates” by Raymond Wise
  • “Glory, Glory, Hallelujah”
  • “Jesus on the Mainline”
  • “I Need Thee Every Hour” by Annie S. Hawks and Robert Lowry
  • “You Can’t Beat God Giving” by Doris Akers
  • “Come to Jesus” by E. R. Latta and J. H. Tenney
  • “We Shall Overcome” by Charles Tindley
  • “Lord, Keep Me Day by Day” by Eddie Williams
  • “Lord, Do It for Me” by James Cleveland
  • “Oh Happy Day” by Edwin Hawkins
  • “I’ve Got a Robe” by Raymond Wise
  • “Hallelujah, Praise the Lord, Amen” by Raymond Wise

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INTERVIEW: Last September The Cultivating Project interviewed Malcolm Guite [previously] on his latest poetry collection After Prayer, the poet-priest George Herbert, the life of a writer, art as faithful service, doubt and despair, his Ordinary Saints collaboration with Bruce Herman and J.A.C. Redford, his friendship with Michael Ward (author of Planet Narnia), the blessing of seasons (both earthly and liturgical), and making room for joy. The interview includes three of Guite’s poems: “Christ’s side-piercing spear,” “A Portrait of the Artist,” and “St. Augustine and the Reapers.”

Herman, Bruce_Malcolm Guite
Bruce Herman (American, 1953–), Malcolm Guite, 2016. Oil on panel with gold leaf, 30 × 30 in.

Roundup: Jonah disgorged, Watching TV Religiously, “My Mother’s Body,” and more

VISUAL MEDITATIONS (ARTWAY.EU)

Jonah Swallowed and Jonah Cast Up, commentary by Victoria Emily Jones: My latest visual meditation for ArtWay was published Sunday—it’s on two third-century Jonah sculptures from Asia Minor that likely decorated a family fountain. Early Christians read the story allegorically (at least on one level), as pointing forward to the death and resurrection of Christ. The “great fish” is portrayed as a ketos, a sea-monster of Greek myth.

Jonah Marbles
“Jonah Swallowed” and “Jonah Cast Up,” made in Asia Minor, probably Phrygia, 280–90 CE. Marble, 50.4 × 15.5 × 26.9 cm (left) and 41.5 × 36 × 18.5 cm (right). Cleveland Museum of Art, Ohio.

Run by Marleen Hengelaar-Rookmaaker, the faith-based website ArtWay has been publishing a new visual meditation every Sunday for years, as well as a lot of other content from a variety of contributors. To subscribe to the weekly email, click here. Here are just a few VMs published in the past year that I particularly enjoyed:

Manu-Kahu by Brett a’Court, commentary by Rod Pattenden: Pattenden begins, “This striking image of an airborne Christ is from New Zealand painter Brett a’Court. It is part of his investigations into a way of bringing together the spiritual insights of the indigenous culture of the Maori people and that of Christianity brought to New Zealand by British settlers. In cultural terms it is a hybrid image. This is something that occurs when two cultures are in a process of mutual re-assessment. That sort of conversation is full of conflict and critique but also allows for the potential for new forms to arise that express the best of both traditions. A Christ figure flying in the sky like a kite, is such a form. It is a new thing, a potential heresy or aberration, but one full of potential for new insight and spiritual refreshment.”

Manu-Kahu by Brett a'Court
Brett a’Court (New Zealand, 1968–), Manu-Kahu, 2007. Oil on canvas.

Knife Angel by Alfie Bradley, commentary by Rachel Wilkerson: This twenty-seven-foot-tall sculpture, welded from 100,000 knives collected in confiscations and amnesties around the UK, confronts the issue of knife violence. The artist cleaned and dulled the blade of each knife he received and engraved personal messages on all the wings’ “feathers,” messages sent by families affected by knife violence.

Bradley, Alfie_Knife Angel
Alfie Bradley (British, 1990–), Knife Angel, 2018. Mixed media sculpture, incl. 100,000 knives.

Cathedra by Barnett Newman, commentary by Grady van den Bosch: I saw this painting in Amsterdam last spring and was surprised by how it compelled me. (I don’t typically gravitate to abstract art.) After spending some time up close—I supposed this was a Newman, and Newman says his paintings need to be experienced up close—I looked at the label and saw that it has a religiously inflected title: Cathedra. The word is Latin for “seat,” and in Christianity it refers specifically to the bishop’s chair inside a church (churches that had a cathedra were called cathedrals). But Newman was of Jewish descent, and van den Bosch writes that Cathedra is meant to represent the throne of God. “And above the firmament that was over their heads was the likeness of a throne, as the appearance of a sapphire stone . . .” (Ezek. 1:26).

Newman, Barnett_Cathedra
Barnett Newman (American, 1905–1970), Cathedra, 1951. Oil and acrylic on canvas, 243 × 543 cm. Stedelijk Museum, Amsterdam, Netherlands. Photo: Victoria Emily Jones.

As someone who loves historical Christian art, including its many Christ Pantocrators, I must nevertheless admit that there is something so right about modern artists’ often apophatic approach to evoking the Divine. While I do believe God imaged Godself in the person of Jesus Christ and is therefore representable, I understand the argument some make that abstraction is a better visual language for spiritual subject matter or encounter. I accept both/and. Whether God is shown as a rich, blue expanse that invites and envelops, or a heroic nude emerging from the jaws of death, or a Man of Sorrows head with a harrier hawk’s body, I think we can learn a little something from the diversity of representations, which are not mutually exclusive. Not all representations need be embraced, but nor do unfamiliar, difficult, or even shocking ones need be automatically dismissed.

Click on the link for more on how to read Newman’s color field paintings, including his signature “zips.”

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FREE ONLINE COURSE: Watching TV Religiously: Through at least July 1, Fuller Theological Seminary is offering all its online Fuller Formation courses for free! I just finished taking Watching TV Religiously, taught by Kutter Callaway [previously], author of the book of the same title, and really enjoyed it. It’s a series of six self-paced lessons, which includes short video lectures by the professor, audio conversations with TV writer Dean Batali (Buffy the Vampire Slayer; That ’70s Show), TV watching assignments, reflection questions, and more.

The course aims to help Christians develop critical tools for watching television and a vocabulary that is as rich and thoughtful as the medium itself, so that we can engage it constructively. (It need not be mindless entertainment!) Callaway explores television as a technology, a narrative art form, a commodity, and a portal for our ritual lives. He’s interested in how stories are told in this episodic, audiovisual format, and what that means for the Story we tell. The course is not about what Christians should watch, but how Christians should watch, leaving ample room for individual viewers to set their own boundaries, ethical and otherwise. (Callaway acknowledges that TV can form as well as de-form us.) He discusses empathy building and access to other perspectives, knowing your sensibilities, how being offended can be useful, watching in community, seeing God in all places, being aware of how your desires and imagination are being shaped, Christians in Hollywood (and Christian characters on TV), and the culture shaping TV and TV shaping culture, among other things.

The course is fairly broad in its approach; it does not analyze particular shows or episodes, though some specific examples are mentioned in conversations, and students are encouraged to form discussion groups with friends or family members and apply what they’re learning to shows of their choice. I really appreciated the assigned PBS docuseries America in Primetime (somewhat outdated because made in 2011 but very good nonetheless), whose four episodes explore character types throughout the history of TV, from the fifties to today: “The Independent Woman,” “Man of the House,” “The Misfit,” and “The Crusader.” From taking this course I realized how many acclaimed TV shows I’ve never seen. I’ve got a lot of homework to do!

Other arts courses offered by Fuller Formation are

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POEM: “My Mother’s Body” by Marie Howe, read with commentary by Pádraig Ó Tuama: As Mother’s Day is Sunday, I thought I’d share this wonderful, sad-sweet, mother-themed episode of the new Poetry Unbound podcast from On Being Studios. Pádraig Ó Tuama introduces Marie Howe’s “My Mother’s Body,” in which a middle-age woman, caring for her dying mother, thinks back to the time when her mother was just a twenty-four-year-old girl giving birth to her. The speaker in the poem is Howe.

She imagines being in her mother’s womb, experiencing the rhythm of her mother’s heartbeat. (What an exercise, to imagine yourself as your mother’s baby!) Now decades later, her mother is dying—that heart is failing, and the kidneys too. The uterus has been removed. Toggling between the two time frames, the poem is both a celebration of the strength of women’s bodies and a lament for its vulnerabilities, especially in old age. Howe marvels at how her mother’s body was capable of such a wonder as giving and sustaining life, and now to see that once-vibrant form breaking down grieves her. In some sense their roles have switched as daughter mothers mother, combing her hair, changing her soiled bedsheets.

The poem opens with “Bless my mother’s body” and ends with “Bless this body she made . . .” In the progression of pronouns in the last two lines—my, her, our—is a recognition of how our mothers always remain a physical part of us. They are in our cells. “My Mother’s Body” is a thank-you and a letting go.

The poem is from Howe’s collection The Kingdom of the Ordinary—which I highly recommend.

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ARTICLE: “5 Contemporary Poets Christians Should Read” by Mischa Willett: There is so much good crop still being pulled from the fertile fields of theologically inflected verse,” writes poet Mischa Willett—so don’t stop short, content merely with Donne and Hopkins! This is an excellent short list of contemporary poets of faith, with summaries of key themes and recommendations for which volume(s) to start with. Willet was recently on The Ride Home with John and Kathy to discuss this topic, and he wrote a follow-up post on his blog.

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MUSIC VIDEO: “I Am a Poor Wayfaring Stranger”: One of the most poignant scenes in last year’s 1917 is when, after a harrowing journey across No Man’s Land, Lance Corporal William Schofield—exhausted, disoriented—reaches a wood and encounters a fellow British soldier singing the spiritual “Wayfaring Stranger” [previously] to a battalion that sits in somber attention, for they’re about to go into battle. This official music video from Sony splices together clips from the movie with studio footage of the actor and singer Jos Slovick.