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Showing posts with label crawley. Show all posts
Showing posts with label crawley. Show all posts

Sunday, 4 April 2021

Something we have barely been able to imagine that goes by the name of resurrection

Here's my Easter message as Chair of Churches Together in Westminster:

On Good Friday at St Martin-in-the-Fields I spoke about Christ’s forsakenness on the cross using, as an equivalent for that experience, a book ‘Blackpentecostal Breath’ written by the academic and artist Ashon T. Crawley as a love letter to his people; African Americans with a history of enslavement and therefore of having been treated by others as objects to be bought, sold, abused and killed, rather than valued as people.

Crawley writes: ‘Having been said to be nothing, this is a love letter written to we who have been, and are today still, said to have nothing. And to a tradition of such nothingness.’

However, Crawley continues by writing of ‘a love letter to a tradition of the ever overflowing, excessive nothingness that protects itself, that with the breaking of families, of flesh, makes known and felt, the refusal of being destroyed.’ He then says that, ‘There is something in such nothingness that is not, but still ever excessively was, is and is yet to come.’

I ended my Good Friday reflection with the thought that, in the words of Al Barrett and Ruth Harley, ‘There is something that endures. Something that defies despair, and the dispersal orders of the powerful. Something that gives hope … that we have barely been able to imagine … Something that goes by the name of resurrection’ (‘Being Interrupted’).

In the words of the poet Gerard Manley Hopkins, ‘There lives the dearest freshness deep down things’ which ‘will flame out, like shining from shook foil’ (‘God’s Grandeur’).

As we emerge from our latest lockdown - uncertain of the future, not knowing what the pandemic will bring next, yet needing and searching for hope – this is the understanding of resurrection we need in this moment. The dearest freshness deep down things that suddenly flames out, something in nothingness that still ever excessively was, is and is yet to come, something we have barely been able to imagine that goes by the name of resurrection.

Alleluia! Christ is risen. He is risen indeed. Alleluia!

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Mark Heard - Rise From The Ruins.

Friday, 2 April 2021

My God, my God, why have you forsaken me?

Here's the reflection I shared this afternoon in the Three Hours at St Martin-in-the-Fields which had the Seven Last Words as it's theme: 

My God, my God, why have you forsaken me?

The academic and artist Ashon T. Crawley wrote his book ‘Blackpentecostal Breath’ as a love letter to his people; African Americans with a history of enslavement and therefore of having been treated by others as objects to be bought, sold, abused and killed, rather than valued as people.

He writes:

‘Having been said to be nothing, this is a love letter written to we who have been, and are today still, said to have nothing. And to a tradition of such nothingness. This is a love letter to a love tradition, a tradition which emerges from within, carries and promises nothingness as the centrifugal, centripetal, centrifugitive force released against, and thus is a critical intervention into, the known world, the perniciously fictive worlds of our making.’[i]

That ‘fictive world’ is ‘the project of western civilization, complete with its brutally violent capacity for rapacious captivity.’

Mohammed Umer Rana is someone who has experienced the rapacious captivity of western civilisation. He is a Muslim from Pakistan who became a Christian after attending a Roman Catholic church in Glasgow while on holiday with friends. Experiencing hostility from his friends as a result of his conversion he left Glasgow for London and, now known as Paul Rana, he eventually found a home at my parish of St John’s Seven Kings where he was baptised and later confirmed. Having overstayed his visa to remain in the UK, he applied for asylum on the grounds of his conversion but his claim was rejected despite evidence of faith provided by the church. Various appeals and periods in detention centres followed. On bail, while awaiting a Judicial Review, he lodged with my family at our Vicarage in Seven Kings. When the Judicial Review was unsuccessful, in fear of an imminent return to Pakistan and likely persecution, he absconded from the Vicarage and lived ‘under the radar’ for two and a half years. Now living in Camberley, he began attending St Paul’s church, where he became a valued member of the congregation. Through their support and evidence, combined with my own continuing support, Paul’s asylum claim was reviewed, with the court allowing him leave to remain as a genuine convert to Christianity.

Paul’s experience was one of forsakenness, from his rejection by his friends in Glasgow because of his conversion, which included being physically attacked, through the various rejections of his asylum claims, usually on the grounds of that he was not a genuine convert to Christianity, to the point where he was living ‘under the radar’ with no recourse to public funds and no legal right to remain in the UK. In this period he had nothing, had no legal rights to anything and was only of interest to the authorities as someone to deport.

But Paul’s experience was also of Jesus being with him. He had two visions or dreams of Christ that were foundational to his conversion and experienced the support of Christians in Seven Kings and Camberley that was maintained even when he absconded. He knew Jesus with him in and through that support and at his successful court hearing we were able to testify that his faith in Christ – his awareness of Jesus with him - had remained strong throughout.

In one email written after he absconded from the Vicarage, he said: “I have prayed to Lord Jesus our redeemer and told him about my problems and he understand everything thats why i am still a free bird i will never lose my trust in God because he is the one who showed me the right path. Whatever he decide for me will be in my favor i know there are dark nights but one day i will see the bright day again.”

Ashon Crawley writes ‘a love letter to a tradition of the ever overflowing, excessive nothingness that protects itself, that with the breaking of families, of flesh, makes known and felt, the refusal of being destroyed.’ He says that, ‘There is something in such nothingness that is not, but still ever excessively was, is and is yet to come.’[ii]

Al Barrett and Ruth Harley write that at his crucifixion Jesus was drawn into just such an experience of being made nothing:

“From Jesus’ anointing to his death he is left, as former archbishop Rowan Williams puts it, ‘more and more visibly alone, repudiated by more and more persons and groups. The [male] disciples run away from him, Peter denies that he knows him, the High Priestly council condemns him, the Roman Governor and the soldiers reject and abuse him, and he ends on the cross crying out that God too has abandoned him. The paradox, the mystery, of the crucifixion is that, in Jesus’ godforsaken cry, Mark means us to hear the very voice of God. In this Jesus, here – pushed out to the very edges of human society, condemned, isolated, dying, godforsaken – Mark wants us to see God – ‘the crucified God’.”[iii]

Why? Because this is God’s love song to all who experience rejection, who are forsaken and made nothing in this world. The incarnation is God’s love letter to all those like Paul Rana whose experience is of nothingness and forsakenness. God’s experience of being with us - moving into our neighbourhood and experiencing all human existence – culminates in this moment on the cross when Jesus not only experiences betrayal, desertion, denial and scapegoating from other human beings but also experiences separation from God. On the cross Jesus experiences the isolation that is at the heart of the human condition because our relationships with others and with God are so consistently broken. He then takes that experience into the very heart of the Godhead, into the DNA of God.

Jesus was with Paul Rana in his experience of forsakenness because he had been through his own experience of forsakenness. That was why Paul’s sense of Jesus with him was so strong and sustaining. Then, because that experience of human scarcity has been joined to the abundance of God there is within it the overflow and excess of which Ashon Crawley writes that is both a refusal of being destroyed and a ‘still ever was, is and is yet to come’. ‘There is something that endures. Something that defies despair, and the dispersal orders of the powerful. Something that gives hope … that we have barely been able to imagine … Something that goes by the name of resurrection.’[iv]

God of the forsaken, who, in Jesus, experienced the isolation that is at the heart of the human condition and took that experience into the very heart of the Godhead, may all who feel abandoned and alone today receive the love letter of your forsakenness making known the refusal of being destroyed and the something in such nothingness that ever excessively was, is and is yet to come in the name of God the parent, child, and Spirit, forever one and forever love. Amen.

[i] Ashon T. Crawley, Blackpentecostal Breath: The Aesthetics of Possibility, New York: Fordham University Press, 2017, p.197
[ii] Ashon T. Crawley, Blackpentecostal Breath: The Aesthetics of Possibility, New York: Fordham University Press, 2017, p.197
[iii] Al Barrett & Ruth Harley, Being Interrupted: Reimaging the Church’s Mission from the Outside, In, SCM Press, 2020, p.170
[iv] Al Barrett & Ruth Harley, Being Interrupted: Reimaging the Church’s Mission from the Outside, In, SCM Press, 2020, p.189

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Brittany Howard - 13th Century Metal.

Thursday, 18 March 2021

Artlyst - Arthur Jafa: The Art Of Cutting And Pasting

My latest article for Artlyst is a preview of Arthur Jafa: MAGNUMB at the Louisiana Museum of Modern Art in Denmark: 

"Jafa’s concepts of Black Visual Intonation, Black potention and Black sociality draw significantly on the practices of Black Pentecostal churches while also preceding and paralleling exhibitions such as Enunciated Life and Otherwise / Revival, which are inspired by Ashon T. Crawley’s Blackpentecostal Breath. In a conversation with Isis Pickens on spirituality and contemporary black life, Jafa said that, while he had gone to church with his grandmother as a child growing up in Mississippi, he was not religious as an adult but nevertheless believes in black people believing.

Formed from found footage, akingdoncomethas consists largely of footage from Black American churches, featuring sermons and gospel music and portrays those churches as a hearth of Black American culture – of music, critical thinking, the civil rights movement, and community. The film is ‘a paean to black Christian worship ceremonies, tropes, and rituals’ celebrating ‘how the tribally sanctified spaces in which those forms of worship and spirited performances (take) place, are black pocket-universes of intense energy, eloquence, and illumination.’"

This piece continues my reflections on Black Pentecostal influences in the visual arts, see particularly Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art but also my interview with Genesis Tramaine, a piece for Artlyst that covered an exhibition of work by Sister Gertrude Morgan, and my review of We Will Walk: Art and Resistance in the American South for Church Times.

My other pieces for Artlyst are:

Interviews -
Articles -
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Al Green - Glory To His Name.

Sunday, 21 February 2021

Artlyst - Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art

My latest article for Artlyst is about two exhibitions - Enunciated Life, a current exhibition at California African American Museum (CAAM) and Otherwise / Revival, a forthcoming exhibition at Bridge Projects:

'...plenitude and plurality is found in these collections of artworks composed of worship, lament, joy, word, breath, community, and improvisation, with every piece—sculptures, paintings, video, and performances—emphatically celebrating the significance of music, praise, breath, and community. As the exhibited artists reflect on their traditions, heritages, passions, and talents, they remind us of the dramatic architecture and specific gestures that make clear sensations of desire, longing, faith, and vulnerability. Their works help us explore the innermost emotions that are shared through religion, aiding the prospect of surrender and ecstatic freedom and cultivating spaces where art thrives and expresses a unifying language for all.

Their alternative or ‘otherwise’ modes of existence can serve as disruptions against the marginalization of and violence against minoritarian lifeworlds and possibilities for flourishing. In their work... protest and prayer are fused...'

Genesis Tramaine, who I interviewed recently for Artlyst, features in Otherwise / Revival as does Sister Gertrude Morgan about whom I also wrote recently, again for Artlyst. CAAM will be extending Enunciated Life into the summer.

My other pieces for Artlyst are:

Interviews -
Articles -

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Sister Gertrude Morgan - Take The Lord Along With U.

Thursday, 11 February 2021

Alpha Omega Arts and Bridge Projects

Alpha Omega Arts is a blog by Ernest and Gregory Disney-Britton which is an interesting source of news about artists exploring aspects of art and faith.

Gregory writes:

'Since 2008, we: Ernest and I, have been introducing others to the joy of religious-themed works. We include both sacred art and art that is a response to the sacred. It all began with Kehinde Wiley, and his "Dead Christ in a Tomb," which inspired us to establish the Alpha & Omega Prize. Led by Luke 12:34, "For where your treasure is, there will be your heart also," we've also shared what we collect as part of this Alpha & Omega Project for Contemporary Religious Arts.'

The Alpha Omega Prize is a contemporary art recognition for the promotion of religious dialogue in America during the past year which has been awarded since 2008. First awarded to
Kehinde Wiley, the most recent winner is UK-artist Michael Cook for "Christ Weeps Over Lazarus."

Bridge Projects is a contemporary art gallery and curatorial project based in Los Angeles, featuring experimental, research-driven exhibitions by local and international artists. Each exhibition project includes a series of parallel public events – lectures, workshops, performances, salons, conferences, community programs, etc. – in which we gather prominent scholars and artists to help situate these exhibitions within broader art-historical, philosophical, and religious contexts. Their programming is especially aimed at fostering more advanced and more open interdisciplinary explorations of the relations between contemporary art, spirituality, and religious traditions.

Current exhibition 'A Composite Leviathan' draws its title from Yang Jian’s monumental sculpture, “A Composite Leviathan.” The term “leviathan” appears in the Biblical books of Job, Psalms, Isaiah, and Amos. It’s etymological connotation of “joining” suggests the tightly knit scales of a sea dragon. Biblical literature associates this leviathan with chaotic forces which are evidently at odds with the divine, creative order. On account of its apparent etymology, Thomas Hobbes used the term “Leviathan” for the title of his famous political treatise which suggested that national government was a necessary aggregate of social power. Many of the artworks in the exhibition reflect the dynamics of the composite social structures of contemporary society. In A Composite Leviathan, each work emerges from the complex fissures of the artists’ own lived realities, both spiritual and political.

Forthcoming exhibition 'Otherwise/Revival' is a group exhibition that visualizes the impact of the historic Black church— specifically the Black Pentecostal movement—on contemporary artists. Inspiration for the exhibition is drawn from reflecting on the event of the Azusa Street Revival. On April 9, 1906, from a home on Bonnie Brae Street in downtown Los Angeles, Rev. William J. Seymour preached a sermon on the spiritual gift of speaking in tongues that would change the course of spiritual history. People from diverse races and economic classes congregated to hear Seymour’s sermons—sparking the Black Pentecostal movement.

Author and artist Ashon T. Crawley has written extensively on this movement. His concept of “otherwise possibilities” as a reverberation of the Black church experience informed the curatorial query and title of Otherwise/Revival. “Otherwise, as word—otherwise as possibilities, as phrase—announces the fact of infinite alternatives to what is.” For Crawley, the elements of the Black Pentecostal Church—the Hammond organ, emphatic breath, shouting, and glossolalia—create space for “otherwise possibility” to emerge.

The works in the exhibition respond to these “otherwise possibilities” embodied by the Black church. Sculptures, paintings, video, and performances celebrate the significance of music, praise, breath, and community. Exhibited artists reflect on their traditions, heritages, passions, and talents to cultivate a space where art thrives and expresses a unifying language for all.

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Thomas Dorsey - Precious Lord.