Tag: The Lower Lights

Roundup: Pitjantjatjara picture Bible, “Feeling Through” short film, the reconciling Eucharist, and more

Victoria Emily Jones1 Comment

SPOTIFY PLAYLIST: September 2025 (Art & Theology): A new monthly playlist featuring a range of faith-based songs, including “Day by Day” by Lowana Wallace and Isaac Wardell of the Porter’s Gate (especially apt for Labor Day!), sung below by Kimberly Williams; “Jesus of Nazareth” by the early twentieth-century hymn writer Hugh W. Dougall, performed in a bluegrass style by the Lower Lights; and a fantastic instrumental jazz arrangement by Alice Grace of the classic children’s song “Jesus Loves Me,” performed by the Indonesian group Bestindo Music (Grace is at the keys).

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VIDEO: “The Apostles’ Creed”: This video presentation of the Apostles’ Creed, one of the oldest statements of Christian belief, used across denominations, was created in 2016 by Faith Church in Dyer, Indiana, using twenty-one of its members to voice the lines. [HT: Global Christian Worship]

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CHILDREN’S PICTURE BIBLE: Godaku Tjukurpa (God’s Story): Nami Kulyuru, a long-serving Pitjantjatjara Bible translator and artist from Central Australia, had the vision to pass on the stories of the Bible to her grandchildren and other young Pitjantjatjara readers using traditional Anangu paintings, compiled in book format. She began the artistic work in 2021 but shortly after was diagnosed with a malignant brain tumor. Following her death in 2022, her friends and colleagues rallied together to complete the project, which was published last November by Bible Society Australia. [HT: Global Christian Worship]

Godaku Tjukurpa
Kulyuru, Nami_Woman by the Well
Nami Kulyuru (Pitjantjatjara, 1964–2022), The Woman at the Well (John 4), 2021, from the bilingual book Godaku Tjukurpa (God’s Story) (Bible Society Australia, 2024)

Spanning the Old and New Testaments, Godaku Tjukurpa (God’s Story) features fifty-four Bible illustrations by Pitjantjatjara artists, along with descriptions in Pitjantjatjara and English. It is available for purchase through the Koorong website, but it appears that it can ship only to Australia or New Zealand.

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SHORT FILM: Feeling Through, dir. Doug Roland (2019): Nominated for an Academy Award in 2021, this eighteen-minute film is about a homeless teen (played by Steven Prescod) who encounters a DeafBlind man (played by Robert Tarango) on the streets of New York City. It was inspired by an actual experience writer-director Doug Roland had some years earlier. He partnered with the Helen Keller National Center to make the film, including casting a DeafBlind actor as co-lead, the first film to ever do so. You can watch Feeling Through for free on the film’s website, along with a “making of” documentary. Here’s a trailer:

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FEATURE FILM: Places in the Heart, dir. Robert Benton (1984): Set in Jim Crow Texas during the Great Depression, this film centers on the recently widowed Edna Spalding (Sally Field), a middle-age white woman who is struggling to run the cotton farm she inherited from her late husband and to make ends meet for herself and her two small children. To earn some cash, she takes in a boarder, Mr. Will (John Malkovich), a bitter World War I vet who is blind, and she hires Moze (Danny Glover), a Black drifter who is being harassed by the Ku Klux Klan, to teach her how to plant and harvest cotton. The three are thrown together out of necessity and help each other survive.

It’s a pretty good movie overall—and it won Sally Field her second Oscar for Best Actress—but what leads me to recommend it is its theologically profound closing scene, which shows the ordinance of Communion being celebrated at the local country church. First Corinthians 13:1–8, the famous “love” passage, is read from the pulpit, and the choir launches into “In the Garden” (a hymn inspired by the risen Christ’s appearance to Mary Magdalene on Easter morning) as the plates of bread and grape juice are passed down the pews. The camera zooms in close on each congregant as they receive the elements, starting with a couple whose marriage had suffered due to infidelity but who, in this scene, silently reconcile.

On my first watch, what signaled to me that we had entered the realm of the imaginary (the mystical? the aspirational?) was the presence of Moze, who had left town the previous night after having been beaten by Klansmen; he’s here, with no visible wounds, in this conservative white church in the 1930s that very likely would not have welcomed him, being served the body and blood of Christ by a deacon. I believe that some of the white men in the pews in front of him are repentant Klansmen who, when Mr. Will identified them under their hoods by their voices the previous night, mid-assault, slinked away in shame. Within the row, too, is the mortgage collector who was in conflict with Edna, insisting that she sell the farm.

After Edna receives the elements, she passes them to her husband, Royce, who was dead before but here is very much alive. He then passes the elements to the young Black teen, Wylie, who had shot and killed him in a drunken accident, whom vigilantes then lynched. “Peace of God,” they say to each other—a traditional Christian greeting expressing love and reconciliation. The final frame lingers on Royce and Wylie, sharing the meal together, and I’m intrigued by the actors’ choices of expression: Wylie is serene, grace-filled, whereas Royce appears befuddled, perhaps recognizing for the first time the blessed tie that binds him to his Black neighbor, his brother in Christ.

This scene speaks powerfully of the invitation of the Lord’s Table—open to all, even the most morally odious, who would come in humble confession of (and turning from) sin and reliance on God’s mercy through Christ, which heals and transforms. Partaking of the meal are various people from the community—people who have cheated on their spouses; people with ornery dispositions; people with narrow economic interests, who fail in compassion; people who have stolen; people who have committed cruel, racist, violent acts; people driven to drink, leading to fatal harm; people who have silently allowed racial terror to reign in their town. All these sinful, forgiven people make up the body of Christ, are united under his cross. They’ve often hurt one another, but the Holy Spirit is at work making them a new creation. I see this final scene as a picture of heaven, where wrongs are redressed, and of the “beloved community” Martin Luther King Jr. talked about.

Places in the Heart is streaming for free on Tubi (no account required).

Christmas, Day 3: A Cradle in Bethlehem

Victoria Emily Jones3 Comments

LOOK: Nativity relief sculpture from Chartres Cathedral

Nativity (Chartres)
The Nativity, ca. 1230–40. Limestone fragment from the now destroyed rood screen of Chartres Cathedral, France, 93 × 133 cm.

LISTEN: “A Cradle in Bethlehem” by Alfred Bryan (words) and Larry Stock (music), 1952 | Performed by Gregory Porter and the Jazz at Lincoln Center Orchestra with Wynton Marsalis, on Big Band Holidays, 2015

Watch the live performance on the Blue Engine Records Facebook page.

Sing sweet and low a lullaby till angels say, “Amen”
A mother tonight is rocking a cradle in Bethlehem
While wise men follow through the dark a star that beckons them
A mother tonight is rocking a cradle in Bethlehem

A little child will lead them, the prophets said of old
In storm and tempest heed him until the bell is tolled
Sing sweet and low your lullaby till angels say, “Amen”
A mother tonight is rocking a cradle in Bethlehem

A mother tonight is rocking a cradle in Bethlehem
A mother tonight is rocking her baby in Bethlehem

This song was popularized by Nat King Cole on his 1960 album, The Magic of Christmas. In addition to the live recording above featuring singer-songwriter Gregory Porter and legendary jazz trumpeter Wynton Marsalis, here are two other recordings I like:

>> By the Lower Lights, feat. Debra Fotheringham, on Sing Noel (2013):

>> By Son of Cloud (Jonathan Seale), on Glad Tidings, vol. 1, by Mason Jar Music (2019):

Playlist: The Lord Is My Shepherd (Psalm 23, etc.)

Victoria Emily Jones4 Comments

Tomorrow’s readings in the Revised Common Lectionary, for the fourth Sunday of Easter, include what’s probably the most famous passage in the Bible, Psalm 23:

The LORD is my shepherd; I shall not want.

He maketh me to lie down in green pastures: he leadeth me beside the still waters.

He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.

Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff, they comfort me.

Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.

Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.

In characterizing God as a shepherd, the psalmist expresses how God leads, protects, rescues, feeds, and cares for his own. The author of Psalm 95 uses the same metaphor when he writes, “For he is our God, and we are the people of his pasture, and the sheep of his hand” (v. 7)—as do Isaiah and Ezekiel. During his teaching ministry, Jesus described himself as “the good shepherd [who] lays down his life for the sheep,” and whose flock knows his voice and follows him (John 10:1–18).

There are hundreds of metrical paraphrases and musical settings of Psalm 23. I’ve compiled some three dozen of the best into a Spotify playlist, along with a handful of other songs that reference or adapt other biblical passages that speak of God as a shepherd. There are settings by Philippe Rogier, Franz Schubert, Antonin Dvořak, Noel Paul Stookey (of Peter, Paul and Mary), John Michael Talbot, Val Parker, David Gungor, Luke Morton, and others. Besides English, languages include Hebrew, Latin, Spanish, French, German, Czech, Arabic, Mandarin, Urdu, Swahili, and Sotho.

Rae, Ronald_Shepherd
Ronald Rae (Scottish, 1946–), Shepherd, 1988. Granite, 4 × 5 × 4 ft. Private collection, Peak District, Scotland.

The Psalm 23 settings that are most widely reproduced in modern English-language hymnals are:

  • “The Lord’s My Shepherd,” written by Francis Rous but extensively revised by committee and published by the General Assembly of the Church of Scotland in the Scottish Psalter (1650). This text is most commonly matched with the 1872 tune CRIMOND by Ms. Jessie Seymour Irvine of Scotland, but I really like it with the early American folk tune PISGAH, as recorded, for example, by the William Appling Singers. However, both melodies, I feel, are difficult to sing congregationally.
  • “My Shepherd Will Supply My Need” by Isaac Watts, from The Psalms of David Imitated in the Language of the New Testament (1719). This text is traditionally paired with the tune RESIGNATION, first published in the fifth edition of the shape-note hymnal The Beauties of Harmony (Pittsburgh, 1828), compiled by Freeman Lewis, but first appearing with the Watts text in The Valley Harmonist in 1836. My playlist features a performance by the female a cappella quartet Anonymous 4 (the music arranged by Johanna Maria Rose; see video embed below), as well as by folk singer Claire Holley, who recorded the hymn at the request of a friend who told her it was the song that helped her get sober for good. I also like the minor-key setting by Stephen Gordon.
  • “The Lord Is My Shepherd (No Want Shall I Know)” by James Montgomery (1822), with music by Thomas Koschat (1862). Here’s the Lower Lights:
  • “The King of Love My Shepherd Is” [previously] by Henry Williams Baker (1868). This hymn is most often sung to a traditional Irish tune known as ST. COLUMBA (my playlist features both a choral performance by the Choir of Kings School, Canterbury, and a folksy solo by Luke Spehar) and occasionally to MCKEE, also from Ireland, as recorded by Redeemer Knoxville.

At my church we use Wendell Kimbrough’s musical adaptation of the psalm, “His Love Is My Resting Place.” Do you sing Psalm 23 at your church, and if so, what version?

Probably my favorite choral setting is by Bobby McFerrin, “The 23rd Psalm,” performed below by his VOCAbuLarieS, featuring SLIXS & Friends, live in Gdansk, Poland, at the Solidarity of Arts Festival on August 17, 2013:

Some people are thrown off by McFerrin’s use of feminine pronouns for the Divine in this song. God has no literal sex because God does not possess a body, so our gendered binaries are inadequate—but scripture and church tradition refer to God using masculine pronouns. I’m not bothered by the “She” throughout, or even “Mother,” but the substitution of “Daughter” for “Son” in the Trinitarian doxology at the end is theologically confusing, since Jesus was a man. But I get what McFerrin is doing.

How does the change in gender impact your reception of the psalm text? We’re used to seeing religious imagery of a man with a sheep slung over his shoulders to embody the metaphor of God as shepherd—but what happens when you picture a shepherdess in the role? Note that it was not unusual in the ancient Near East for girls and women to tend their family herds (think of Rachel and Zipporah in the Old Testament, for example), and still today across the globe there are many female shepherds.

McFerrin dedicated his “23rd Psalm” to his mother.

(The above artworks, sourced from Instagram, are from the 2019 series The Shepherd by Laura Makabresku, a fine-art photographer from Poland whose work is influenced by her Catholic faith and by fairy tales.)

Here is a selection of other songs from the playlist:

>> “Adonai Ro’i” is a setting of the original Hebrew of Psalm 23 by Jamie Hilsden of Misqedem, a band from Tel Aviv, Israel, that is heavily influenced by Middle Eastern and North African music styles, often utilizing microtonal scales, irregular time signatures, and regional instruments. The song is sung by Shai Sol. (Available on Bandcamp.)

>> “The Lord Is My Shepherd” by Paul Zach of the United States:

>> “El Señor es mi Pastor” by Omar Salas of the Dominican Republic, a salsa song:

>> “Ke Na Le Modisa” by the Soweto Gospel Choir, sung live at the Nelson Mandela Theatre in Johannesburg in 2008. The song is in Sotho, an official language in South Africa and Lesotho.

>> “The Shadow Can’t Have Me” by Arthur Alligood:

>> “Done Found My Lost Sheep,” an African American spiritual sung by Lucy Simpson [previously] for Smithsonian Folkways, based on Jesus’s parable of the lost sheep (Luke 15:1–7):

Lost sheep found (British Library)
Illustration by the nun Sibylla von Bondorf (German, ca. 1440–1525), from a copy of the Clarrissan Rule, Freiburg, ca. 1480. Opaque pigments on parchment, 15 × 10 cm. London, British Library, Add. MS 15686, fol. 30v. The banderole reads, “Rejoice with me, for I have found my sheep that was lost” (Luke 15:6). [HT]
Watanabe, Sadao_Good Shepherd
Sadao Watanabe (Japanese, 1913–1996), Good Shepherd, 1968. Katazome stencil print.

>> “Our Psalm 23” by Gabriella Velez, Kevin Dailey, Justin Gray, and JonCarlos Velez of Common Hymnal, featuring Sharon Irving:

“Jesus, Savior, Pilot Me”: Three tunes and multiple stylings

Victoria Emily Jones2 Comments

Jesus, Savior, pilot me,
Over life’s tempestuous sea;
Unknown waves before me roll,
Hiding rock and treach’rous shoal;
Chart and compass come from Thee:
Jesus, Savior, pilot me!

As a mother stills her child,
Thou canst hush the ocean wild;
Boist’rous waves obey Thy will
When Thou say’st to them, “Be still!”
Wondrous Sov’reign of the sea,
Jesus, Savior, pilot me!

When at last I near the shore,
And the fearful breakers roar
’Twixt me and the peaceful rest,
Then, while leaning on Thy breast,
May I hear Thee say to me,
“Fear not, I will pilot thee!”

The hymn text “Jesus, Savior, Pilot Me” was written in 1871 by Edward Hopper (1818–1888), pastor of the Church of Sea and Land in New York Harbor. Hopper ministered to sailors coming and going, many of whom became lost at sea; his was thus a transient congregation, and one well acquainted with grief and uncertainty.

This is the only hymn of Hopper’s to have survived. It uses nautical imagery to speak of how Christ guides us through life’s stormy waters, all the way safe to the other shore, heaven. It is a petitionary hymn that beseeches Jesus to be present and active, but it is also a hymn of consolation.

Though it has been published in a number of hymnals, I first encountered “Jesus, Savior, Pilot Me” through the Bifrost Arts retune released on the collective’s first album in 2008. In fact, several artists have composed new melodies for the hymn or revamped it since it was first set to music by John E. Gould a few months after the publication of Hopper’s text, and it continues to live on even in nonmaritime contexts.

I’m really interested in how hymns evolve. How one text can inspire a variety of musical settings and arrangements—and how they move around the globe into different languages and cultural contexts! The original tune of “Jesus, Savior” doesn’t particularly resonate with me, but the creative arrangements of it, and some of the modern retunes, do.  

1. Music by John E. Gould, 1871

I found a straightforward choral rendition of Gould that was performed in 2012 by a choir from Salt Lake University, but it’s very bland.

So for an introduction to the hymn’s original tune, as reproduced in hymnals, I actually recommend this video by Siviwe Mhlomi and friends, who sing the hymn a cappella in four-part harmony in the Bantu language of Xhosa:

The Xhosa title is “Yesu Nkosi Ndiqhube,” and it’s widely popular in South Africa.

Xhosa uses the Roman alphabet, but the letters c, x, and q are pronounced with clicks that linguists call dental, lateral, and alveolar, respectively—so that’s why you hear some clicking speech sounds in the song.

>> Gospel

Mahalia Jackson recorded a slower, gospelized rendition with lush orchestral accompaniment in 1960:

The original tune is more difficult to recognize in the heavily stylized arrangement by the Roberta Martin Singers from 1968, which features Delois Barrett-Campbell on lead—but Gould was still used as the basis:

>> Country/Bluegrass

The hymn has been performed in a bluegrass idiom since at least the fifties. I don’t know who first arranged it in this style, but Lester Flatt and Earl Scruggs recorded it with their band the Foggy Mountain Boys in 1951 (see them perform the song at the Grand Ole Opry in Nashville in 1961 in the video below). In addition to using bluegrass instrumentation, their arrangement changes the traditional 3/4 meter (with dotted eighth notes) to 4/4 and adds more space between phrases. The Stanley Brothers recording from Hymns of the Cross (1964) follows this arrangement pretty closely—and Ralph Stanley later revisited the song with the Clinch Mountain Boys in 1977.

I first encountered the bluegrass version through the album A Hymn Revival, volume 1 by the sacred music collective The Lower Lights. They perform the song live in the following video, with Sarah Sample and Ryan Tanner on vocals (their singing style is more “indie folk” than bluegrass):

Other artists have sung “Jesus, Savior” with the 4/4 time signature popularized by Flatt & Scruggs, including Rumbi Lee, self-accompanied on ukulele:

(Lee puts out lots of hymn-sing videos on her YouTube channel.)

2. Music by Robbie Seay, 2004

Here’s CCM artist Robbie Seay in 2020 performing his retuned version of the hymn, which churches can license through CCLI:

It does a good job drawing out the emotion of the lyrics, especially the aspect of mournful yearning.

For an album recording, see Aaron Hale’s Lenten Hymns, volume 1 (2011)—or watch Hale lead the song from his living room for a virtual worship service in 2020.

3. Music by Isaac Wardell and Joseph Pensak, 2008

Like I said, although I grew up in church, I never heard of “Jesus, Savior, Pilot Me” until Bifrost Arts released it with a fresh tune in 2008. It was written by the cofounders of the collective, Isaac Wardell (a worship leader who now heads up The Porter’s Gate) and Joseph Pensak (a pastor from Vermont who ran a community art gallery for eight years and whose latest musical album, from 2019, is Hallowell). Laura Gibson is the vocalist on the recording, and Matthew Kay created this charming little stop-motion animation video for it:

Since its premiere, this tune has also been recorded by Pacific Gold (formerly Wayfarer) (2012) and Door of Hope (2012), among others.

Lent, Day 24

Victoria Emily JonesLeave a comment

LOOK: Sheep in the Moonlight by Craigie Aitchison

Aitchison, Craigie_Sheep in the Moonlight
Craigie Aitchison (Scottish, 1926–2009), Sheep in the Moonlight, 1999. Screenprint in colors, edition of 75 in white ink, on black wove paper, 17 7/8 × 15 in. (45.5 × 38 cm) (full sheet, framed).

LISTEN: “There Is a Green Hill Far Away” | Words by Cecil Frances Alexander, 1848

There is a green hill far away,
Without a city wall,
Where the dear Lord was crucified,
Who died to save us all.

We may not know, we cannot tell,
What pains he had to bear,
But we believe it was for us
He hung and suffered there.

There was no other good enough
To pay the price of sin.
He only could unlock the gate
Of heav’n and let us in.

Oh, dearly, dearly has he loved!
And we must love him too,
And trust in his redeeming blood,
And try his works to do.

>> Version 1: Music by William Horsley, 1844 | Performed by The Gesualdo Six, dir. Owain Park, 2021:

>> Version 2: Music by John H. Gower, 1890 | Performed by The Lower Lights on A Hymn Revival, 2010:

Lent, Day 14

Victoria Emily Jones1 Comment

LOOK: Christ with Pomegranates (ancient Christian mosaic)

Christ with Pomegranates
Mosaic from Hinton St. Mary, Dorset, England, early 4th century, preserved at the British Museum, London.

One of the earliest surviving portraits of Christ is in the central roundel of a stone mosaic pavement excavated in the English village of Hinton St. Mary in Dorset, from what was either a Roman villa or a church. It’s part of a larger program of images that covered the floor, which you can see and read about in this Instagram post of mine, and on the British Museum website.

Clean-shaven and wearing a pallium, Christ is crowned with his personal monogram, the chi-rho—the first two letters of the Greek title ΧΡΙΣΤΟΣ, Christos. He is flanked by pomegranates, a symbol of life, fertility, and abundance. In Jewish tradition the pomegranate symbolizes righteousness because it is said to have 613 seeds, corresponding to the 613 mitzvot (commandments) in the Torah. The fruit was woven onto the hems of the robes of the Jewish high priests (Exod. 28:33–34) and is customarily eaten on Rosh Hashanah.

To these symbolic associations, I would add another: sweetness!

[Related post: “So Sweet (Artful Devotion)”]

LISTEN: “Iesu, dulcis memoria” | Words attributed to Bernard of Clairvaux, 12th century (but see notes on authorship) | Music: Medieval chant, harmonized | Performed by Tenth Avenue North, feat. Audrey Assad, on Cathedrals, 2014

On this track Assad sings the first and last stanzas of the traditional five—which are themselves extracted from a poem that was originally forty-two stanzas! The ending sounds abrupt because on the album it moves seamlessly into the next track, “Cathedrals.” For the full song (same tune but without the harmonies), see Angels and Saints at Ephesus by the Benedictines of Mary, Queen of Apostles.

Latin: 

Jesu, dulcis memoria
dans vera cordis gaudia:
sed super mel et omnia
ejus dulcis praesentia.

Nil canitur suavius,
nil auditur jucundius,
nil cogitatur dulcius,
quam Jesus Dei Filius.

Jesu, spes paenitentibus,
quam pius es petentibus!
quam bonus te quaerentibus!
sed quid invenientibus?

Nec lingua valet dicere,
nec littera exprimere:
expertus potest credere,
quid sit Jesum diligere.

Sis, Jesu, nostrum gaudium,
qui es futurus praemium:
sit nostra in te gloria,
per cuncta semper saecula.
Amen.

Literal (nonmetrical) English translation:

Jesus, sweet remembrance,
Granting the heart its true joys,
But above honey and all things
Is His sweet presence.

Nothing more pleasing can be sung,
Nothing gladder can be heard,
Nothing sweeter can be thought
Than Jesus, Son of God.

Jesus, hope of the penitent,
How merciful you are to those who ask,
How good to those who seek;
But O, what you are to those who find!

Tongue has no power to describe
Nor writings to express,
But only belief can know by experience
What it is to love Jesus.

Be our joy, O Jesus,
Who will be the prize we win.
May all our glory be in you, always
And through all ages.
Amen.

Trans. Mick Swithinbank and Jamie Reid Baxter

Does this sound vaguely familiar? Edward Caswall translated it into metrical English in 1849 as “Jesus, the Very Thought of Thee,” a staple of modern American hymnals:

Jesus, the very thought of Thee
With sweetness fills the breast!
Yet sweeter far Thy face to see
And in Thy Presence rest.

No voice can sing, no heart can frame,
Nor can the memory find,
A sweeter sound than Jesus’ Name,
The Savior of mankind.

O hope of every contrite heart!
O joy of all the meek!
To those who fall, how kind Thou art!
How good to those who seek!

But what to those who find? Ah! this
Nor tongue nor pen can show
The love of Jesus, what it is,
None but His loved ones know.

Jesus! our only hope be Thou,
As Thou our prize shalt be;
In Thee be all our glory now,
And through eternity.
Amen.

I commend to you the recording on A Hymn Revival, Volume 3 by The Lower Lights. The tune, from 1866, is by John B. Dykes.

Christmas Playlist

Victoria Emily Jones4 Comments

In anticipation of the liturgical season of Christmas, I’ve created an extensive playlist of hymns, carols, and spirituals—old and new—that celebrate God’s being born in human flesh. Listen to “Christmastide: An Art & Theology Playlist” on Spotify.

The narratives of Jesus’s birth that we find in the Gospels of Matthew and Luke include both bursts of joyful exuberance, as with the angelic choir above a field of sheep, and quieter, more contemplative moments, such as when Mary pondered “all these things” in her heart (Luke 2:19). Jesus was born into darkness, so the story also involves social stigma, deprivation, military occupation, political greed, infanticide, asylum seeking—and the twinge of a future cross. So while the overall tone of this playlist is one of merriment, it does not shy away from some of the decidedly unfestive aspects of the first Christmas. And yet that God, in love, made himself vulnerable to suffering is precisely what makes the incarnation so glorious. He is not distant from human pains and woes but, rather, right in the midst of them, having experienced them firsthand.

The song selections reflect my personal taste for indie folk and newgrass, so they include, for instance, the Oh Hellos, Sufjan Stevens, Wilder Adkins, Branches, Beta Radio, the Brilliance, Lowland Hum, Penny and Sparrow, the Lower Lights, the Walking Roots Band, Folk Hymnal, Steve Thorngate, Sam P. Bush, Found Wandering, Ordinary Time, and Garrett Viggers.

Gospel songs performed by artists like Mahalia Jackson, the Staples Singers, Isaac Cates, Mariah Carey, Whitney Houston, and Liz McComb also make an appearance, as do many African American spirituals, sung by Odetta, Harry Belafonte, Elizabeth Mitchell, and others. “Go Tell It on the Mountain” is the most widely known from that repertoire.

Also from America is the eighteenth-century carol “O Sight of Anguish” by Samson Occom, a Presbyterian minister and member of the Mohegan nation. New England roots musician Tim Eriksen sings it a cappella on Every Sound Below, but in this outdoor video he plays it on bajo sexto:

(Oh how I wish Ericksen’s marvelous Star in the East album were on Spotify, which features thirteen more songs in this vein!)

The Carols for a Cure album series, made up of contributions from Broadway casts, adds some theatricality. The cast of Nine, for example, sings “Los Peces en el Río,” a traditional Spanish carol in which Mary goes about her daily tasks—combing her tangled hair, washing Jesus’s diapers—as the fish in the river swim excitedly toward the newborn Savior. It’s sung by Antonio Banderas.

(Related post: “The Christmas Songwriters Project”)

In addition to this and the twelfth-century “Friendly Beasts,” another song that focuses on the animal characters at the nativity is the punchy “A Stick, a Carrot, and a String” by mewithoutYou, which sounds like it belongs on the Juno soundtrack. It’s wonderfully quirky.

Of course the Christmas playlist includes tons of classics—“Joy to the World!,” “Angels We Have Heard on High,” “Silent Night,” and so on—multiple renditions, in fact. (It’s too hard to choose just one!) There’s an upbeat swing arrangement of “O Holy Night,” but there’s also a more subdued, ethereal arrangement by Katie Melua, and several more besides. It’s fun to see how different artists interpret the same song.

The Irish folk rock band Rend Collective gives us a raucous arrangement of “Ding Dong Merrily on High,” retaining some of the archaicisms in the original lyrics but rewriting verse 3. A competing team at One Way UK’s 2017 Puppet and Creative Ministry Festival in Rugby, Warwickshire, used this song as the basis of a super-entertaining puppet performance! This made me smile.

You may be wondering, “Where’s all the choral music?!” While I do enjoy that genre, especially at Christmas, I’ve decided to exclude such songs in this list (1) to prevent it from becoming too unwieldy and (2) because I have to do a lot more searching and comparison to find the best recordings.

(Update, April 2022: I’ve decided to add several dozen choral selections to the playlist! While I considered creating a separate list of Christmas choral music, I’ve decided that I prefer an integrated approach, which is also why I scattered such songs throughout, giving some stylistic variety to those who prefer to listen to the playlist in order. My hope is that those who don’t normally go seeking out this genre will be surprised to find pieces that resonate with them.)

If you’re looking for Advent music, see “Advent: An Art & Theology Playlist.” For the Christmas playlist, click on the image below.

Christmas Playlist (art by Yasuo Ueno)

Merry Christmas, friends! May you rejoice in Christ with exceeding great joy, he who “comes to make his blessings flow far as the curse is found.” Amen.

Cover art: Yasuo Ueno (Japanese, 1926–2005), A Multitude of Heavenly Hosts, 1986, natural pigments on silk

God, Swing Down Low (Artful Devotion)

Victoria Emily Jones1 Comment

Johnson, William H._Swing Low, Sweet Chariot
William H. Johnson (American, 1901–1970), Swing Low, Sweet Chariot, ca. 1944. Oil on paperboard, 28 5/8 × 26 1/2 in. (72.6 × 67.2 cm). Smithsonian American Art Museum, Washington, DC.

And as [Elijah and Elisha] still went on and talked, behold, chariots of fire and horses of fire separated the two of them. And Elijah went up by a whirlwind into heaven. And Elisha saw it and he cried, “My father, my father! The chariots of Israel and its horsemen!” And he saw him no more.

—2 Kings 2:11–12a

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SONGS: “Swing Low, Sweet Chariot,” attributed to Wallace Willis, ca. 1840; “Swing Down, Chariot,” author unknown, 19th century

Most Negro spirituals are of unknown authorship, but one of the best loved, “Swing Low, Sweet Chariot,” was, according to several accounts, written by Wallace Willis, the black slave of a Choctaw Indian who had been forced out west into what is now Oklahoma. Uncle Wallace, as he was known, was hired out part-time by his master to Spencer Academy, a Choctaw boys’ school, and this is one of the songs he sang to entertain the students. It became popular among them, and during the Fisk Jubilee Singers’ inaugural tour in 1871, the academy’s superintendent, Alexander Reid, shared the song with the all-black group. They had never heard of it but added it to their repertoire, performing it on concert stages throughout the US, along with other slave songs. It was one of twelve songs they chose to record for the first time in 1909, further cementing its longevity.

In 2002 the Library of Congress added this historic recording to the United States National Recording Registry, to be preserved for future generations. The accompanying essay by Toni P. Anderson recounts, in addition to Uncle Wallace’s story, an alternate origin account that says “Swing Low” was the creation of Sarah Hannah Sheppard, a southern slave who had set out to drown herself and her daughter in the Cumberland River, until an elderly slave woman intervened, urging her to instead “let de chariot of de Lord swing low”—rescue would come, she prophesied. And for Sarah and her little Ella, it soon did.

In one sense, “Swing Low, Sweet Chariot” is a plea for death: come and carry me over, God. “Home” is heaven, the promised land, just “over Jordan,” and the chariot refers to the divine vehicle that swept down to take Elijah there. In another sense, “home” could signify an earthly place outside the bounds of slavery, a place of relative safety and liberation and reunion with family—such as the North, just over the Ohio River. A clandestine “chariot” was in operation during the antebellum period, run by Harriet Tubman and a network of others (a “band of angels”), who transported slaves up to freedom, and this is the chariot to which the unnamed prophet of Sarah Hannah Sheppard’s story refers.

The song is often performed slowly, solemnly, as a weary surrender to death—as in this bluesy version by contemporary gospel singer Robert Robinson:

But it can also be inflected differently—with joyful anticipation and celebration. Such is the musical interpretation of The Lower Lights:

“In biblical tradition,” writes Old Testament scholar Iain W. Provan,

both chariotry and fire have strong associations with God’s self-disclosure. Both images come together in the most common natural form of divine appearing (“theophany”) in the OT: the thunderstorm—the storm cloud representing the divine chariot or throne (Ezek. 1; Hab. 3:8) and the fiery lightning bolts representing the divine weapons (Ps. 18:14; Hab. 3:11). [ESV Study Bible, p. 648]

Tim Mackie of The Bible Project calls the eccentric theophanic vehicle of Ezekiel 1 the “God mobile.” It’s God’s glory on the move. And it was probably what (or at least similar to what) Elisha witnessed when his predecessor, Elijah, was whisked away into the heavens. It may also be what the prophet Habakkuk had in mind when he wrote about God’s “chariot of salvation” that flashes forth lightning (Hab. 3:8, 11).

“Swing Low, Sweet Chariot” is sometimes sung in medley with “Swing Down, Chariot” (variant title: “Swing Down, Sweet Chariot”), a fast-paced spiritual popularized by the Golden Gate Quartet in the 1940s. See, for example, this clip from the 2003 movie The Fighting Temptations, featuring Beyoncé:

This clip from Elvis’s movie The Trouble with Girls (1969) is also a lot of fun:

“Swing Down, Chariot” references Ezekiel’s vision of the God mobile, humorously nicknaming the prophet Zeke. It has him chancing upon an angel repairing a chariot wheel in the middle of a field. Having never seen such a vehicle, he approaches it, runs his hand over the exterior. The angel offers him a ride, which he gladly accepts. It’s a bumpy one, but Zeke doesn’t mind; “he just wanted to lay down his heavy load.”

Listening to these two spirituals side by side can help us make connections between Bible passages, as we see God’s fiery chariot present not only at Elijah’s ascension but also at Ezekiel’s call to the office of prophet. When mapped onto the context of enslavement, the chariot’s meaning is made real and intensified, a symbol of hope, release, freedom, of God’s wild and transporting glory.

As previously mentioned, the Negro spirituals were multivalent. To some, the chariot was this-worldly, effecting a passage to the northern states where slaveholders held reduced power. To others, to beckon the chariot meant to beckon death, to initiate a departure to the otherworld. The chariot songs held both meanings to their early singers, marking the tension between the slave’s will to live, to survive trauma, and his or her desire to be with God in the flesh, the ultimate freedom.

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William H. Johnson (1901–1970) is one of my favorite artists—I wrote about him in stations 3 and 13 of the Stations of the Cross audio tour at the Smithsonian American Art Museum, and in my review of Beholding Christ and Christianity in African American Art.

In his painting Swing Low, Sweet Chariot, a two-wheeled horse-drawn car sweeps in from the upper left, fiery orange and red and filled with stars. Eleven angels in brightly colored dresses and anklet socks hover above, one of them waving hello to the aged man on the opposite side of the river, who runs to catch his ride. His arms are stretched out wide, ready to embrace his new home.

This is probably the best artistic representation of death in the Christian tradition that I know of. It’s glorious and sweet and evocative. The old man’s body is just on the verge of release from its pains, and I feel it. His heaviness is already giving way to lightness, to nimbleness. I feel the joy that awaits him across the river, which the yellow flowers seem to anticipate (they vibrate!), and I sense the community of friends that the thin, magenta-winged beings will be escorting him to. God’s presence, the sun’s orb, glows intensely, the same deep orange as the chariot’s exterior. That’s the glory into which the man is heading.

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There are so many wonderful renditions of “Swing Low, Sweet Chariot.” What’s your favorite?

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 Proper 8, cycle C, click here.

Light of Knowledge, Glory (Artful Devotion)

Victoria Emily Jones2 Comments

Golden Edges by Michael Cook
Michael Cook (British, 1966–), Golden Edges. Acrylic on handmade paper, 58 × 56 cm. For sale (click on image to contact artist).

Second Corinthians 4:3–6, two translations:

And even if our gospel is veiled, it is veiled to those who are perishing. In their case the god of this world has blinded the minds of the unbelievers, to keep them from seeing the light of the gospel of the glory of Christ, who is the image of God. For what we proclaim is not ourselves, but Jesus Christ as Lord, with ourselves as your servants for Jesus’ sake. For God, who said, “Let light shine out of darkness,” has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ. (ESV)

If our Message is obscure to anyone, it’s not because we’re holding back in any way. No, it’s because these other people are looking or going the wrong way and refuse to give it serious attention. All they have eyes for is the fashionable god of darkness. They think he can give them what they want, and that they won’t have to bother believing a Truth they can’t see. They’re stone-blind to the dayspring of brightness of the Message that shines with Christ, who gives us the best picture of God we’ll ever get. (The Message)

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SONG: “I Saw the Light” by Hank Williams | Performed by the Lower Lights, on The Lower Lights: A Hymn Revival, Volume 2 (2012)

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 Sixth Sunday of Epiphany (Transfiguration Sunday), cycle B, click here.

Seek (Artful Devotion)

Victoria Emily Jones2 Comments

The Believer by Ernst Barlach
Ernst Barlach (German, 1870–1938), The Believer (detail), 1934. Oak wood, 110 × 22 × 12 cm. Part of “The Frieze of the Listeners,” 1930–1935. Barlach Museum, Hamburg, Germany. Click on the image for commentary.

Seek the LORD and his strength;
seek his presence continually!

—Psalm 105:4

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SONG: “The Seeker” by Dolly Parton | Performed by the Lower Lights, on Old Time Religion (2016)

 

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 Proper 20, cycle A, click here.