Mars: Thaxted and Chelmsford Cathedral

Today began with a DAC visit to Thaxted where Gustav Holst wrote much of 'The Planets' Suite and ended at Chelmsford Cathedral beneath Luke Jerram's Mars: War & Peace installation, a reminder of 'Mars, Bringer of War' from 'The Planets' Suite. Beneath the Mars installation, Francis Spufford gave a lecture entitled 'War (What Is It Good For?)'.

Gustav Holst first visited Thaxted in 1913 when on a walking holiday in north-west Essex. He decided he must return. The next year he and his wife rented a cottage in Monk Street, a small hamlet south of Thaxted. It was here that he composed much of his suite “The Planets.”

Conrad Noel, the vicar of Thaxted, and Holst soon became friends with Holst taking a great interest in the church choir. In 1916 Gustav organised a Whitsun Festival in the church. He taught music at Saint Paul’s Girls School, James Allen’s Girls School and was Director of Music at Morley College and some students from all those institutions came to Thaxted to be part of the festival. The Festival in this form was repeated in 1917 and 1918.

In 1917 the family moved into Thaxted to live in “The Steps”, 19 Town Street. A blue plaque is beside the front door. In those days it was a quiet place to work. Holst wrote several pieces specially for Thaxted including “Tomorrow shall be my dancing day.”

The Whitsuntide festival ceased after 1918. Holst was abroad for much of the year working for the YMCA, undertaking the role of Musical Organiser for troops of the Army of the Black Sea. From 1920 the Whitsuntide Festivals continued in various London Churches, Canterbury Cathedral and finally Chichester Cathedral. Yet, in Thaxted the tradition of great music in the church continued. Many nationally famous orchestras and musicians came to play. Eventually a music festival in the months of June and July was restarted in 1980 and flourishes still today as the Thaxted Festival Foundation.

Holst continued to take an important part in the music in the Parish Church in many ways. This included playing the Lincoln organ which has now been restored.

After a head-injury in February 1923, Holst began to show the signs of overwork and, on strict medical advice, retired back to his beloved Thaxted for a long holiday, spending only one day a week in London. He continued to be involved with the Parish Church and its choir up until 1925 when he left Thaxted to live in at Brook End, a large Elizabethan house, some distance from Thaxted.

Thaxted Church is one of the grandest in the county of Essex, 183 feet long and 87 feet wide, and so beautiful that it may well claim to be the Cathedral of Essex. The Church stands on a hill and dominates the town. From whichever direction the visitor approaches, the splendid spire can be seen many miles away. It has been described as the finest parish church in the country, and has both beauty and grandeur. 

The building began in 1340, and its growth continued through our great building centuries till the Reformation, and the result is a proud example of English architecture. It was completed in 1510. Perfect balance is achieved with the aisles and transepts, chapels and the two porches, the King's and the Duke's, for Edward the Fourth gave the one with his arms on it (North porch), and Lionel, Duke of Clarence gave the other marked with his coronet (South porch). Both porches are vaulted, and both have a spiral stair leading to a room above and ending in a turret. The Church was built in the form of a cathedral, with a fine crossing between the main body and the chancel. The hexagonal pulpit, with canopy and ogee-shaped base, dates from c.1680. The roof is early 16th century and comprises six bays.

The chancel is flanked by two side chapels. The left or North side is dedicated to St Thomas of Canterbury, and is generally called 'the Becket chapel'. The right or South side is dedicated to Jesus' mother, Mary, and his maternal grandmother, Ann. Formally known as the chapel of 'Our Lady and Our Lady Anne, it is generally called 'the Lady chapel'.

The chapel in the south transept is dedicated to St Catherine of Alexandria, who was condemned to death in 800AD nailed to a cart wheel. This area is now used as the Vestry but the statue to St Catherine can still be seen above the screen. The chapel in the north transept is dedicated to St Laurence, deacon of Rome, but has also been known as Trinity Aisle, and the Singers' Chapel. Since 1858 the chapel has been the home of the Lincoln Organ.

There are three organs: the largest was built by Henry Lincoln in 1820 and came here from St John's Chapel, Bedford Row, London, in 1858. The smallest 'Conrad Noel Memorial Organ' beneath the tower arch was built in 1952 by Cedric Arnold with money raised on the death of the late Fr Conrad Noel, vicar of Thaxted 1910-42. The Thaxted Music Festival has a Makin electronic organ which is located in front of the Tower and is used by the church for most of its music.

The organ built by Henry Lincoln around 1820 was rarely played due to its failing condition and its need of restoration. It was originally built for St. John's Chapel, Bedford Row, London but moved to Thaxted in 1858, and was in active use here until the 1960s. Over the 150 years in Thaxted, the instrument was not repaired or altered. The Organ was finally restored fully in 2013/2014 and returned to its place in the church during 2014. It will become an important musical resource for scholars around the country.

I was glad to see that a new and improved location has been found for their painting by Stanley Clifford-Smith, the most mystical of the Great Bardfield artists.

Clifford-Smith was an active member of the Great Bardfield Artists community during the mid to late 1950s and became the Honorary Secretary of the group. Clifford-Smith and the other Bardfield artists exhibited in the large 'open house' shows in the rural village in 1954, 1955 and 1958 as well as several one-off exhibitions and touring shows in the late 1950s. These exhibitions attracted thousands of visitors and made the art community famous thanks to press, radio and TV coverage.

Clifford-Smith's work in the 1950s was diverse and included Irish and Italian landscapes, images of ships, as well as hypnotic 'mother and child' portraits. He received many positive press reviews for his work while at Great Bardfield. In 1958 he moved to the Old Bakehouse in Great Bardfield with his family., and during the late 1950s he began to teach art in Cambridge. In the early 1960s the Great Bardfield art community fragmented and Clifford-Smith and his family (which now included four sons) moved to Little Baddow Hall near Chelmsford. During his time at Little Baddow he painted mainly thickly textured monochrome moon portraits, works inspired by the 1960s interest in space.

Following his death, several exhibitions were organised; a retrospective at the Minories, Colchester (1969), Little Baddow Hall Arts Centre (1979) and at the Fry Art Gallery, Saffron Walden (1998). His work is included in several collections including the University of Cambridge, Benjamin Britten Foundation, Aldeburgh, Suffolk; the Beecroft Art Gallery, Southend, Essex; and Thaxted Church, Essex.

Clifford-Smith's moon portraits connect with another of Jerram's installations, Museum of the Moon which was at St Martin of Tours Church in Basildon last year.

Another interesting work that I saw for the first time today as part of the DAC tour was 'The Vine Window' by Lewis Foreman Day, which is at St Mary's Great Dunmow. This window, which was designed by Day, was made by Walter Pearce in 1909. The window shows Christ the King in rich robes against a background of vines and grapes growing out of a green vase. Nine cherubs surround the head of Christ.

Mars:War & Peace is at Chelmsford Cathedral from 21 October – 12 November 2025. This incredible artwork, suspended from the Nave, follows the success of Gaia in 2022, which drew record numbers to the Cathedral. Crafted from detailed NASA imagery, Jerram’s artwork measures six metres in diameter with every valley, crater, volcano and mountain laid bare for inspection on the Martian surface. But this isn’t just an art exhibition; it’s a conversation. It’s a call to contemplate our place in the universe and our responsibilities to each other on Earth. Tonight, Francis Spufford assisted us in that conversation by reflecting on understandings of the Just War Theory drawn from the Christian tradition. 

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Gustav Holst - Mars, Bringer Of War.

Seen and Unseen - Emily Young: the sculptor listening as the still stones speak

My latest article for Seen and Unseen is an interview with 'Emily Young: the sculptor listening as the still stones speak':

'Her most recent exhibition was entitled ‘Comparative Stillness’. This title was chosen because the way the faces and the bodies she carves ‘always come out, there’s peacefulness there, there’s stillness’. ‘If you sit in this stillness of the stone’, she says, ‘you can find a great joy and a great peace’. She has asked herself, ‘What is it that I’m doing when I’m carving a human head out of stone?’ Her answer is that she is ‘finding an essential core of being alive that has in it, stillness’. ‘It’s the stillness that I’m after’, she says, and ‘out of that stillness come good actions.’ As a result, she says, ‘what I’m completely dedicated to now is to show that we do have access to that stillness and it could be our saving grace’. Everyone, she thinks, ‘should have quiet, kind symbols of internality around them’.'

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art':

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Jeremy Enigk - Amazing Worlds.

Tryin' to throw your arms around the world

At the last Unveiled evening I gave a lecture 'Tryin’ to throw your arms around the world' in which I talked about the spirituality of the rock band U2. The talk set out the main characteristics of U2’s spirituality, examines their roots, makes links between their spirituality and themes in contemporary theology and, considers three reasons why U2’s spirituality has connected with popular culture.

To read 'Tryin' to throw your arms around the world' click here - 1, 2, 3, 4, 5, 6, 7

My co-authored book The Secret Chord explored aspects of a similar interplay between faith and music (and the Arts, more broadly). Posts related to the themes of The Secret Chord can be found here. 

Check out the following too to explore further:

• God Gave Rock 'N' Roll To You
• Jesus Music - 1 & 2
• The Jesus Rock Revolution and the Jesus Movement
• When Jesus Met Hippies
• A Rough Guide to Christian Art
• Looking down the wrong end of a telescope
• Pop's holy rollers
• Perhaps the most underrated band ever
• Rock gets Religion
• Ed Kowalczyk and Scott Stapp: Angels on a razor
• Hidden Gems - Bill Fay & Michael Morley
• Salt and Sweetners
• The mystery at the heart of music - 1 and 2
• Inspiration from the Psalms

Read also my dialogues with musician and poet Steve Scott here, here, here, here, and here, plus my other posts on CCM. In a series of blog posts for Deus Ex Musica I shared rock and pop songs for Easter, Lent, Epiphany and New Year. Also see my Seen and Unseen articles on Nick Cave, Rev Simpkins and Corinne Bailey Rae.

Rock ‘n’ Roll merged blues (with its spiritual strand) and Country music (tapping its white gospel) while Soul music adapted much of its sound and content from Black Gospel. For both, their gestures and movements were adopted from Pentecostalism. Some, such as Jerry Lee Lewis and Sam Cooke, felt guilt at secularising Gospel while others, like Johnny Cash, arrived at a hard earned integration of faith and music. All experienced opposition from a Church angry at its songs and influence being appropriated for secular ends. This opposition fed a narrative that, on both sides, equated rock and pop with hedonism and rebellion. The born again Cliff Richard was often perceived (both positively and negatively) as the only alternative. Within this context the Biblical language and imagery of Bob Dylan and Van Morrison was largely overlooked, although Dylan spoke eloquently about the influence of scripture within the tradition of American music on which he drew.

With the majority of Soul stars having begun singing in Church, many of the most effective integrations of faith and music were found there with Marvin Gaye’s What’s Going On and the Gospel-folk of the Staple Singers being among the best and most socially committed examples. Gospel featured directly with Billy Preston, Edwin Hawkins Singers and Aretha Franklin’s gospel albums. Mainstream use of Christian themes or imagery in rock were initially either unsustained (e.g. Blind Faith’s ‘Presence of the Lord’ and Norman Greenbaum’s ‘Spirit in the Sky’) or obscure (e.g. C.O.B.’s Moyshe McStiff and the Tartan Lancers of the Sacred Heart and Bill Fay’s Time of the Last Persecution).

However, this changed in three ways. First, the Church began to appropriate rock and pop to speak explicitly about Christian faith. This led to the emergence of a new genre, Contemporary Christian Music (CCM), with interaction between CCM and the mainstream. Mainstream artists such as Philip Bailey, David Grant, Al Green, Larry Norman and Candi Staton developed CCM careers while artists originally within CCM such as Delirious?, Martyn Joseph, Julie Miller, Leslie (Sam) Phillips, Sixpence None The Richer and Switchfoot achieved varying levels of mainstream exposure and success. Second, the biblical language and imagery of stars like Bob Dylan, Van Morrison and Bruce Springsteen began to be understood and appreciated (helped to varying degrees by explicitly ‘Christian’ periods in the work of Dylan and Van the Man). Third, musicians such as After The Fire, The Alarm, T. Bone Burnett, The Call, Peter Case, Bruce Cockburn, Extreme, Galactic Cowboys, Innocence Mission, Kings X, Maria McKee, Buddy & Julie Miller, Moby, Over The Rhine, Ricky Ross, 16 Horsepower, U2, The Violent Femmes, Gillian Welch, Jim White, and Victoria Williams rather than singing about the light (of Christ) instead sang about the world which they saw through the light (of Christ). As rock and pop fragmented into a myriad of genres, this approach to the expression of faith continues in the work of Eric Bibb, Blessid Union of Souls, Creed, Brandon Flowers, Good Charlotte, Ben Harper, Michael Kiwanuka, Ed Kowalczyk, Lifehouse, Live, Low, Neal Morse, Mumford and Sons, Robert Randolph and the Family Band, Scott Stapp, Social Distortion, and Woven Hand.

I've created a playlist on Spotify called 'Closer to the light'. 'Closer To The Light' is a song by Bruce Cockburn that he said "was written addressed to the late Mark Heard ... He was a fantastic songwriter. His death sent a shockwave through our whole community, and what that did in me was that song." As a result, 'Closer to the Light' is a song that straddles both CCM and mainstream artists suggesting that both can bring us closer to the light. Similarly, this playlist, which includes blues, choral, classical, country, folk, gospel, jazz, pop, rap, rock, and soul music, aims to straddle music from both CCM and the mainstream which also brings us closer to the light.

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Bruce Cockburn - Closer To The Light.

'The View' Good News story: Unveiled and exhibitions

The Wickford and Runwell Team Ministry features as a Good News story in the latest edition of The View, the e-news bulletin from The Diocese of Chelmsford (see here).

The story focuses on our Unveiled evenings and cultural programming more generally. The fact that the Diocese have chosen to feature one of our new initiatives demonstrates their sense that we are on an encouraging track as we seek to develop mission and ministry in new ways. Please pray for our cultural programming as we connect with creatives and others in our community and attract new people to our churches through these initiatives. Pray that, through these initiatives, we might be at the heart of our community and alongside those on the edge.

Unveiled, the regular arts and performance evening at St Andrew's Church (11 London Road, Wickford SS12 0AN), continues this Friday (10 February) at 7.00 pm with an evening of music and conversation with composer Silvio Bartoli. Listen to Silvio Bartoli play a selection of pieces from his CD ‘A Rainy Day’ and hear him talk about his work as a composer of contemporary classical music and electronica. For a preview of what you will hear, click here.

Unveiled includes exhibitions, open mic nights, performances, talks and more!

• Unveiled – a wide range of artist and performers from Essex and wider, including Open Mic nights (come and have a go!).
• Unveiled – view our hidden painting by acclaimed artist David Folley, plus a range of other exhibitions.

Our Spring Programme for 2023 continues as follows:

• 10 February – An evening with composer Silvio Bartoli. Numerous performances of his pieces have been done during the last years in London, by The Hermes Project, The Explore Ensemble, different solo pieces, and the RCM Philarmonia. In addition to his career as a composer, he teaches composition, harmony, piano, theory and solfege.
• 17 February – 'God Gave Rock and Roll to You': a talk by Jonathan Evens about the religious influences in Rock, Pop, and Soul music.
• 3 March – Open Mic Night with John Rogers. Everybody is welcome to come along and play, sing or just spectate. Hope to see you there for a great evening of live music!
• 17 March – St Martin’s Voices, one of the UK’s most versatile professional vocal ensembles, performing concerts on the international stage as well as giving regular BBC broadcasts and special services at London’s iconic St Martin-in-the-Fields. The ensemble performs regularly alongside the Academy of St Martin in the Fields and London Mozart Players and is featured in the Church of England’s online worship resources that have attracted over 4 million downloads.

These events do not require tickets (just turn up on the night). There will be a retiring collection to cover artist and church costs.

Exhibitions at St Andrew's to date have included: mudcub sculptures by Nicola Ravenscroft; heritage displays from Basildon Heritage; paintings from Runwell Art Club; and, our current exhibition, ‘The Blind Jesus (No-one belongs here more than you)’, a series of Last Supper images exploring themes of welcome and belonging rooted in the experiences of disabled people.

The Blind Jesus (No-one belongs here more than you) exhibition is at St Andrew's Church (11 London Road, Wickford SS12 0AN) from 9 January until Easter. Do come and experience it for yourself. St Andrew’s Church is usually open: Saturdays from 8.30 am to 12.30 pm; Sundays from 9.30 am to 12.00 noon; Mondays from 1.30 to 3.45 pm; Tuesdays from 1.00 to 4.30 pm; and Wednesdays from 10.00 am to 12.00 noon. To arrange a visit with in-person audio description please contact Revd Jonathan Evens on tel: 07803 562329 or email: jonathan.evens@btinternet.com. See http://wickfordandrunwellparish.org.uk/whats-on.html for fuller information.

The Blind Jesus (No-one belongs here more than you) is an image in charcoal of the Last Supper by Revd Alan Stewart, which includes the central character of a visually impaired Jesus, surrounded by twelve people of differing ages, backgrounds and abilities. At the table, an empty chair invites the viewer to find themselves at the table.

The Blind Jesus (No-one belongs here more than you) has been commissioned by Celia Webster, Co-Founder of Wave (We’re All Valued Equally), as part of a project in which it seeds other images of the Last Supper that are truly for everyone. Schools, churches and community groups are being invited as part of this project to create their own Last Supper images.

The exhibition includes additional Last Supper images created by: (Still) Calling from the Edge conference; WAVE (We are All Valued Equally); St Mary's Catholic Primary School in Muswell Hill; and St Paul's CE Primary School in Barnet.

The photographs of the WAVE Church Last Supper were taken by Maria de Fatima Campos. Pupils in year 1 and 2 at St Paul’s CofE School in Friern Barnet created their work with their amazing art teacher, Dimple Sthalekar. The work shows how we begin as roots and then grow. The leaves of the tree are multi-coloured and moveable to show how we can move into different spaces and communities. St Paul's is a hugely welcoming and inclusive school that welcomes children from all backgrounds and faiths and uses the medium of art to convey this.

St Mary's Catholic Primary School focused their piece on the empty chair included in Alan Stewart’s drawing. Pupils in Years 4 and 5 created ‘Take a Seat,’ a piece which uses the technique of mono-printing to create lots of empty chairs as an invitation for everyone to sit down and join the table. They began the project by talking about the empty chair and what it could mean. They also compared and contrasted it with the commissioned drawing to talk about difference and what forms that can take. Through the process, the children decided that the peace dove would make a good representation of god. The words around the dove invite us to take a seat, to unite us in love and community.

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Silvio Bartoli - A Blizzard.

'Art in Worship' and 'The Secret Chord'

Art in Worship is a lecture I have recorded which explores approaches to and understanding of the relationship between art and faith. The lecture highlights different facets to this relationship from the fourth century to the present demonstrating ways in which the intimate linkage which exists between the visual arts and Christianity was forged and sustained. Within this story, I explore the sacramental nature of art in worship over the years.

'The Secret Chord', my co-authored book with Peter Banks, is now available from the online shop at St Martin-in-the-Fields. The book asks is there really a 'Secret Chord' that would both please the Lord and nearly everybody else as described in Leonard Cohen's popular song 'Hallelujah'? The book is an accessible exploration of artistic dilemmas from a range of different perspectives which seeks to draw the reader into a place of appreciation for what makes a moment in a 'performance' timeless and special.

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John Rutter - Five Meditations for orchestra, arranged from sacred choral works.

Living God's Future Now - w/c 2 May 2021

'Living God’s Future Now’ is our mini online festival of theology, ideas and practice.

We’ve developed this in response to the pandemic and our changing world. The church is changing too, and - as we improvise and experiment - we can learn and support each other.

This is 'Living God’s Future Now’ - talks, workshops and discussion - hosted by HeartEdge. Created to equip, encourage and energise churches - from leaders to volunteers and enquirers - at the heart and on the edge.

The focal event in ‘Living God’s Future Now’ is a monthly conversation where Sam Wells explores what it means to improvise on God’s kingdom with a leading theologian or practitioner.

The online programme includes:

• Regular weekly workshops: Biblical Studies (Mondays - fortnightly), Sermon Preparation (Tuesdays) and Community of Practitioners (Wednesdays)
• One-off workshops on topics relevant to lockdown such as ‘Growing online communities’ and ‘Grief, Loss & Remembering’
• Monthly HeartEdge dialogue featuring Sam Wells in conversation with a noted theologian or practitioner

W/c 2 May 2021

Sunday

Inspired to Follow
Zoom
Sunday 2 May, 14:00 (BST)
Register here.
‘Inspired to Follow: Art and the Bible Story’ helps people explore the Christian faith, using paintings and Biblical story as the starting points. The course uses fine art paintings in the National Gallery’s collection as a springboard for exploring questions of faith. Session 16: The Resurrection. Text: Luke 24:25-35. Image: ‘The Supper at Emmaus’, Michelangelo Merisi da Caravaggio, 1601, NG172.

Tuesday

Sermon Prep Sally Hitchiner and Sam Wells
Livestream
Tuesday 04 May 16:30 -17:30 BST
Live streamed on the HeartEdge Facebook page here.
A live preaching workshop focusing on the forthcoming Sunday's lectionary readings in the light of current events and sharing of thoughts on approaches to the passages.

Wednesday

Public Health and Church Engagement post pandemic
Zoom
Wednesday 5 May 10:30-12:00 BST
Reg here.
In this series of workshops, The Revd. Dr. Gillian Straine CEO of The Guild of Health and St Raphael will be exploring the potential of the church and people of faith to be agents of healing in our post pandemic world. By exploring the roots of the links between faith and health, theologies of healing and good practice she will encourage and empower participants to understand the role of the church alongside science, medicine and public health. Workshop 1 explores the potential for the healing ministry, and looks in particular at the history of healing in the Christian church and the biblical background for healing as a missionary activity. The Revd. Dr. Gillian Straine is passionately committed to health, healing and Christian living. She is a cancer survivor, Anglican priest, theologian and scientist with a strong interest in communication and teaching. She has a doctorate in Physics from Imperial College London and an MA in Theology from the University of Oxford. She is particularly keen to bring the study of science into conversations about Christian healing. She is the author of Introducing Science and Religion: A path through polemic (SPCK, 2014), The Limits of Science? (CSP, 2017) and Cancer: A Pilgrim Companion (SPCK, 2017). She lives in Lichfield with her husband and two young children.

Community of Practitioners workshop
Zoom
Wednesday 05 May 16:00-17:00 BST
Email Jonathan Evens here to take part. This is open to all, including ordinands and lay leaders. Church leaders join in community, share and reflect together on their recent experiences in the form of wonderings with one of the HeartEdge team.

Thursday

Navigating the Dark; a conversation between an artist and a theologian
Zoom
Thursday 06 May, 19:00-20:00 (BST)
Reg here.
Join us as artist Jake Lever is interviewed by Dr Paula Gooder, Chancellor of St Paul’s Cathedral, London. Jake Lever is an artist who is interested in the power of visual art to draw us into an encounter with the sacred. He seeks to make work that invites a slowing down, a return to the liminal and the "real". During the pandemic, he has developed a new participatory project, making hundreds of tiny, gilded boats that people have sent by post as tokens of love, gratitude and solidarity to family and friends around the world. Website: www.leverarts.org. Dr Paula Gooder is a writer and lecturer in Biblical Studies. Her research areas focus on the writings of Paul the Apostle, with a particular focus on 2 Corinthians and on Paul’s understanding of the Body. Her passion is to ignite people’s enthusiasm for reading the Bible today, by presenting the best of biblical scholarship in an accessible and interesting way. She is currently the Chancellor of St Paul’s Cathedral in London. Website: www.gooder.me.uk.

The Peckard Lecture 2021 by the Revd Dr Sam Wells
Online
Thursday 06 May, 19:30-21:00 (BST)
Book your ticket for £7.00 here.
Sam Wells, who is widely known as a preacher, pastor, writer, broadcaster and theologian will speak under the title 'Act Justly: Church, Kingdom and Civil Society'. The unevenness of the suffering caused by the Covid-19 pandemic, the climate change emergency and the Black Lives Matter movement will be among the topics he explores. This is the inaugural Peckard Lecture, starting what we hope will be an annual series of talks taking up the theme of the Church in contemporary society. It was a subject close to the heart of Peter Peckard, the 18th century Dean of Peterborough and influential anti-slavery campaigner. Sam Wells is the Vicar of St Martin-in-the-Fields, London. He will discuss what the church’s aspirations might be for society, and how it might seek to bring those about, in corporate mission and individual discipleship. The talk lasts approximately 60 minutes and is followed by questions. A Zoom link to the talk on date you choose will be sent to ticket holders just before the event.

Coming Up

Mission Summer School - 12 – 16 July 2021
Zoom
12-16 July 2021
For more details and to reg click here
An opportunity to engage more deeply with the theology of mission and to explore how it relates to your own practice.Input structured around the four Cs of Commerce, Culture, Congregation and Compassion. A mix of teaching and conversation with leading scholars and practitioners including the Revd Dr Sam Wells, Professor Anthony Reddie, Dr Cathy Ross, and Revd Heather Cracknell, among others. Workshops to engage with the themes and issues presented. Encounters with churches, organisations and projects (HeartEdge and Fresh Expressions) to get a hands-on feel for how it works out in practice.

For more information please have a look at this video of Sam Wells telling us more, here.

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Mica Paris - A Change Is Gonna Come.

Beth McKillop - Picturing the Buddha

The British Library has an exhibition Buddhism, curated by Jana Igunma (Henry Ginsburg Curator of Thai, Lao and Cambodian) and San San May (Curator of Burmese) which runs until the 23rd of February, 2020. It is a truly wonderful exhibition with a range of striking items, from illuminated manuscripts and palm leaf manuscripts to sutra incised in silver and gold, covering the whole development of Buddhism across Asia and the three main traditions of Buddhism, alongside items related to Buddhist practices, contemporary productions and evocative soundscapes.

Beth McKillop, senior research fellow at the Victoria and Albert Museum and President of the Oriental Ceramic Society, gave an illustrated talk on 'Picturing the Buddha' at St Martin-in-the-Fields last Thursday, which was a marvellous introduction to the British Library's Buddhism exhibition. The talk discussed depictions of the Buddha included in the exhibition and, more generally, within Chinese Art.

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Leonard Cohen - Listen To The Hummingbird. 

Chinese Art Talk 5: 'Picturing the Buddha'

'Picturing the Buddha' is the fifth lecture in an occasional series at St Martin-in-the-Fields focusing on aspects of Chinese Art will discuss depictions of the Buddha in Chinese Art.

The talk will include discussion of depictions of the Buddha in the British Library, where an exhibition ‘Buddhism’ is running until 23 February 2020.

Beth McKillop is a senior research fellow at the Victoria and Albert Museum. She has specialised in Chinese and Korean collections, and has published on the history of publishing in East Asia. Beth teaches book history at the Rare Book School, University of Virginia, and at SOAS, University of London.

Thursday 16 January, 6.30pm, St Martin's Hall. Free tickets from https://www.eventbrite.co.uk/e/picturing-the-buddha-tickets-80587219543.

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Bill Fay - Salt Of The Earth.

Chinese Art Talk: Picturing the Buddha

The Chinese and English speaking congregations of St Martin-in-the-Fields jointly organise an occasional series of art talks focusing on aspects of Chinese Art.

The fifth lecture in this series focusing discuss depictions of the Buddha in the British Library, where an exhibition ‘Buddhism’ is running from 25 October 2019 until 23 February 2020. The lecture will be given by Beth McKillop on Thursday 16 January 2020, 6.30pm in St Martin’s Hall, St Martin-in-the-Fields. This will be an illustrated talk (in English).

Beth McKillop is a senior research fellow at the Victoria and Albert Museum. She has specialised in Chinese and Korean collections, and has published on the history of publishing in East Asia. Beth teaches book history at the Rare Book School, University of Virginia, and at SOAS, University of London.

The talk will be held in St Martin's Hall, within the Crypt of St Martin's, and will begin at 6.30pm for one hour. The talk will be followed by a drinks reception in the Bishop Ho Ming Wah Association and Community Centre.

All are very welcome – for further information contact Jonathan Evens – t: 020 7766 1127, e: jonathan.evens@smitf.org. There will be a retiring collection for St Martin-in-the-Fields.

Tickets for the event are free by registering at the Eventbrite page for this talk: https://www.eventbrite.co.uk/e/picturing-the-buddha-tickets-80587219543.

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The Search Party - All But This.

Re:Fresh

Re:Fresh, the Two Cities Clergy Conference, at the Merville retreat centre was an opportunity for the clergy team from St Martin-in-the-Fields to worship together with other clergy in the Two Cities, listen to each other and God, spend time together, and be renewed by God. The beautiful and peaceful retreat centre provided space for us to encounter God and one another. 

The heart of the retreat house at Merville is the beautiful chapel. There is also a small chapel on the first floor: a space for silence and contemplation. There is also a cloister and ample grounds in which to walk. Merville town centre is only a 10-15 minute walk away.

With Revd Dr Kate Coleman we reflected on approaches to maintaining well being in leadership, while Malcolm Guite used poetry to explore refreshment of the spirit and God’s abundance. The evening entertainment was provided by Revd Sam McNally-Cross, Vicar of St Thomas, Kensal Town, who shared skills from his former occupation as a magician.

Kate Coleman is founding director of Next Leadership. She has 30 years of leadership experience in the church, charity and voluntary sectors and as a mentor to other leaders. Malcolm Guite is a priest, poet, singer/songwriter and academic. His research interests include the intersection of religion and art. He writes the weekly Poet’s Corner for the Church Times. Together with Mark Oakley, Malcolm will be contributing to our final Autumn Lecture on 18 November, The Quality of Mercy in Poetry. He comes highly recommended by the Clergy Team!

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Malcolm Guite - What If.