Tag: roundup

Roundup: Worship album by Parchman inmates, major new acquisition at Toledo Museum of Art, and more

Victoria Emily Jones1 Comment

SPOTIFY PLAYLIST: November 2023 (Art & Theology): In this month’s playlist I nod, in part, to All Saints’ Day (November 1), Christ the King Sunday (November 26), and world events. It includes “Ad Ana” (How Long), a setting of Psalm 13 in its original Hebrew by Miqedem (a Tel Aviv–based band made up of Shai Sol [previously] and three other musical artists from a mix of Jewish and Christian backgrounds), and “Touba” (Blessed), a sung recitation of the Beatitudes in Arabic by the Sakhnini Brothers [previously], Arab Christians from Nazareth, with oud and keyboard accompaniment.

As American Thanksgiving is November 23, you may also want to check out my Thanksgiving Playlist, comprising songs of gratitude. Originally created in 2021, each year I add to and remix the list as I encounter new recordings. One of the newer additions is “He Has Made Me Glad” by Leona Von Brethorst, based on Psalm 100, as arranged and performed on organ by the amazing Cory Henry.

The Christian life consists of both praise and lament, both tears and laughter—which is why in any given worship service or Art & Theology playlist or blog post, as in the biblical psalter, you can find songs that express joy and others, heaviness. They don’t negate one another but rather give fuller expression to the breadth of religious experience.

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NEW ALBUM: Some Mississippi Sunday Morning by Parchman Prison Prayer: After a bureaucratic process that took over three years, music producer Ian Brennan was finally granted permission in February to record a Sunday worship service at the Mississippi State Penitentiary, aka Parchman Farm, a notorious prison with a rich musical history. The prison chaplains convened a unique service of inmate singers from various Christian denominations ranging in age from twenties to seventies, who were given turns at the mic and even collaborated on a few tracks. Brennan said he wanted to give the men a platform for their voices to be heard. All profits from the album benefit the Mississippi Department of Corrections Chaplain Services.

Here’s “You Did Not Leave Me, You Bless Me Still,” a cover of a Melvin Williams gospel song sung by J. Sherman, age sixty-three.

“You can hear the way Sunday services are particularly restorative for someone incarcerated – not simply because of the promise of redemption, but the solace of not being alone,” writes Sheldon Pearce for the Guardian. “Some Mississippi Sunday Morning feels like these men reaching out for the things such a barbaric system tries to deny them: compassion, intimacy, and mercy. The songs are not just purges of anxieties accrued on the inside or calls for the Lord’s embrace, but also pleas to be acknowledged as a person and not an ID number.”

(Thanks to Art & Theology reader Ted Olsen for alerting me to this! He compared the album to Angola Prison Spirituals, recorded in the 1950s.)

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PODCAST EPISODE: “Sarah Clarkson: The Gift of Beauty,” Life with God: A Renovaré Podcast, October 20, 2023: Sarah Clarkson, author of This Beautiful Truth: How God’s Goodness Breaks into Our Darkness, speaks with Renovaré community life director Nathan Foster about her struggle with OCD and, amid the great suffering wrought by that illness, how God’s goodness has been mediated to her by beauty—in nature, poetry, music, story, tea, ritual, and so on. Responding to the idea that beauty is a luxury for the affluent, she says, “Well, [it is] if beauty is about having a perfect house. But beauty is healing those who have been hurt in a war zone. It’s creating shelters where children can have refuge. It’s rebuilding what has been destroyed. . . . Beauty is a defiance of the forces of evil and disorder and destruction because it is [their] opposite: where evil tears down, beauty creates; where there is absence, beauty fills.”

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PRESS RELEASE: “Toledo Museum of Art Adds Armenian Gospel Manuscript with 46 Paintings to the Collection”: After centuries passing through private collections, in June the Pozzi Gospels, a sixteenth-century illuminated manuscript from Armenia, entered the collection of the Toledo Museum of Art, which will make it more accessible to the public. (I’m not sure when the book will go on display. And it doesn’t have an object page on the museum’s website yet.) The artist and scribe of this extraordinary, sumptuous manuscript was Hakob Jughayets’i. His forty-six full-page miniatures and marginal decorations combine Christian iconography with Byzantine, Islamic, and Buddhist design elements. 

The Sam Fogg gallery, which exhibited the manuscript last year as part of The Medieval Body, created this short video about it, narrated by art historian Jack Hartnell:

Creation of Eve and Temptation (Pozzi Gospels)
Hakob Jughayets’i (Armenian, ca. 1550–1613), The Pozzi Gospels, 1586. Paper with blind-stamped brown leather binding, 403 folios with 46 full-page illuminations and numerous marginal miniatures, 7 3/4 × 5 3/4 in. (19.8 × 14.5 cm). This spread shows the Creation of Eve and the Temptation of Eve.

The Pozzi Gospels is one of nine extant illuminated manuscripts by Hakob. For more information, see Hakob’s Gospels: The Life and Work of an Armenian Artist of the Sixteenth Century by Timothy Greenwood and Edda Vardanyan (2006).

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VIRTUAL MUSIC COLLECTION: Armenian Spiritual Music Special Vol. 1: NTS Radio in London has curated ninety minutes of traditional Armenian Christian music. (They’ve done the same for Byzantine chant, Welsh hymns, Hildegard von Bingen, and numerous other categories.) I wish the lyrics and translations were provided, but regardless of my understanding of the words, what beauty. [HT: ImageUpdate]

Roundup: The Guild Conference, All Saints’ Day, and “Soul on Deck”

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UPCOMING EVENT: The Guild Creative Arts Conference, November 4, 2023, Church on Morgan, Raleigh: Organized by singer-songwriter Jess Ray, spoken word poet Sharlene Provilus, and event curator Cary Brege, The Guild Conference endeavors “to care for the craft and character of creative people while encouraging creative community. We want to inspire your creative work, spiritual journey, and daily rhythms.” The special guests this year are singer-songwriters Dwan Hill, Andy Squyres, and Taylor Leonhardt; JourneyMates director Mary Vandel Young; and Makers & Mystics podcaster Stephen Roach. The day-long conference includes sessions, a panel discussion, an artist showcase, and a concert by The Choir Room. The regular ticket price is $75 (group rates and concert-only tickets also available).

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ARTICLE: “A Cloud of Witnesses: Why We Should Celebrate All Saints Day” by Leonard J. Vander Zee: In this June 2008 article from Reformed Worship, the Rev. Leonard J. Vander Zee writes to his fellows in the Reformed Protestant tradition, explaining what All Saints’ Day is and why it’s important to celebrate it, as Methodists, Lutherans, Anglicans, and Roman Catholics do every November 1. (Churches without midweek services typically celebrate the feast corporately on whatever Sunday precedes the first of November: this year, October 29.) Vander Zee also offers a sample order of worship, including specific hymn suggestions.

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SONGS:

>> “For All the Saints” by John L. Bell and Graham Maule, performed by Roger Sullins: A contemporary hymn from the Iona Community in Scotland, Bell and Maule’s “For All the Saints” is not to be confused with the 1864 William W. How hymn of the same title, which begins “For all the saints who from their labors rest.” Instead of How’s militant language that emphasizes the Christian life as struggle, this hymn focuses on the loving actions of the saints and uses the beautiful English folk tune O WALY WALY. It’s performed below by Roger Sullins, a worship leader at Palma Ceia Presbyterian Church in Tampa. Purchase the sheet music here. (© 1996 Wild Goose Resource Group / The Iona Community; admin. GIA Publications, Inc.) [HT: Global Christian Worship]

For all the saints who’ve shown your love
In how they live and where they move
For mindful women, caring men
Accept our gratitude again

For all the saints who loved your name
Whose faith increased the Savior’s fame
Who sang your songs and shared your word
Accept our gratitude, good Lord

For all the saints who named your will
And showed the kingdom coming still
Through selfless protest, prayer, and praise
Accept the gratitude we raise

Bless all whose will or name or love
Reflects the grace of heav’n above
Though unacclaimed by earthly pow’rs
Your life through theirs has hallowed ours

>> “Lux Aeterna (Nimrod)” by Edward Elgar, arr. John Cameron, performed by Voces8: The orchestral work “Nimrod” is movement 9 from the Enigma Variations by British composer Edward Elgar (1857–1934). In 2004 John Cameron wrote an SSAATTBB choral arrangement of the tune using the words of “Lux aeterna” from the Requiem Mass—which is what Voces8 performs in this video.

Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum,
quia pius es.

Requiem aeternam dona eis, Domine,
et lux perpetua leceat eis.

English translation:

May light eternal shine upon them, O Lord,
with thy saints forever,
for thou art kind.

Eternal rest give to them, O Lord,
and let perpetual light shine upon them.

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ARTICLE: “Soul on Deck” by Jake Lever: In Image no. 117 (Summer 2023), artist Jake Lever writes about a handful of his artworks having to do with the archetype of the boat as a vessel of passage: Ark, Bardsey Boats, Hailes Boats, Soul Boats, and Do the Little Things. He describes the fragile vessels he creates out of branches or wire, tissue paper, and gold leaf as “both cradle and coffin . . . something akin to a giant belly, cocoon, or womb . . . empty seed pods suggestive of cycles of birth, death, and resurrection.” Editions of some of these were given as gifts to family and friends during COVID, or to members of his collaborator-priest friend’s parish journeying through the final stages of a terminal illness.

Lever, Jake_Hailes Boats
Jake Lever (British, 1963–), Hailes Boats, 2013. Wire, tissue paper, and gold leaf, dimensions variable.
Jake Lever (British, 1963–), Soul Boats, installed at Birmingham Cathedral, 2015–16. Photo by the artist.

For Soul Boats, installed at Birmingham Cathedral for its tercentenary, Lever invited city residents to fill the two thousand boats that would hang from the ceiling of the nave with personal memories, prayers, and reflections. “Created in hospices, youth clubs, schools, sacred spaces, and scores of community settings across the city, boats were made in memory of loved ones who had died, as cries for help in finding employment, as prayers of thanksgiving and gratitude, for peace and justice.” Heading east toward the high altar in the sanctuary, these boats formed a “constellation of souls.”

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LITANY: “Litany for All Saints Day” by Fran Pratt: I always appreciate the litanies (responsive prayers for congregational use) that Fran Pratt writes. This one is from 2016.

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And for some lighthearted fun: a GIF by James Kerr (artist name: Scorpion Dagger), of Jesus and the twelve apostles riding a tandem bicycle! Kerr makes humorous animated digital collages mostly from Northern and Early Renaissance art.

https://www.tumblr.com/scorpiondagger/55651361443

Roundup: “Art and Religion Now” symposium, landscape of the body, and more

Victoria Emily Jones2 Comments

SYMPOSIUM: “Kunst en religie nu” (Art and Religion Now), October 20, 2023, 1:30–4:30 p.m., Museum Catharijneconvent, Utrecht, Netherlands: A week from Friday, attend a free afternoon of talks (in Dutch) on the topic of religion in modern and contemporary art. The speakers are Lieke Wijnia, who will present the results of her past two years of research on religious themes that crop up in modern and contemporary artworks in the Collectie Nederland (Netherlands Collection); Rozanne de Bruijne, on religion in art of the interwar period (1918–1940), the topic of a spring 2025 exhibition she’s curating; Wouter Prins from the Museum Krona, on the state of religious art in the post-Nietzsche era; and Joost de Wal on contemporary art in church spaces. Here’s the autotranslated description:

“The more modern the art, the smaller the presence of religion.” This frequently heard approach appears to be anything but justified. In fact, at the beginning of the twenty-first century, spirituality seems to be on the rise in the visual arts, resulting in a multitude of artistic interpretations. What does this say about the relationship between religion and art?

This symposium focuses on the multifaceted and sometimes unexpected presence of religion in visual art. For example, how does contemporary (religious) art relate to ongoing secularization on the one hand and to flourishing international religious communities on the other? What does the growing interest in spirituality mean for the arts? And what about the use of religious symbolism in visual art, both inside and outside the church? The speakers also shed light on how the wealth of (religious) stories and images can provide guidance in times of social uncertainty and uprooting.

Clockwise from top left: Annunciation by Mariette Lydis (1931); Portrait of Cardinal W.M. van Rossum by Jan Sluijters (1927); The Exorcism of Mary Magdalene by Helen Verhoeven (2020); Path and Puddle, panel 4, by Kasper Bosmans (2022); Black Madonna by Genia van der Grinten-Lücker (1934)

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ONLINE WORKSHOP: “Deep Dive into Poetry Comics,” led by Madeleine Jubilee Saito, November 2, 9, 16, 30, 5–7 p.m. Pacific (8–10 p.m. Eastern): Madeleine Jubilee Saito [previously] is a cartoonist from Seattle who makes “poetry comics” about the environment and the sacred—and in four virtual sessions offered through Push/Pull, she’ll teach you how to make your own on topics of your choice!

Saito, Madeleine Jubilee_Love Poem
Madeleine Jubilee Saito, Love Poem, 2019

“In this online course, you’ll practice exercises to explore your own voice and interests in drawing and text, creating poetry comics in a variety of styles. You’ll learn about minicomics, how to do basic layout for printing, and how to print a quarter-page minicomic. We’ll end the course with a celebratory comics reading for friends and family on Zoom. Students need to either be comfortable drawing digitally (Procreate, Photoshop, etc.) or have access to a scanner. Students will be also need access to a printer or local print shop for the last phase of the course.”

If you don’t have time to commit to four classes, there’s a single one offered on October 27.

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NEW ALBUM: You Don’t Carry It Alone by Leila Way: Leila Way is a singer-songwriter from Austin, Texas, writing songs for the church. Her first full-length album, “You Don’t Carry It Alone is a collection of songs for hard times. Some of these are old hymns; some were written during a period of intense grief and loneliness, while others grew out of prayers for friends. The album was created to comfort those who mourn; to remind God’s people that He is always faithful, always present and at work, even when we can’t see what He’s up to.”

The album consists of four original songs, two original instrumentals, a cover of “Be Still, My Soul,” and new retunes of George Matheson’s “O Love That Wilt Not Let Me Go” (one of my favorite hymns) and James Montgomery’s “I cannot call affliction sweet.”

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CERAMIC BOWLS: Nurture Collection by Jane Boutwell: I met artist Jane Boutwell at a Christians in the Visual Arts (CIVA) conference in 2021 after she presented this body of work that really moved me—a collection of ceramic bowls that take as their three design elements anatomical features of the female breast: lymph nodes (gold, river-like), mammary glands (pink and blooming), and musculature. She started the Nurture Collection after having one of her milk ducts surgically removed in 2019 for a biopsy (it turned out not to be cancer), as a meditation on the strength and inner beauty of this part of the body that is so often objectified or shamed. She recommends the bowls as a gift for a woman in your life who has had a tender year with regard to her breasts—cancer, nursing, etc.—to honor her journey.

Boutwell, Jane_Mammary bowl
Bowl from the Nurture Collection by Jane Boutwell, 2020

I share these now because October is Breast Cancer Awareness Month. Below is an eight-minute video explanation by the artist, followed by a short “making of” montage:

There are five Nurture bowls currently for sale in Boutwell’s online shop: Joan, Tracy, Colleen, Rita, and Wendy. Each is named after a woman she knows with breast cancer.

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PODCAST EPISODES:

>> “Landscape of the Body with David Taylor,” Makers & Mystics, September 13, 2023: Constructing a cogent theology of the body, theologian W. David O. Taylor discusses why it’s important that we honor and understand our bodies, and why having a right relationship to our bodies is imperative to the quest of art. Christians have often feared, distrusted, or despised the body; sin has meant that we’ve become alienated from our own bodies and the bodies of others, that we harm our bodies and others’, and that we often flee from our bodies, dissimulate. But Jesus wants us to be at home in our bodies, Taylor says—in worship, and in day-to-day life. He talks about Jesus as an icon of care-filled touch and the implications of that.

>> “On Being in a Body,” On Being with Krista Tippett, September 21, 2023: At the 2023 Aspen Ideas Festival, Krista Tippett interviewed Kate Bowler, author of Everything Happens for a Reason (and Other Lies I’ve Loved), a reflection on how she moved through learning at age thirty-five that she had Stage IV colon cancer. “From the new reality in our time of living with cancer as a chronic illness, to the telling of truths to our young as we face precarity in our collective body, this conversation is full of the vividly-whole humanity that Kate Bowler singularly embodies.” I heard Kate in person at Duke University a few years ago talking on a panel about suffering. She’s full of wisdom, wit, and raw tenderness and so, so endearing, and even though I’ve heard her story many times, every conversation with her brings up something new.  

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DANCE PERFORMANCE: Chroma, Grace, Takademe, and Revelations, performed by Alvin Ailey American Dance Theater: I’ve shared a video of Alvin Ailey’s Revelations here before. Well, this rebroadcast from 2015 includes that, plus performances of three other works by the prestigious Alvin Ailey American Dance Theater. I especially enjoyed Chroma, with music by Joby Talbot and choreography by Wayne McGregor—it’s the first twenty-six minutes of the video.

Roundup: Doubting Thomas, practicing stillness, living with grief, and more

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SPOTIFY PLAYLIST: October 2023 (Art & Theology): Each month I compile a nonthematic mix of thirty faith-inflected songs from a range of sources. October’s playlist is now live. One track I’ll draw your attention to, with a live performance video below, is the soul-baring prayer “Doubting Thomas” by Chris Thile of Nickel Creek; read the lyrics, with annotations, here. (Also, Paul Demer has a nice cover of this song on YouTube.)

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MEDITATION EXERCISE: “Stillness—Richard Rohr’s Daily Meditations”: From the Center for Action and Contemplation comes this one-minute video that takes the most memorable line from Psalm 46, progressively paring it down and creating meditative space around each subtraction.

Be still and know that I am God
Be still and know that I am
Be still and know
Be still
Be

Rev. Dr. Cynthia Bourgeault, an Episcopal priest, writer, and retreat leader, mentions this chant in her book Chanting the Psalms. “Each time the line is repeated,” she writes, “key words are taken away. The result is a funnel-like effect that leads straight down into silence. . . . Each phrase expresses its own unique meaning and understanding as the prayer moves toward utter simplicity” (185). Bourgeault recommends working with the recording “Be Still and Know” found on the album Songs of Presence: Contemplative Chants for the New Millennium from Praxis Publishing House; I couldn’t find the audio online, but I did find a song by The River’s Voice (Trish and Richard Bruxvoort Colligan) that’s also based on this exercise of Fr. Rohr’s: “Be (Still and Know That I Am God)”:

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PODCAST EPISODES: Here are two podcast episodes I caught up with recently and enjoyed. Both links include transcripts.

>> “Jan Richardson: Stubborn Hope,” Everything Happens with Kate Bowler, October 27, 2020: Kate Bowler, a historian and cancer survivor who has done much academic work on the prosperity gospel, talks with spiritual writer Jan Richardson [previously], whose husband died unexpectedly in 2013, about the hidden rooms of grief, being disciplined by hope, and how the concept of blessing in the Jewish and Christian traditions differs from the #blessed culture of social media. Don’t miss the three discussion questions in the show notes.

>> “Esau McCaulley: How Far to the Promised Land?,” No Small Endeavor, September 14, 2023: Lee C. Camp interviews public theologian Esau McCaulley, a professor of New Testament at Wheaton College and a New York Times opinion writer, about his new memoir, How Far to the Promised Land: One Black Family’s Story of Hope and Survival in the American South. I’ve heard rave reviews from multiple corners about this book, and this conversation has really whetted my appetite to read it!

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POEM COMMENTARY: “Learning about Constellations” by Saddiq Dzukogi, commentary by Pádraig Ó Tuama: On this episode of On Being’s Poetry Unbound podcast, host Pádraig Ó Tuama unpacks a poem written by Saddiq Dzukogi in the aftermath of his one-year-old daughter’s death. It’s from his 2021 collection Your Crib, My Qibla.

Roundup: New essay collection, Notes of Rest, Saint Francis, and more

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NEW BOOK: In Thought, Word, and Seed: Reckonings from a Midwest Farm by Tiffany Eberle Kriner: As a freelance copyeditor, I’ve worked on many projects for Eerdmans, and this has been one of my favorites: an essay collection by Tiffany Kriner, a Wheaton English professor and farmer from Illinois. It’s a unique blend of literary criticism, nature writing, and memoir. Virgil, George Eliot, James Baldwin, and Walt Whitman are among the authors she engages, respectfully weaving their stories into and around her own experiences of cultivating sixty acres of land and raising livestock with her husband, Josh. Today is the book’s official release date, and I can’t recommend it enough!

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(FIVE-WEEK) ONLINE COURSE: “Notes of Rest: Receiving Rest from Scripture and Black Music in Our Restless World,” taught by Julian Davis Reid: On Monday evenings from October 9 to November 6, pianist, speaker, and writer Julian Davis Reid, MDiv, of Chicago will be leading five, seventy-five-minute virtual discussions and meditations on the theme of rest, explored through the lenses of scripture and Black music. “Salvation,” “Sabbath,” “Sleep,” “Stillness,” and “Sanctuary” are the organizing principles. “The purpose of the class is to help the Body of Christ hear God’s invitation to rest,” Reid told me. “The means of getting there is through a mixture of artistic reflection and practical theology grounded in biblical analysis, reflection questions, and musical performance.” No prior musical knowledge is required.

The spiritual “Give Me Jesus” is an example of one of the songs Reid will be playing and guiding participants through (this recording is from his 2021 album Rest Assured, with album art by Shin Maeng):

This course is presented by the Candler Foundry, an initiative of Emory University’s Candler School of Theology that aims to make theological education accessible to everyone. It’s only $29! Reid has been leading Notes of Rest sessions since 2021, and he is currently accepting bookings from churches, universities, and parachurch ministries; you can contact him through his website.

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SONGS:

>> “Garden Will Bloom” by the Good Shepherd Collective, feat. Diana Gameros: Released this July as a single, “Garden Will Bloom” was written by Diana Gameros, Jon Guerra, and Kate Gungor at Laity Lodge, an ecumenical retreat center in Texas, and produced by David Gungor. It’s a song that speaks hope to one’s own soul, encouraging persistence through seasons of no yield. The music video was filmed and directed by Jeremy Stanley.

>> “Sing, Sing, Sing (Psalm 96)” by Wendell Kimbrough: This is my favorite track from Wendell Kimbrough’s latest album, You Belong.

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POEM: “Saint Francis and the Birds” by Seamus Heaney: Giovanni di Pietro di Bernardone (ca. 1181–1226), better known as Francis of Assisi, was an Italian mystic and friar who founded the religious order named after him, the Franciscans. Because of his love for all God’s creatures, he is considered the patron saint of animals, and his feast day is October 4. One story about him says he preached to the birds, as he believed the gospel is for them too, and that they, too, have a duty to praise God. This poem by the Nobel Prize–winning Seamus Heaney evokes Saint Francis’s sermon to his feathered friends.

St. Francis Preaching to the Birds
“Sermon to the Birds,” from the Legends of Saint Francis cycle, attributed to Giotto, 1297–1300. Fresco, 270 × 200 cm. Upper Church, Basilica of St. Francis of Assisi, Assisi, Italy.

From the blog archives: For another poem about this legend, see “Saint Francis Endeth His Sermon” by Louise Imogen Guiney. For a brilliant literary essay by Kimberly Johnson on Francis’s “Canticle of the Creatures” (which evolved into the hymn “All Creatures of Our God and King”), see here.

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INTERVIEW: “The Artist’s Gift of Reckless Courage” with Betty Spackman: Comfort, confront, teach, heal—those are just a few of the actions the arts can perform, says Canadian installation artist Betty Spackman in this insightful interview for Radix Magazine (available in audio format wherever you get your podcasts, and in print). Spackman discusses misconceptions about artists and the arts, the expansive definition of “creativity,” the gifts artists offer the church, and the charge of elitism. She also gives advice to pastors and to artists.

Here are just two snippets:

  • “The artist can reveal the heart of God in unique ways, and that gives us a responsibility. We can be vessels of wonder and light, through sound and image and movement and story. . . . By their very nature, [artists] are more open to thinking outside the box, to going past the status quo, to dreaming and to imagining. . . . Scripture tells us a child will lead us and it is childlike faith that will lead us forward. Perhaps what we can learn from artists is to be more childlike.”
  • “When someone paints their pain, or sings it, or dances it, our response should not be to ignore or condemn it because it’s not pretty or is outside of our worldview. We should find out what it is, and then respond in a meaningful way to the person who made it. The arts are really a place of opportunity to both express and to listen to the grief of the world, and Christians need to be there to do both.”

Roundup: Ambai praise medley, ArtStories, Visually Sacred, and more

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Each item in a roundup represents hours of combing through and evaluating other possibilities to feature, to find that one I deem will be of most value to readers of Art & Theology. None of these spots are ever bought or coerced, but rather represent sincere recommendations on my part. If you appreciate the resources I curate, would you consider making a donation to make this continued work possible? Or buying me a book from my Amazon wish list (to support my research)? Regardless, I really appreciate you being here!

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SONGS:

>> Ambai Praise Medley: This summer Palmer Keen, an American ethnomusicologist based in Yogyakarta who runs the online repository Aural Archipelago, visited the Christian village of Kawipi in the Ambai Islands of Papua, Indonesia, to learn more about songgeri, a worship music tradition indigenous to that area. When he arrived, the villagers formed a welcome party to greet him at the church steps with much music making! That is what this clip is from:

Palmer writes,

Songgeri is a gospel string band tradition from the Ambai archipelago of Papua. The Ambai people, fervent Pentecostals since mass conversion in the mid-20th century, have taken the string band format popular across Melanesia . . . and embraced it as a vehicle for a unique gospel sound unlike anything else in Indonesia.

The name songgeri itself means “joy” in the Ambai language, and every bit of the music is designed to channel a particularly Pentecostal religious ecstasy: handmade lutes (four-string “ukulele” and five string “gitar”) stick to just three easy chords, while giant double bass-like stembas are turned towards the players and plucked with both hands and hand-carved wooden picks to get a thunderous sound. Musicians play a non-stop medley of “praise and worship” verses sung in Ambai and Indonesian—in one piece, “Nemunu Doana Kamia Wowong,” for example, they sing: “His house is built on coral / The gates of heaven are open / He awaits us!”

For more on the history, form, and instruments of songgeri, including additional videos, see Palmer’s recent blog post. (Shout-out to Sam Connour for alerting me to this fantastic music!)

>> “Campfire Coritos,” performed by Israel and New Breed: This corito [previously] medley features the songs “Con mis manos y mi vida” (With My Hands and My Life), “Alabaré” (Oh, Come and Sing), “Te alabarán oh Jehová” (They Will Praise You, O Jehovah), “Quién como tú” (Who Is Like You?), “Hay poder” (There Is Power), and “Ven, ven, ven, Espíritu Divino” (Come, Come, Come, Holy Spirit). The first female soloist is Israel Houghton’s wife, Adrienne Bailon-Houghton, and the second female soloist (with dark hair) is Adrienne’s sister, Claudette Bailon.

And here’s another corito medley sung by the same group:

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ART: 44 Plates from a Christian illuminated album, Ethiopia: When I was at the Minneapolis Institute of Art a few years ago, I saw on display three paintings on vellum from seventeenth-century Ethiopia, in the First Gondarene style, featuring Ethiopian saints and Bible stories. They are from a set of forty-four pages that were at one time sewn together and used as a prayerbook. The inscriptions are in Ge‘ez, an ancient language that originated in northern Ethiopia and is now only used in religious ceremonies.

Ethiopian album
Ethiopian saints and scenes from the Hebrew scriptures and the Christian Bible, from a disbound album, Ethiopia, late 17th century. Collection of the Minneapolis Institute of Art, Minneapolis, Minnesota.

Learn more about this illuminated album through ArtStories, an interactive multimedia feature on MIA’s website that allows for in-depth exploration of select objects from the museum’s collection. On the “More” tab is a video on “Connecting with World Religions,” a photo of each individual page with accompanying descriptions, and a behind-the-scenes video with Ethiopian manuscript cataloger Getatchew Haile.

I encourage you to further peruse ArtStories, which spotlights art objects from around the world in all sorts of media, including an ancient Egyptian instrument, an Islamic prayer mat, a Somali wedding basket, an Osage friendship blanket, a snake jug that pokes fun of the Confederacy, a brass leopard-shaped water pitcher from Nigeria, a pair of folding screens from Japan, an illusionistic marble sculpture, El Greco’s Expulsion of the Money-Changers, Rembrandt’s Lucretia, one of Monet’s grain stacks, and more. The interface directs you to specific details of the work and teaches about content, context, technique, and influences.

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PODCAST EPISODES: The first season of the podcast Visually Sacred: Conversations on the Power of Images, hosted by Arthur Aghajanian, wrapped this summer, altogether featuring conversations with thirteen luminaries in the field of religion and the arts. These were two of my favorite episodes:

>> “William Dyrness: Protestant Aesthetics, Modernism, and Theopoetics”: Theologian William Dyrness from Fuller Theological Seminary discusses the importance of art to spirituality, and the history and theology of images in Protestantism versus Catholicism. He also shares how Christianity influenced many canonical modern artists, and introduces theopoetics, a Christian movement that seeks to broaden our understanding of orthodoxy by bridging art forms and connecting art to daily life.

>> “Natalie Carnes: Iconoclasm, Beauty, and Aesthetics”: Theologian Natalie Carnes [previously], a professor at Baylor University, discusses iconoclasm, particularly the controversy around public monuments; the ambivalence of images as mediators of the Divine (giving us access and blocking access); suffering and beauty; feminist theology; and Christian asceticism as a form of abundance.

Roundup: Yom Kippur tune, DITA concert, Lilias Trotter, and more

Victoria Emily Jones1 Comment

SPOTIFY PLAYLIST: September 2023 (Art & Theology): Another monthly gathering of good, true, and beautiful music of a spiritual bent from a variety of sources, ranging from a Victorian lullaby to a hymn revamp by Ike and Tina Turner to a traditional Yom Kippur melodic motif reimagined to a bluesy saxophone prayer to an old-time song about Noah from the southern US to a Christian praise song sung by a Miskito church community in their native tongue. Two selections from the playlist are below.

>> “Abodah” by Ernest Bloch, performed by Sheku Kanneh-Mason: Ernest Bloch was a Swiss-born American composer who drew heavily on his Jewish heritage in his work. Abodah (עֲבוֹדָה) (more commonly transliterated avodah) is Hebrew for “service,” “work,” or “worship,” a word often used in relation to the ritual service that used to be performed by the Jewish high priest in Jerusalem each year on Yom Kippur (the Day of Atonement), before the temple was destroyed; described in Leviticus 16, it involved confession of sin and animal sacrifices.

“May the offering of our lips be accepted as a replacement for the sacrifice of bulls,” the rabbis now say—and thus present-day Yom Kippur liturgies feature poetic recitations from Leviticus 16 and related Mishnah texts, “an expression of the Jewish people’s yearning both for spiritual liberation and redemption,” writes Neil W. Levin. More conservative congregations will vocalize prayers for a rebuilding of the temple and the restoration of sacrificial worship. But for an example of a seder avodah from the Reform tradition, see here. Yom Kippur is celebrated on September 24–25 this year.

Bloch’s Abodah composition is based on a tune, part of a canon of tunes known as the missinai (lit. “from Sinai”), that originated in the Ashkenazi communities of medieval Germany and that is still used today in Ashkenazi synagogues on Yom Kippur. Bloch composed the piece for piano and violin, but it’s arranged here for solo cello and performed by the internationally acclaimed Sheku Kanneh-Mason [previously].

For Christians, the atonement rituals from Leviticus find their fulfillment in the once-for-all self-sacrifice of Jesus, and though this solemn tune has its roots in the Jewish faith tradition, its meditation on human sin and divine forgiveness can cross religious boundaries.  

>> “I’ll Fly Away” (Yo volaré) from We the Animals: This spare, a cappella performance of a 1929 southern gospel song by Albert E. Brumley plays during the opening credits of the film We the Animals (2018), sung by Josiah Gabriel, one of the three main child actors. I’m interested in how and why religious songs are employed in nonreligious films, and this one was really effective in establishing not only the tone of the movie but also its theme of freedom.

Based on a semiautobiographical novel of the same name by Justin Torres, We the Animals follows three Puerto Rican brothers ages seven and up navigating a volatile family life in rural upstate New York. There’s violence and tenderness, depression and joy, and I appreciate its exploration of complicated masculinity, and how nuanced the character of the father is. (Torres has said that the process of writing the book was partly about finding empathy for his father who was abusive, and that the story is really about love and grace in a family.) In the film, flying is used as a visual metaphor for the youngest son’s, the narrator’s, rising above captivity (mainly psychological) and coming to a place of existential flourishing. The film is excellent, as is the book, though beware the R rating. Streaming on Netflix and Hulu.

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UPCOMING CONCERT: “Beyond Measure: An Evening of Music in Celebration of Abundantly More,” dir. Jeremy Begbie, September 8, 2023, Duke Divinity School, Durham, NC: To celebrate the release of Dr. Jeremy Begbie’s book Abundantly More: The Theological Promise of the Arts in a Reductionist World, Duke Initiatives in Theology and the Arts is presenting a special concert with the New Caritas Orchestra, conducted by Begbie. It will take place next Friday at 7:30 p.m. at Goodson Chapel on the campus of Duke Divinity School, and no tickets or registration are required. The program will explore the power of music—along with words and images—to expand our theological imagination, and it will be followed by a reception and book signing.

I suspect it will be similar in format to Begbie’s “Home, Away, and Home Again: The Rhythm of the Gospel in Music” event, which I attended in 2017 and was wonderful. (View the video recording below.) In his lecture-concerts, Begbie interweaves composer biography, musical analysis, theological commentary, storytelling, and performance to help audiences truly hear and appreciate the music. In “Home, Away, and Home Again,” he discusses the technical term “tonic” (the note upon which all other notes of a piece of music are hierarchically referenced, the one that gives the piece its sense of stability), demonstrating with various examples how 90 percent of Western music starts at home, goes places, then arrives back home but changed. Along the way he discusses themes of war, despotism, (up)rootedness, loss, hope, the resurrection, and new creation. Featured composers include Béla Bartók, Antonín Dvořák, Aaron Copland, Ennio Morricone, Leonard Cohen, and Benny Goodman.

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UPCOMING CONFERENCE: “Poets of Presence: Faith, Form, and Forging Community,” October 27–28, 2023, Loyola University, Chicago: Sponsored by Presence: A Journal of Catholic Poetry and The Francis and Ann Curran Center for American Catholic Studies at Fordham University, this poetry conference will feature the keynotes “The Art of Faith and the Faith of Art” by Christian Wiman and “The Forge and the Fire: God in the Blacksmith Shop” by Angela Alaimo O’Donnell. There will be workshops on writing formal poetry, translating poetry, and an editor’s secrets for successful submissions, among others, and poetry readings. I was excited to see Paul J. Pastor [previously] on the list of presenters! Cost: $60.

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DOCUMENTARY: Many Beautiful Things: The Life and Vision of Lilias Trotter, dir. Laura Waters Hinson (2015): Available for free on YouTube, this seventy-minute documentary shines a light on Lilias Trotter (1853–1928), an English painter and protégé of the leading Victorian tastemaker John Ruskin who, instead of pursuing an art career as Ruskin had urged her to do, became a Christian missionary in Algiers for forty years—as a single woman, self-funded (all the missions agencies rejected her because she had a heart condition that made her physically vulnerable). Her ministry centered on the women in the kasbah—teaching them to read, helping them attain economic independence. She also befriended a Sufi brotherhood whose members were eager to hear her talk about God. In Many Beautiful Things, Michelle Dockery of Downton Abbey voices words from Trotter’s books, journals, and correspondence, and art director Austin Daniel Blasingame has deliciously animated her art! (See behind the scenes of that process.) Sleeping at Last supplied the original soundtrack.

While in North Africa, Trotter continued making sketches and watercolors, documenting the everyday life that surrounded her—people, bees, flowers, sunsets. These are minor works/studies, not intended for the art market, but they were for Trotter a major way of delighting in God’s creation. I don’t like how the marketing of the film leans heavily into the narrative of “Oh, look at Lilias, so selfless and heroic, sacrificing artistic fame for service, she really could have been tops if she hadn’t given it up,” as it wrongly suggests that evangelistic or nonprofit work is more God-honoring than art making, or that recognition in one’s field is not something a Christian should desire. The film itself mostly avoids that way of looking at it, focusing instead on Trotter’s faithfulness in responding to a call that was particular to her and then finding ways to integrate art, as an avocation, into her new life in Algiers. “Her art . . . wasn’t lost in Algeria. If anything, it was fed,” says biographer Miriam Rockness. As viewers, we’re asked to reexamine our conception of success.

Trotter, Lilias_Desultory bee
Watercolor by Lilias Trotter, July 9, 1907

I had never heard of Lilias Trotter before watching this documentary (thanks for the recommendation, Sarah!), but now I’m glad to know about her. Learn more at https://liliastrotter.com/, and follow the Lilias Trotter Legacy on Instagram, Facebook, and/or Twitter. Also, the current issue of Christian History magazine (no. 148) is devoted entirely to Trotter; you can download a free copy (or purchase a physical one) here.

Roundup: Sermons by Nadia Bolz-Weber, Jewish graffiti, four-word poem by Giuseppe Ungaretti, and more

Victoria Emily Jones2 Comments

SERMONS by Rev. Nadia Bolz-Weber: Nadia Bolz-Weber [previously] is an ordained Lutheran pastor who founded the House for All Sinners and Saints in Denver and now guest-preaches around the city. Here are two of her sermons from the past year or so that I’ve come across and appreciate, just twelve minutes each.

>> “Sinking,” Montview Boulevard Presbyterian Church, Denver, August 13, 2023: Preaching on Matthew 14:22–33, Bolz-Weber critiques the idea that our ability to do great things relies on the quality of our faith instead of on the power of God: “I’ve often heard this walking-on-water story from Matthew preached as like The Little Disciple Who Almost Could. Like Peter could have kept walking on water if he just thought ‘I think I can, I think I can’ enough. The message being that with enough faith, you too can walk on water all the way to Jesus. Which, on the surface, sounds inspiring. But taken to its logical conclusion, it also means that if you are not God-like in your ability to overcome all your fears and failings as a human, if you are not God-like in your ability to defy the forces of nature, then the problem isn’t the limits of human potential, the problem is the limits of your faith, and you should probably muster up some more . . .” [Read the transcript]

>> “The Lord Is My Shepherd, (but) I Shall Not Want (a Shepherd, Thank You Very Much),” Saint John’s Cathedral, Denver, May 8, 2022: No matter how much we fancy ourselves “anti-shepherdarian,” wanting to make our own choices and go our own way, we are all shepherded by someone or something, says Bolz-Weber in this sermon on Psalm 23. Perhaps it’s by the “wellness” industry, or by the angriest voices on Twitter. And the thing is, “not one single shepherd-shaped wolf that I have followed has ever actually fulfilled my wants and desires,” she confesses; “they have only ever increased them. They have only ever led me to waters with a high salt content, only ever led me to waters that create thirst and never ever quench it. They leave me feeling insecure and insufficient.” She contrasts the shepherds of this world to the one true Good Shepherd. The preaching starts at 23:20. [Read the transcript]

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BOOK REVIEW: The Beauty of the Hebrew Letter: From Sacred Scrolls to Graffiti by Izzy Pludwinski, reviewed by Sarah Rose Sharp: In this new book from Brandeis University Press, certified Jewish scribe and calligrapher Izzy Pludwinski looks at the evolution of Hebrew calligraphy from sacred scrolls through modern art and graffiti. “Font enthusiasts, lovers of Judaica, and those passionate about the minutiae and range of the written form” will find much to appreciate here, writes Sarah Rose Sharp, whose review includes a handful of images from the book. For example, below is a mural painted by Hillel Smith on the alley-side exterior of a kosher bakery in the Pico-Robertson neighborhood of Los Angeles, which reads in bright yellow letters, “בָּרוּך אַתָּה אַדָנָי אֱלהֵינוּ מֶלֶך הָעוֹלָם הָמוֹציא לֶחם מן הַארץ” (Hamotzi lechem min ha-aretz) (Who brings forth bread from the earth), part of the traditional Hebrew blessing over bread before a meal: “Blessed are You, Lord our God, King of the Universe, Who brings forth bread from the earth.” [purchase on Amazon]

Smith, Hillel_Hamotzi Mural
Hillel Smith (American, 1984–), Hamotzi Mural, Bibi’s Bakery and Café, Los Angeles, 2016. Photo courtesy of the artist.

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SONGS:

>> “Be Alright” by God’s Children: Having amassed over four million collective views, this video was posted August 1 by Shirika “ReRe” Flowers across multiple social media platforms, showing four of her six kids singing a gospel song she wrote for them, “Be Alright,” at her home in Memphis. It’s led by Demeriauna “Sugar Mama” Harper, with the other three parts sung by Thedrick “Preacher” Webb (in orange Crocs), Dedric “Chunky” Trice (seated at left), and Cornbread.

The family performs and records together under the name God’s Children, and this song can be heard on their 2018 album It’s So Amazing.

>> “Aakhaima Rakhchhu Mero Yeshu” (आँखैमा राख्छु मेरो येशू) (Keep My Eyes on Jesus): In this 2016 video, a group of teens from New Life Church in Nepal sing a popular Nepali Christian worship song. I haven’t been able to find who the songwriter is, but from a search on YouTube, I can see that it’s a very popular song to dance to in Nepal! There are dozens of videos, mainly of children or youth, dancing to it with hand motions and a bounce, often in church.

From what I can tell through Google Translate, the lyrics translate roughly to “I keep my eyes on Jesus. I keep him in my heart. He shadows me with his love.”

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POEMS:

>> “Mattina” (Morning) by Giuseppe Ungaretti: This week reading the book Poetry and Revelation: For a Phenomenology of Religious Poetry by Kevin Hart, I came across this beautiful four-word poem in Italian from 1917 that stopped me in my tracks: “M’illumino / d’immenso.” (Those euphonic m’s!) Hart didn’t translate it, and though I could recognize the two keywords (they’re English cognates), I wasn’t sure of the words connecting them or the verb tense. In googling the poem, I was sent to the blog Parallel Texts: Words Reflected, run by Canadian literary translator Matilda Colarossi, who lives in Florence. It’s fascinating to hear her describe the complicated process of translating these two spare lines. Click on the link to read her translation and to learn what considerations informed her.

Part of the poem’s brilliance is its openness to various readings. For me, it’s about being known warmly and intimately by an immensity I call God.

>> “What He Did in Solitary” by Amit Majmudar: A second book I read this week was the poetry collection What He Did in Solitary by Amit Majmudar, Ohio’s first poet laureate. The titular poem, the first in a suite of three that conclude the book, made me cry. You can read all three on the website of Shenandoah journal, where they were originally published in 2019.

Other favorites: “Altarpiece,” “Ode to a Jellyfish,” “Elegy with van Gogh’s Ear.”

Roundup: Peter Howson retrospective, “Strange Stories of the Bible” with Pádraig Ó Tuama, and more

Victoria Emily Jones1 Comment

ART EXHIBITION: When the Apple Ripens: Peter Howson at 65, May 27–October 1, 2023, City Art Centre, Edinburgh: City Art Centre in Edinburgh is hosting a major retrospective of one of the UK’s leading figurative painters, Peter Howson, who first emerged during the mid-1980s as one of the New Glasgow Boys and whom the art critic Donald Kuspit dubbed the “Scottish Bosch.” Curated by David Patterson, the exhibition brings together some one hundred works spanning the artist’s career, many never seen before in Scotland, with subjects ranging from working-class Glasgow men to the Bosnian War (into which Howson was sent as official war artist) to biblical stories. His work deals with themes of aggression, struggle, and faith.

Artist and art educator Tessa Asquith-Lamb discusses five key works from the exhibition in this twenty-minute video:

Howson, Peter_Job
Peter Howson (Scottish, 1958–), Job, 2011. Oil on canvas, 182 × 152 cm. Collection of Alan and Karen Turner.

“I like to bring the Bible into this world we live in today,” says Howson, who is a Christian. (He made headlines when he went public with the story of his religious conversion while undergoing treatment for alcohol and drug abuse in 2001.) Reflecting on the reception of and motivation behind his biblical works, he said in a recent video interview (30:31ff.):

There’s two camps of people. There’s the people that groan whenever they see a religious painting of mine, and they say, “Why can’t he stay away from religion?” It’s that kind of embarrassment about religion. They don’t like my religious art, but I continue to do it. . . . And then there’s the other people that actually are religious, but they don’t like it because it’s too frightening for their gentle, staid, normal religiousness. They don’t want anything nasty happening in their lives or anything that’s going to cause a stir. So to them it’s a big danger as well, the stuff I do, because it’s violent, it’s real. It’s like the consuming fire of God.

The Bible is an incredible book. It’s a book that’s got everything in it, really. It’s got so much tragedy, violence, disaster, despair. It’s also got incredible revelation in it. It’s got incredible acts of love and kindness. . . .

All I know is that . . . the work I do on the Bible and on the teachings of Jesus, or on the events in Jesus’s life—which have in fact fascinated artists for centuries—I don’t know why it shouldn’t continue with me. For me to paint these things, it’s made a big difference to a lot of people’s lives. It helps people. It’s a therapy that takes them through a door into a different universe altogether. It takes them into a new world, a new discovery. They realize they are not a person that’s just flesh and blood, an animal. It means that there’s a spiritual side that they’ve missed out on. And that’s the most important thing they can ever understand or realize. And it’s salvation, really, for them, for people to go through that door. That’s the door I want to lead them through.

In conjunction with the exhibition, on June 23 the City Art Centre hosted a panel with writer and art critic Susan Mansfield and other experts on the subject of religious art today, including what place it has in an increasingly secular world. Unfortunately there appears to be no recording of the event offered online. But there are still other related events coming up; learn more here. And you still have about a month and a half to see the exhibition!

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ONLINE COURSE: “Strange Stories of the Bible,” taught by Pádraig Ó Tuama, October 8–November 5, 2023: Over the course of five Zoom-mediated classes, poet-theologian Pádraig Ó Tuama will lead a literary exploration of peculiar stories from the extraordinary library of world stories that is the Bible, focusing on the lives of five figures: Noah, Isaac, Ruth, Mary of Bethlehem, and Judas. Their stories are not so foreign as one might think, as they “depict very familiar aspects of human behaviour: jealousies, rivalries, rages, desires, ambitions, schemes, travels, courage, challenges, archetypes, addictions, misunderstandings and machinations.” Each class will involve a close reading of a scripture text, bringing to bear literary analysis, contemporary poetry, and art, and will leave participants with questions for self-reflection. Cost: $250 USD.

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POETRY-WRITING RETREAT: “Ideas Everywhere! Inspirations for Poetry,” led by Marjorie Maddox, September 22–24, 2023 (update: the date has been rescheduled to October 27–29, 2023), Bethany Retreat Center, Frenchville, PA: “The everyday, the eternal, and everything in between—ideas for poems are everywhere! During this retreat, we’ll focus on generating poems from both the mundane and the miraculous, using—as time permits—the arts (paintings, photographs, movies, music), sacred texts and rituals, nature, news, place, sports, and the medical as springboards. By drafting, revising, and discussing poems in a supportive community, we’ll consider how one poetic choice leads to another, each contributing to the work’s overall effect. Arrive ready to engage, experiment, write, laugh. Leave with new ideas and strategies for future poems.” Cost: $275 (includes meals and lodging).

I have a poem by Marjorie Maddox queued up to publish here next month. I really appreciate her work!

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CALL FOR POETRY: Presence: A Journal of Catholic Poetry is accepting poetry submissions through October 1, 2023, for its eighth annual issue, to be published in April 2024. “We publish poems on the basis of their artistic excellence, rather than on the basis of the author’s professed creed or because the subject matter is explicitly Catholic. The poems in this journal convey God’s presence in any number of ways—by exploring the intersection of matter and spirit, by depicting the struggle between belief and doubt, by questioning the faith, being surprised by it, taking joy in it, even finding humor in it.” Learn more at https://www.catholicpoetryjournal.com/poems.

Poets who have contributed to past issues include Marilyn Nelson, Julia Alvarez, Dana Gioia, Robert Cording, and Paul Mariani.

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PROGRAM: The Brehm Residency: The Brehm Center at Fuller Theological Seminary is looking for artists and Christian ministry leaders in the US to join their remote residency program for spring 2024. The cost to participate is $495. “How do artists experience the world? How do creative hearts respond to the story of God? We believe these questions matter. The mission of the Brehm Residency is to cultivate generative relationships between artists and ministry leaders who are mutually dedicated to the artistic renewal of our communities and their churches.” Registration deadline: October 31, 2023.

The program consists of (1) a curriculum of readings and resources that cover historical, theological, and psychological perspectives on the arts, and (2) ten biweekly, ninety-minute online gatherings from January through May 2024, which include guided discussions, fellowship, and periodic guest speakers. There is also an optional, seven-day in-person add-on.

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NEW WEBSITE + EVENTS + FUNDING CALL: The Leighton Ford Initiative in Theology, the Arts, and Gospel Witness at Gordon-Conwell Theological Seminary: Gordon-Conwell is a multidenominational, evangelical seminary based in Hamilton, Massachusetts, with other campuses in Boston; Charlotte, North Carolina; and Jacksonville, Florida. In 2022 under the direction of Dr. Wes Vander Lugt, the seminary launched the Leighton Ford Initiative in Theology, the Arts, and Gospel Witness, which “embraces and engages with God’s gift of artistry through impactful teaching, relevant scholarship, and catalytic events that form students, enrich the church, and propel participation in God’s mission to make all things new.” The initiative offers academic courses; pursues arts and theology research and publications; hosts symposia, gallery exhibitions, concerts, film screenings, conversations with writers and artists, and other events; and plans arts-integrated chapel services. I attended the excellent Georges Rouault symposium they organized last fall—which I publicized here. Here’s what’s upcoming on their calendar:

Once enough money is raised for an endowed chair, the initiative will become an official center within the Gordon-Conwell Institute and programming will expand. There are plans to offer a Certificate in Theology, the Arts, and Gospel Witness, host pilgrimages to sites of global arts influence, assist faculty in integrating the arts into their teaching, and host creative residencies.

Roundup: Sing Me High Music Festival, visual LP shot on Mayne Island, and more

Victoria Emily Jones1 Comment

SPOTIFY PLAYLIST: August 2023 (Art & Theology): Here’s this month’s!

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MUSIC FESTIVAL: “Sing Me High,” August 11–12, 2023: Celebrating music and faith in the Shenandoah Valley. Next Friday evening and all day Saturday at the Brethren & Mennonite Heritage Center in Harrisonburg, Virginia, various folk, bluegrass, and acoustic musicians from the region will be performing: the Walking Roots Band [previously], Chatham Rabbits, Maya de Vitry, Spectator Bird, Honeytown, Juniper Tree, Tide Spring, Good Company, Ebony Nicole, Ears to the Ground Family (read my review of their debut album), Shekinah, Ryan Scarberry, Clymer & Kurtz, and the Rain Pickers. Buy your tickets ahead or at the gate. I’ll be there! (In the audience, that is.)

Below are songs by three different bands/artists who will be playing at the festival: “Praise to God (Whirlwinds),” a new setting by the Walking Roots Band of an eighteenth-century hymn by Anna Barbauld (recorded on The Soil and The Seed Project, vol. 4 and appearing on the Art & Theology Thanksgiving Playlist); “Again, Amen” by Spectator Bird (sisters Rachel and Lindsey FitzGerald); and “Grieve and Rejoice” by Ryan Scarberry, director of music at Incarnation Anglican Church in Williamsburg, Virginia.

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ONLINE EVENT: “In Memoriam: An Evening Celebrating Frederick Buechner’s Literary Contributions,” August 15, 2023: “Celebrated as one of the foremost spiritual writers of his generation, Frederick Buechner’s witty, vivid, and rich writing has inspired readers’ minds and stirred hearts through his more than 30 published books for six decades. One year after his passing, Frederick Buechner (July 11, 1926–August 15, 2022) remains an influential voice for writers across genres, from novelists and memoirists to homileticians and theologians alike. For those writers who feel not religious enough for religious readers, or too religious for non-religious readers, Buechner’s voice has been a welcome, guiding light.

“On the one-year-anniversary of Frederick Buechner’s passing, Image is hosting space for community members to gather and share their appreciation for Buechner’s literary contributions. From themes of paying attention to one’s life and stewarding one’s grief, to the unexpected influences on one’s vocation and the ordinary miraculous moments of everyday life, Buechner’s words offer a variety of invitations through which one might come to see the world and one’s place within it more deeply. Image community members are invited to bring a favorite selection of Buechner’s writing to read aloud and to briefly reflect on the difference his words have made for their life.” Register for this free, moderated, open-mic-style time of sharing and reflections at the link above.

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DOCUMENTARY: The Sea in Between (2013) by Mason Jar Music: Blayne Johnson and his family, who reside in Mayne Island, British Columbia, are big fans of Portland, Oregon-based indie singer-songwriter Josh Garrels. In 2012 Johnson reached out to Garrels and some of the folks at Mason Jar Music, the Brooklyn-based creative collective Garrels has worked with, to invite them up to his home for a relaxing getaway, and to play for his family and neighbors. Mason Jar specializes in live performance videos, so they sent a small crew and a handful of musicians with the intention of shooting a few of those at various locations around the island—along the bay, on a farm, in a church. Then they decided to extend the footage from the week into a feature-length documentary, directed by Matt Porter, which you can watch for free on YouTube (embedded directly below). The song recordings were released afterward on an album of the same name, along with others that didn’t make the final cut of the film.

The Sea in Between, the film, is about vocation, the creative process, patronage, faith, family, community, and the beauty of place, and it centers on the joy of making and experiencing music together. Besides Garrels, the musicians are Dan Knobler (slide guitar, mandolin), Jay Kirkpatrick (banjo, accordion), Russell Durham (violin), Charlaine Prescott (cello), Jason Burger (drums), Chad Lefkowitz-Brown (clarinet, flute, saxophone), and Gabriel Gall (miscellaneous), who served as music director and wrote the orchestrations. Michelle Garrels and Matt Porter play the aquarion (glass marimba), and everyone contributes vocals. Perhaps my favorite song from the film is “Pilot Me” (not to be confused with the Edward Hopper hymn “Jesus, Savior, Pilot Me”; this is a Garrels original):

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SONG: “O nata lux” by Thomas Tallis, performed by VOCES8: “O nata lux de lumine” (O Light Born of Light) is the office hymn at Lauds of the Feast of the Transfiguration, celebrated August 6. Here VOCES8 performs a setting from the English High Renaissance by Thomas Tallis, inside St. Bartholomäus-Kirche in Pegnitz, Germany.

O nata lux de lumine,
Jesu redemptor saeculi,
Dignare clemens supplicum
Laudes precesque sumere.

Qui carne quondam contegi
Dignatus es pro perditis,
Nos membra confer effici
Tui beati corporis.

O Light born of Light,
Jesus, redeemer of the world,
with loving-kindness deign to receive
suppliant praise and prayer.

Thou who once deigned to be clothed in flesh
for the sake of the lost,
grant us to be members
of thy blessed body.