Spirituality in Art - Cass Howes
Spirituality is about making connections- with God, with our own spirit, with the earth. Visual art can begin to make those connections, even before they can be clearly articulated. For this reason art can often be valuable in therapy, where feelings and traumas that cannot even be recognised can be brought to light. And so a process of creative reflection can begin.
We looked at a wide variety of art forms, including some of the Methodist Modern Art Collection: http://www.methodist.org.uk/static/artcollection/image1.htm
We also thought about art that might appear at first sight to have no connection to spirituality. In some cases, however, such art expresses the sense that life and the universe is ultimately meaningless and purposeless. That contrasts with the confident Christian sense that all life must be meaningful if it is created by and belongs to God. But it cannot therefore be rejected, because it honestly deals with a response to life that is very prevalent in the modern world.
We looked at a wide variety of art forms, including some of the Methodist Modern Art Collection: http://www.methodist.org.uk/static/artcollection/image1.htm
We also thought about art that might appear at first sight to have no connection to spirituality. In some cases, however, such art expresses the sense that life and the universe is ultimately meaningless and purposeless. That contrasts with the confident Christian sense that all life must be meaningful if it is created by and belongs to God. But it cannot therefore be rejected, because it honestly deals with a response to life that is very prevalent in the modern world.
Spirituality in Poetry and Literature - Anne Atkins
The 4th session of the Spirituality course was entitled Spirituality in Poetry and Literature. The speaker was Anne Atkins, who is a broadcaster, journalist and writer.
She explored this subject mostly by reading extracts of various writers' work across history and commenting on their spiritual content. She read from John Donne, Piers Plowman, John Milton, John Bunyan, George Herbert, Gerard Manley Hopkins and T.S. Eliot. In discussion she also made reference to Shakespeare, C.S. Lewis and J.R.R. Tolkien. She also read from one of her own books 'On Our Own'.
The session ended with the words of the hymn 'Christ is the world's true light' which was written by G.W. Briggs, Anne's grandfather, read by Anne's father who was at the meeting.
She explored this subject mostly by reading extracts of various writers' work across history and commenting on their spiritual content. She read from John Donne, Piers Plowman, John Milton, John Bunyan, George Herbert, Gerard Manley Hopkins and T.S. Eliot. In discussion she also made reference to Shakespeare, C.S. Lewis and J.R.R. Tolkien. She also read from one of her own books 'On Our Own'.
The session ended with the words of the hymn 'Christ is the world's true light' which was written by G.W. Briggs, Anne's grandfather, read by Anne's father who was at the meeting.
Spirituality in Drama - Phil Summers
Phil Summers gently led the audience into deeper insight into the theatre, into spirituality, into human experience and into ourselves. It was brilliant. He began by recalling the first time that, as a young man, he was struck by the way theatre can be so powerful. It brought him to tears. Then he asked the audience to recall times when they have been moved by drama and he drew out the human experience at the heart of each example – violence, horror, injustice, sacrifice, love. “Drama explores the human spirit. We dramatise to make sense of the world around us. In drama we see the actors discovering some sort of revelation, epiphany, and we see reflections of our own follies, failures and discoveries.” He read an extract from Oedipus to illustrate how, in the wilful suspension of disbelief in the theatre; we are able to reflect on the reality of another person’s suffering in trying to understand what it is to be human.
With those things in mind Phil spoke of his sorrow at the dryness of much intercessory prayer, which
expresses no empathy with those who suffer. He praised the work of playwright Bertolt Brecht, who seeks to enable the audience to understand the situation from the view of each of the actors, and not only the principle character, to open minds and hearts to the complexity of life and the need to change the world. Brecht is passionate about challenging people and changing people –
“To me that is spirituality. Not simply finding a point of comfort and peace and the knowledge that
I am loved by God. That is good, but not enough. I must be led towards reflecting on who I am, what
the world is and my role within it. Spirituality must be about learning and growing,” said Phil.
He then referred to Celtic spirituality as a way of reflecting on who we are and who God is, to find the very core of our being, because God is at the heart of who we are....... so that we can respond to others and the systems of the world from our very core. “Spirituality in drama must be a thinking spirituality, a call to be more purposeful, refocusing consistently on God in us and in this world.”
“I’m not one for happy endings!” he said, “I’m not out to sell tickets for the pantomime or the ‘feel good’ stuff, although I do enjoy them.” His reason became crystal clear as he described the ending of ‘Miss Saigon’, about the children of American GI’s who were left in Vietnam. The mother realises that the only way her child will have a future is for her not to exist, as the American’s had undertaken responsibility to take their motherless children to the USA, so in the final scene she shoots herself, to free her child for a new life. In that sorrow and sacrifice we see a reflection of the cross, and the suffering in human life, calling for our response. Good drama should help us to face that pain and go through it – a necessity if we are to move towards the hope for which we are waiting..... And final examples from “Waiting for Goddo” enlightened us even further.
With those things in mind Phil spoke of his sorrow at the dryness of much intercessory prayer, which
expresses no empathy with those who suffer. He praised the work of playwright Bertolt Brecht, who seeks to enable the audience to understand the situation from the view of each of the actors, and not only the principle character, to open minds and hearts to the complexity of life and the need to change the world. Brecht is passionate about challenging people and changing people –
“To me that is spirituality. Not simply finding a point of comfort and peace and the knowledge that
I am loved by God. That is good, but not enough. I must be led towards reflecting on who I am, what
the world is and my role within it. Spirituality must be about learning and growing,” said Phil.
He then referred to Celtic spirituality as a way of reflecting on who we are and who God is, to find the very core of our being, because God is at the heart of who we are....... so that we can respond to others and the systems of the world from our very core. “Spirituality in drama must be a thinking spirituality, a call to be more purposeful, refocusing consistently on God in us and in this world.”
“I’m not one for happy endings!” he said, “I’m not out to sell tickets for the pantomime or the ‘feel good’ stuff, although I do enjoy them.” His reason became crystal clear as he described the ending of ‘Miss Saigon’, about the children of American GI’s who were left in Vietnam. The mother realises that the only way her child will have a future is for her not to exist, as the American’s had undertaken responsibility to take their motherless children to the USA, so in the final scene she shoots herself, to free her child for a new life. In that sorrow and sacrifice we see a reflection of the cross, and the suffering in human life, calling for our response. Good drama should help us to face that pain and go through it – a necessity if we are to move towards the hope for which we are waiting..... And final examples from “Waiting for Goddo” enlightened us even further.
Spirituality in Music - Paul Leddington Wright
From the outset the audience became aware that Paul is an inspirational person – oozing enthusiasm for music, faith in God and a deep desire to connect with his listeners.
“Where does music come into the everyday ... our life, our soul, our worship?”
“All music has a spiritual component.... ”, he quoted, “ ......if you know how to listen.”, confirming our understanding that spirituality is not only to be found in religious things but in life. Never-the-less, there’s music around us every day, sometimes interfering with life, like someone’s head phones on a train!
“Early hymns contain words and music that exalt listeners to concepts of deity. Spiritual music
takes people out of their normal state and delivers them into a profound experience of connectedness
and love. At other times spiritual music expresses a desire for an escape from difficult circumstances
into something better and more free. It can minister to the human spirit in the midst of suffering.”
Paul illustrated the truth of this quotation with an upbeat spiritual, “Spirit in my heart”, demonstrating how the American slaves rose above their misery as they sang of their hopes of salvation. In contrast,
there followed a reflective choral psalm to calm the spirit and bring peace.
Strong emphasis was given to the need for the style in which music is produced to express the spirit of the words and spirit of the composition. He played a brief piece on the organ, but then he was adamant that most contemporary worship songs should never be accompanied by an organ and in a traditional style. “You need a band !” On the piano he illustrated how some arrangements have missed this crucial point, as he compared them to some of his own arrangements .... and we sang,
from the heart, “Make me a channel of your peace ....” Paul developed this further, describing how, for the “BBC Top Ten Carols”, he needed to arrange “O little town of Bethlehem” to suit the style of Haley Westerner and then blend it into a traditional style for the last verse to be sung by the whole crowd, packing the Royal Albert Hall.
Paul spoke of the way this gave him the opportunity to use his God given gift to praise God, as we can in our worship, and of his commitment to keep ‘Songs of Praise’ on the BBC, with the highest professional quality, for the glory of God and to inspire the listener. He concluded by sharing his hope that sometimes a listener will be prompted to say, “Who is this all about? I think I need to know more about Jesus.” The audience left the auditorium uplifted in spirit.
“Where does music come into the everyday ... our life, our soul, our worship?”
“All music has a spiritual component.... ”, he quoted, “ ......if you know how to listen.”, confirming our understanding that spirituality is not only to be found in religious things but in life. Never-the-less, there’s music around us every day, sometimes interfering with life, like someone’s head phones on a train!
“Early hymns contain words and music that exalt listeners to concepts of deity. Spiritual music
takes people out of their normal state and delivers them into a profound experience of connectedness
and love. At other times spiritual music expresses a desire for an escape from difficult circumstances
into something better and more free. It can minister to the human spirit in the midst of suffering.”
Paul illustrated the truth of this quotation with an upbeat spiritual, “Spirit in my heart”, demonstrating how the American slaves rose above their misery as they sang of their hopes of salvation. In contrast,
there followed a reflective choral psalm to calm the spirit and bring peace.
Strong emphasis was given to the need for the style in which music is produced to express the spirit of the words and spirit of the composition. He played a brief piece on the organ, but then he was adamant that most contemporary worship songs should never be accompanied by an organ and in a traditional style. “You need a band !” On the piano he illustrated how some arrangements have missed this crucial point, as he compared them to some of his own arrangements .... and we sang,
from the heart, “Make me a channel of your peace ....” Paul developed this further, describing how, for the “BBC Top Ten Carols”, he needed to arrange “O little town of Bethlehem” to suit the style of Haley Westerner and then blend it into a traditional style for the last verse to be sung by the whole crowd, packing the Royal Albert Hall.
Paul spoke of the way this gave him the opportunity to use his God given gift to praise God, as we can in our worship, and of his commitment to keep ‘Songs of Praise’ on the BBC, with the highest professional quality, for the glory of God and to inspire the listener. He concluded by sharing his hope that sometimes a listener will be prompted to say, “Who is this all about? I think I need to know more about Jesus.” The audience left the auditorium uplifted in spirit.
