summer 2008

alive

friends,

dear

At the first Veritas lecture at Emory University in April, the Bishop of Durham, N. T. Wright, spoke of the difference between our building the Kingdom of God and our building for the Kingdom of God. He thought it was arrogant of us to talk of the former which is really the work of God. He drew the analogy of a stonemason working on a cathedral who is told by the architectbuilder to carve a stone to certain dimensions with certain patterns. Only when that stone is hoisted into place will the mason see how it fits the larger pattern and becomes part of the cathedral. He is building for the cathedral rather than doing the work of the architect-builder. As with all analogies, this one has limits, but I find it helpful in thinking about those human acts which serve to build for the kingdom. We may not see the unveiling of the Kingdom, but every act of kindness, of justice, of creation, and of love that we do serves to build for the Kingdom. This issue of Saints Alive contains, among other things, stories and profiles of creative people among us who are building for the Kingdom of God, creating work that inspires and challenges us, offering programs and opportunities for us to glimpse signs of God’s Kingdom through deepening our appreciation of the visual and dramatic arts. Enjoy the feast.

The Rev’d Geoffrey M. St.J. Hoare, Rector

18 Seeing God in the Ordinary I scan the world constantly with eyes hungry for different qualities of light, color, texture and pattern. By Parlee Chambers

22 The Artistic Ministry I wonder how, or when, art and faith got disconnected from each other—at least to the wider public. In art circles, this is often true. By Luis Coelho

26 A

Platform for Adventure

“Make a mistake, go for it, it’ll be a ‘beaute’ and we’ll make something out of it. We’ll be each other’s safety net,” Bobby said. By Virginia Schenck

www.allsaintsatlanta.org

summer 2008

alive

All Saints’ Episcopal Church

is a parish in the Diocese of Atlanta

The Rt. Rev’d J. Neil Alexander, Bishop Rt. Rev. Keith B. Whitmore, Asst. Bishop Rector The Rev’d Geoffrey M. St.J. Hoare 2008-2009 Vestry Tom Cox, Senior Warden Robert Ball Rob Boas Bert Clark Tom Cox Florence Holmes Liz Jacobs Elizabeth Lindsey James Marshall Missi McMorries Janis Overrocker Pressley Peters Malinda Snow Mimi Spang David Stacy Sherry Terlemezian Debbie Wilson Bob Woodward Jim Zook Clergy The Rev’d Charles M. Girardeau, Associate Rector The Rev.’d John F. Herring, Associate Rector The Rev’d Elizabeth Shows Caffey, Associate Rector The Rev’d Noelle York-Simmons, Associate Rector Clergy Associates The Very Rev’d Harry Pritchett, Rector Emeritus The Rev’d Woody Bartlett The Rev’d Bill Clarkson The Rev’d Corrine Crammer The Rev’d Dr. James Donald The Rev’d Scott May The Rev’d Dr. David M. Moss III The Rev’d Gary Mull The Rev’d Abraham Nhial The Rev’d Walter E. Smith The Rev’d Tom Stubbs The Rev’d Paul Thim Administrative, Facilities & Program Staff Lauri Begley, Director of Parish Life Jean Bradley, Parish Sexton Rob Burlington, Director of Youth Ministries & Conducting Assistant Beth Chenault, Associate Organist & Choirmaster Ray Chenault, Organist & Choirmaster Michael Cobb, Parish Sexton DiAnne Coggins, Hospitality & Events Coordinator Nancy Dodson, Director of Finance Serena Garcia-Holland, Publications Assistant Bruce Garner, Head Verger Betsey Gibbs, Membership Coordinator Lori Guarisco, Threads Coordinator Richard Hall, Director of Christian Social Ministries LaTrell Harrison, Program & Committee Assistant Maurice Johnson, Parish Sexton Pat Kiley, Rector’s Assistant Karol Kimmell, Director of Youth & Children’s Music Carol Lane, Nursery Coordinator Paige Martin, Director of Development Jeff McConnaughey, Assistant Organist & Choirmaster for Evensong Louisa Merchant, Coordinator of Refugee Ministries Randy Miller, Director of Security Rich Mills, Children’s and Youth Choirs Accompanist Stephen Monford, Parish Sexton Marie-Louise Muhumuza, Receptionist Kerr Ramsey, Youth Minister Maurice Reddick, Facilities Manager Tracy Wells, Webmaster

Pe o p le 14 Celebrating 50 Years of Ministry. . . . . . . . . . . . . . . by Ann Ray

15 Newcomers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . by Liz Jacobs

Pa r is h L i f e — F a it h & A r t 4

The Glory of God in the Face of Jesus





. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Singing Songs of Faith: Words for a Lifetime





by Charlie Shaffer

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

by Karol Kimmell

16 The Person Who Sings Prays Twice



. . . . . . . . . . . . . . . . . . . . . . . . . .

by Louise Franklin & Craig McConnell

18 20 21 22 24

Seeing God in the Ordinary . . . . . . . . . . by Parlee Chambers Where Faith Meets Art . . . . . . . . . . . . . . . . . . . . by Eileen Nebhut Life as Reflected in Wood . . . . . . . . . . . . . . . . . . by Paige Martin The Artistic Ministry . . . . . . . . . . . . . . . . . . . . . . . . . . . by Luis Coelho I Love You With All of My Art



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

by Tim Frilingos

26 A Platform for Adventure . . . . . . . . . . . . . . by Virginia Schenck 28 The Work of Worship . . . . . . . . . . . . . . . . . . . . . by Larry Graham 30 The Gospel Truth—Singing About Faith and Doubt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32 Spirituality, Place and Art

. . . . . . . . . . . . . . .

by Tracy Wells

by Marie Weaver

Youth

8 On Rob…The Man with a Big Heart. . . . . . by Helen Harris 10 The Spirit of Art. . . . . . . . . . . . . . . . . . . . by Sara Claire Chambless

R e f l e c t io n s

34 Working Love . . . . . . . . . . . . . . . . . . . . . . . . . by Della Wager Wells 36 Dear Reader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . by Melinda Snow

Readings, publications, sermons… Did you know you can find them all on the All Saints’ website? Need to register for Wednesday night supper or make a pledge payment? Go online. www.AllSaintsAtlanta.org “Saints Alive” is published quarterly. If you would like to see an article on a specific topic in a future edition or would be interesting in writing for the publication, please contact Noelle York-Simmons (404-267-4276 or [email protected]). We welcome your ideas.

Pages 2 & 3

All Saints’

A ll Ar ts

By The Rev’d Noelle York-Simmons

When theabout Saints Alive editorial committee decided to do an issue arts at All Saints’, none of us were entirely sure that we would have enough material to it fillbecame an entire issue. But then as we started brainstorming, abundantly clear that our parish ishave teeming with creativity. Like some of the other things we a profusion of: are When the Saints Alive editorial committee decided to do an issue about arts at All Saints ’, none questions, generosity, of us were entirely sureer, that we would have enough artistic material to fill talent an issue. Butand then ascreativity we started brainstorming, yet more articulations of the it became abundantly clear that our parish is teeming withfaithful creativity. Likejourney. some of the other things we have a profusion of–questions, laughter, generosity—artistic talent and creativity are yet more articulations of the faithful Some ofdirects these faith expressions are obvious. When journey. the Ray the All Saints’ Choir through Vivaldi’s “Gloria” a Sunday there isperformed no question that Some of these faithon expressions are obvious.morning, When the Ray directs the All Saints’ Choir through Vivaldi’s “Gloria” it a piece of written, and to the on ais Sunday morning, there isart no question that it is adirected piece of art written, directed and performed to the glory of glory of God. often, the of God in a piece God. But often, the reflection But of God in a piece of art isn’treflection so obvious. In this issue, you will read about how Rob of art isn’tfurniture so obvious. Ingrowth this you willjourney. read Cart, professional maker, parallels the of a issue, tree to the human spiritual And about you will read how Cart, professional furniture maker, parallels about howRob Craig McConnell uses his work in secular musical theater to help him battle spiritual isolation. There are the growth ofofabout aart tree to theCraig human spiritual journey. And some phenomenal stories and its intersection with faith in these pages and we hope you will enjoy them. you will read how McConnell uses his work The editorial committee ran into an unexpected problem while we were planning this issue. As we began to reflect in secular musical theater to help him battle spiritual on our subject, we realized our problem was not too few artists in the parish, it was too many to fitart into our page isolation. There are some phenomenal stories of and limit. Did you know that in our parish is a professional ballerina? A graphic designer? A woodturner? A stained its intersection with faith in these pages and we hope you glass artist? A sculptor? An author? A playwright? And aside from those who give their professional life to their will enjoy them. crafts, we have myriad parishioners who create art to the glory of God as hobbies or just because it moves their The editorial committee ran into anAs unexpected problem souls. while we were planning this issue. we began towasreflect The truth is, even if we do not believe ourselves to be creative, we are, each of us.was Every one of ustoo made in the on our subject, we realized our problem not few image of God, the first Creator. How we express that God-given creativity, with paint or pen, with song or dance, artists in theyou parish, it was too many to is fitaofinto our page with children,Did or computers or know spreadsheets,that is our own choice, but it is a reflection the talent that God gives us. limit. in our parish professional The editorial committee hopes that this issue will inspire you A to gowoodturner? find some of the amazingA work of your parish ballerina? A graphic designer? stained brothers and sisters and to celebrate it. Then celebrate yourself, your creativity and your created-ness. glass artist? A sculptor? Antheir author? A playwright? And aside from those who give professional life to their Themyriad Rev’d Noelle York-Simmons is Associate Rector at All Saints’. crafts, we have parishioners who create art to the She has tried her hand at many art forms and mastered none of them. glory of God as hobbies or just because it moves their souls. The truthwe is, are, eveneach if weofdo not believe ourselves to be creative, us. Every one of us was made in theGod-given image of God, the first Creator. How we express that creativity, with paint or pen, with song is or dance, with children, or computers or spreadsheets, our own choice, but it is a reflection of the talent that God gives us. The editorial committee hopes that this issue will you to goand findsisters someand of the amazing work of yourinspire parish brothers to celebrate it. Then www.allsaintsatlanta.org

Sa i n t s A l i v e • P ARISH L IFE

By Charlie Shaffer

The Glory of God in the face of Jesus

By Charlie Schaffer

In 1974, the prominent theologian, Frederick Buechner, published a book entitled, The Faces of Jesus (Riverwood/Simon and Schuster Book) based on Buechner’s theological and artistic analysis of the many faces of Jesus. This book is divided into the six parts of Jesus’ life, and it includes 154 color photographs by museum photographer, Lee Boltin, of some of the greatest artistic interpretations of Jesus’ face. So why is it important to analyze the face of Jesus? As Buechner writes: “ whoever he was and was not . . . he was a man once, whatever else he may have been. And he had a man’s face. A human face.” And Buechner carefully studies that face to emphasize Jesus’ humanity. As the basis of his search, Buechner points to various references to the face of Jesus in the four gospels, including: But of course there are no contemporaneous drawings or photographs of Jesus, and in this uplifting book and with his moving

1 2 3

“He set his face to go to Jerusalem;” “The glory of God in the face of Jesus;” and Pontius Pilate’s chilling pronouncement about Jesus: “Behold the man.”

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“…the face of Jesus asface the face of ourassecret and innermost destiny. The of Jesus our face.” theology, Buechner presents art during 1,000 years to show how artists have portrayed the most famous face in history. Buechner considers “all the ways we have dreamed it [Jesus’ face] down the years, painted and sculpted it, scratched it into the teeth of whales, stitched it into wool and silk, hammered it out on gold.” Buechner continues that “it is a face that belongs to us somehow, our age, our culture; a face we somehow belong to.” Buechner encourages the reader to take the pains to see the face of Jesus for what it is: “ ...the face of Jesus as the face of our secret and innermost destiny. The face of Jesus as our face.” This book is brilliant for two reasons: the theology of Buechner and the phenomenal art displaying the face of Jesus over 1,000 years. There are 154 color photographs in the six sections of the book: (1): the Annunciation includes a beautiful portrait of Mary by a Flemish artist in 1506; (2): the Virgin Birth has over 30 glorious works of art including a 13th Century ivory carving of the Virgin and Child by a French artist; (3): the Ministry is vividly portrayed by over 20 artworks including El Greco’s painting in 1570 depicting Christ cleansing the temple; (4): the Last Supper has 15 artworks and includes a sculpture in limestone relief, a tempura and gold leaf on parchment, a Chinese painting on silk, a wooden sculpture of the Kiss of Judas in Oakwood relief, and Salvador Dali’s oil on canvas of the Last Supper; (5): the Crucifixion reveals the anguish through 30 different types of art including a 15th Century ivory carving of the Pieta; and (6): the Resurrection is beautifully captured in 30 artworks including a 6-7th Century English mosaic of the risen Christ. Our study of Buechner’s book led our class to review the historical progression of the art portraying Jesus’ face. It began with early drawings in the catacombs of Rome discovered in 290 AD in which Jesus is portrayed as a shepherd. During the first part of the 4th Century, the Emperor Constantine convened the Council of Nicea, and because Constantine previously worshipped the Sun God, drawings of Christ in that era portrayed the face of Jesus as being somewhat similar to the Roman Sun God.

Two other examples of great art reviewed by our class in studying the face of Jesus are:

T

he Frescoes of Giotto. In the early 1300s, a young Italian painter named Giotto won a competition sponsored by Pope Benedict to paint a portion of St. Peter’s Cathedral in Rome, and the only submission by Giotto to the selection panel was a perfectly drawn red “O”. So perfect was that “O” that is soon became known as the famous “Giotto’s O.” A few years later, Giotto was selected by the wealthy Scrovegni family to paint the interior of the Arena Chapel in Padua, Italy. In 1305, this famous Italian artist completed painting the frescoed interior of the beautiful Chapel. The 40 softly colorful frescoes in this Chapel tell the story of the early life of the Virgin Mary and the life of Christ. Biblical figures are “humanized” in their appearance and actions, and the fresco Giotto created has the softly brilliant blue color which is still famous today. This Chapel is one of the greatest artistic achievements in mankind’s effort to portray the life and humanity of Christ.

D

a Vinci’s Last Supper. Another lasting example of a great artist’s effort to capture the humanity of Jesus is da Vinci’s Last Supper, painted over three years in the early 1500s. This famous historical painting is especially noteworthy in that the “the face of Jesus” is the focal point of this painting. This painting of Jesus on that sad occasion is one of the most powerful and anguishing ever. The actual moment of da Vinci’s masterpiece is that instant at the Last Supper when Jesus made the shocking statement to his disciples that one of them will soon betray Him. At that instant, the disciples’ facial expressions and uplifted hands signify their sudden alarm. The betrayer, Judas, is the third disciple seated on the right of Jesus and at that moment Judas knocks over a small sack of salt, which to this day superstitiously forecasts bad luck. The instantaneous fear of all of the disciples is captured vividly by da Vinci, but it is the peaceful and calm resignation in the face of Jesus that establishes the brilliance of the painting and Jesus’ graceful humanity. Buechner describes the heart-wrenching moment of The Last Supper as follows:

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Sa i n t s A l i v e • P ARISH L IFE

The Painting Of Steve Penley On February 17, 2008, our class was honored to welcome the prominent Atlanta artist, Steve Penley, as our special guest. During the lecture, Mr. Penley started from scratch and painted a striking and powerful portrait of the face of Christ on the cross. This was a thrilling moment for our class as we were able to witness at close range the artistic mastery of Steve Penley. He started in bold colorful strokes and within 30 minutes this great artist had created a glorious portrait of Christ. Penley’s strong faith is revealed in this portrait of Christ, and his comments while painting the portrait were enlightening. Penley focuses on the humanity of the face of Jesus and avoids all of the grandeur, trappings and icons that can sometimes build up around religious figures. Penley has described his faith in the following terms:

“Through the eyes of faith too, the Last Supper, though on one level a tragic farewell and failure… is also, at its deepest level, the foreshadowing of great hope and the bodying forth of deep mystery. Frail, fallible, foolish as he knows his disciples to be, Jesus feeds them with himself.” (p. 136.137). Note: “The Faces of Jesus” by Buechner is currently out of print. It may be available on Amazon.com, but be sure you get the text and art version and not just the text. Charlie Shaffer and his wife Harriet have been members of All Saints’ for almost 40 years. Charlie has served on the Vestry of All Saints’ and as Senior Warden and has taught adult education classes at All Saints’ on literature and theology for 25 years.

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“Even to a non-believer, Christ is still the man who divided history in half. He is in my opinion the Creator of history. Without him, there is no hope in life.” Steve Penley’s painting of the “Face of Jesus” in our class at All Saints’ on February 17, 2008 reveals the power of his art as it conveys his personal religious feelings. Penley has most graciously donated this special painting to our Church, and this framed portrait of Christ will soon be displayed. All Saints’ is most grateful to him for this most meaningful gift to our Church.

Pages 6 & 7

Making a Gif t with a Charitable

Gif t Annuity Interested in supporting the arts or another ministry at All Saints’? This summer, consider a charitable gift annuity, a planned gift that furthers the mission and ministry of All Saints’ Episcopal Church and guarantees you and/or a beneficiary an income for life. The annuity, usually established by cash or marketable securities, is a contract between you and the church, which guarantees a fixed amount of return on your gift for life. Unlike charitable remainder trusts, which require a minimum of $100,000, charitable gift annuities start at $5,000.

A charitable gift annuity offers advantages: • You receive a guaranteed periodic income that is not affected by the fluctuations of the marketplace. • You receive an income tax deduction in the year that you establish the annuity for the gift portion of the contract. • You usually receive a portion of your annuity income free of federal income taxes. • You generally are able to prorate any capital gains taxes over the expected life of the annuity payments. • You are free from concern about money management.

Starting a charitable gift annuity is easy. Contact your financial advisor and Paige Martin in our development office. All Saints’ partners with the Episcopal Church Foundation to provide the expertise necessary and all of the information you need. The Foundation can provide an analysis showing your expected tax deductions and projected income based on the size of your gift and the age(s) of the beneficiary(ies). For more information or to join Cornerstone, contact Paige at [email protected] or 404.267.4275.

“For where your treasure is, there will your heart be also.” Matthew 6:21 www.allsaintsatlanta.org

Sa i n t s A l i v e • Y OUTH

On Rob…

The Man with a Big Heart By Helen Harris

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Warm, protective, friendly, enlightening, and

bald are just a few of the many words fellow students and parishioners used to describe our dear friend Rob Burlington. After eight years working as our youth director, Rob is sadly leaving us. His guidance and inspiration over the past years have been immeasurable, and it will truly be hard for us to let him go. Rob attended Dickinson College (same as my grandfather—different year) earning a Bachelor of Arts in Music, went to Virginia Episcopal School to teach AP Music Theory and music history, coached soccer, basketball and baseball before attending Emory Graduate School, graduating in 2000 with a Master of Sacred Music. While at Emory, he joined the All Saints’ Choir in 1998, and Mary Spencer put his name up for the youth job. Geoffrey had received recommendations for a man named Rob Burlington from other sources, and little did he know (always with his finger on the pulse) Rob was in the choir during the time of the search. Rob taught part time at Emory and acted as a part-time youth person with Jerry Dye at All Saints’ until becoming full time in June 2001. All Saints’ Episcopal Church

In 2001, I was only in the sixth grade, and honestly, I remember very little of Rob. I do remember being mad at him. Even though this was in no way Rob’s fault, I was furious that the entire Sunday school program was being changed, and that even though all of my best friends in the grade above me got confirmed in the sixth grade, I would have to wait until the 10th. I wanted to be confirmed so badly I remember, and even though my parents attempted to console me, I truly believed that it was all Rob’s fault, and he was out to ruin my life. I think by seventh grade I cooled down when I realized that Rite 13 was not too bad. I give Rob all of the credit for making our transition into the teenage world special. He created an elaborate Ellis Hall dinner including pictures of every child, and a toast from the parents. He tried so hard for us to be able to recite the 139th Psalm by heart; we failed, but Rob tried. His next challenge was All Saints’ first pilgrimage, and boy, was it a challenge! My dad thought a pilgrimage was such a great idea, pilgrimage meaning hopping into a big van and having Rob drive to Mount Rushmore, so when Rio de Janeiro was the destination, his head almost exploded. Poor Rob,

Pages 8 & 9 he had no idea what he had gotten himself into when the e-mails and concerns came flooding in from a few sets of parents, mine being the most paranoid. My dad had urgently tried to persuade Ralph Sullivan to go on the trip, packing heat. After being convinced that Richard Hall had the martial arts training, Dad finally agreed to let me go. In July 2006, 14 youth boarded a plane for 10 days in a country we knew almost nothing about, did not speak a word of the language, and had parents that would hire a hit man to hunt Rob down if anything happened. Although it took convincing, screaming, and yelling to be allowed to go, my time in Brazil is filled with memories I will treasure for the rest of my life. I am probably not alone when I say this, but I really got to know Rob on this trip. He always acted as the adult, an example being when we rode up to the Corcovado statue in a cramped taxi with Page Zakas, Maggie Riddell and two 20-year-old guys from Sao Paulo. The boys wanted a picture with their new friends Maggie and Page, (I am not sure that they wanted Rob in it), but Rob was sure to be the dividing body between the cute boys and the two girls. When he wasn’t counting heads, or attempting (key word) to navigate one of the busiest cities in the world, he was just as goofy as our seven rather immature boys. The execution of those two pretty much sums up what we should look for in anyone trying to fill Rob’s shoes. After the success of our pilgrimage, the bar was set high with the next group, and from what I have heard, the experiences in Scotland were just as amazing. With his third and final pilgrimage coming up to Greece, the adults are starting to get jealous about all of Rob’s world traveling, thinking that how hard is it to cart a handful of kids around a luxurious city all day? Harder than you think, Rob has put up with so much noise, flying projectiles, and whining, he deserves an award. He always puts us first, if ever we had a problem and needed someone to talk to; he would meet us for snack after school in a heartbeat. This man has such a big heart and always wants to share it with as many people as he can. Rob is a wonderful father to Robert, Esther, and Cecilia, and a loving husband to Laurie. He has become a great friend, as my peers and I have ridden on the rollercoaster of high school. He can relate to us. Bruce gets mad at him too for playing with the rope on his choir robe. Of course, if Bruce has not scolded you, then you really haven’t had a true All Saints’ experience. Helen Harris has grown up at All Saints’, and has been an active participant in many areas of parish life, including Sunday School, Junior Altar Guild, and as an Acolyte Captain. Helen is the daughter of Hank and Linda Harris, and she graduated from The Westminster Schools in May. She will be attending The University of Georgia in the fall. www.allsaintsatlanta.org

Sa i n t s A l i v e • Y OUTH

The Spirit of

A RT

By Sara Claire Chambless

As a painter attracted to non-objective compositions and abstraction, I am frequently asked,“What were you thinking, feeling, or trying to achieve with this painting?” While I am happy to engage the viewer in intellectual discourse or, even, relate my own emotional journey, my first response is typically, “What does the painting say to you?” I view art as anything that impacts or makes an impression on the subconscious self. I am interested in using nonobjective technique to portray the connections and paradoxes that occur within the human psyche. The method is to explore my intuitive responses to color, line, shape, value, movement, balance, emphasis, rhythm, and unity—the elements of art. In this way, I approach each blank canvas with a question fueled by an emotion and, through the physical act of painting, begin to initiate a dialogue between myself, as artist, and the viewer, as observer. I want my pieces to act as mirrors for the observer, reflecting back his/her own passion and emotional experience. This desire is born out of my attraction to existentialism and the importance of finding meaning in every moment, for it is my belief that God is omnipresent and always moving through us—just as the breath we breathe. As an artist, God directs my heart and mind and inspires the creative energy that fuels my desire to paint. My task is to break free from lower levels of consciousness (ego/fear/selfcriticism) long enough to allow the spirit to move through me to convey the emotion and concept I am exploring in a piece. If I am successful, the result will be an answer to the question which created the impetus for the work. It is through the process of painting that I become aware of the meaning behind the intuitive choices that compose my body of work. As a result, planning has never been a strong suit, much

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Pages 10 & 11

to the chagrin of my high school art instructors. I am inspired by images—both visual (photographs/ artwork/people) and auditory (conversation/music/nature)—and record these in a journal, but frequently the meaning of a piece does not fully manifest until it is completed. With “Solitude”, one of my more recent paintings, I began thinking about the lessons learned in silence and in time spent alone. I had recently spent six days in the hospital following an emergency appendectomy and found myself helplessly surrounded by constant commotion and activity. When I could enjoy a few moments of solitude, I realized how enriching the peace and serenity felt in contrast to what one might sometimes consider loneliness and isolation. This led me to ponder the many fruits of solitude, including the fact that we can only encounter our true selves and learn about our true nature when alone and in communion with the stillness I identify as God. When I went to work on the painting, I felt a sense of profound peace running through me and expressed this emotion by using warm, lighter hues of acrylic paint, contrasted with darker colors layered on top of pumice, which I use as a grounding element, to represent the metamorphosis which occurs when we come to know our

true self. The process of painting was personally fulfilling and apparently I had accomplished my intention, because when I asked my mother what she saw, she replied, “Serenity!”

At times achieving my vision

is more challenging. A painting called “Power” went through several revisions before I felt satisfied with the outcome. I began by working with the idea that one must embrace his/her God-given gifts in order to effect positive change in the world. Initially, I saw a figure emerge on the canvas—the profile of a young woman standing in a sea of color. After a few days, I realized something was not right with the piece and began again by adding plaster and other media to soften and further break up the figure, so it would emerge out of the canvas in a deconstructed fashion. Again, upon reflection, the result was not what I wanted. Finally, I began applying tree bark, paper, and moving an entirely different combination of color across the canvas with pallet knife and fingers until I began to literally feel the power of my own spirit being laid onto the canvas. At last I had created a satisfying image, which for me represented the power of an individual soul in motion. What began as an abstract figurative piece ended as one of my most satisfying nonobjective works to date.

One of my greatest influences is the 20th century abstract expressionist painter, Jackson Pollock, who said: “Today painters do not have to go to a subject matter outside of themselves. Most painters work from a different source. They work from within.” I agree wholeheartedly with this statement and would add that for me this “different source” is God—the spirit running through all great art. Although I have been painting for only a short time and am just emerging in the world of professional art, I am convinced that God would not have given me this passion if I were not intended to put His gift to the service of humanity. If I can remain solidly grounded in my connection with and direct experience of God, I feel certain I will continue to create images that have meaning for others, for I am clear that these works have their genesis in a higher source. I, as artist, am merely a conduit…an instrument for their coming into being. It is my responsibility to remain open to all I can learn and be willing to show up and do the work I have been given to do. Sara Claire is a senior at Riverwood High School and will attend Davidson College in the fall. She served as an acolyte captain this year and has participated in many youth activities including choir and Sunday Night Live. The background artwork displayed on both pages are part of Sara’s portfolio.

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Sa i n t s A l i v e • P ARISH L IFE

Singing Songs of Faith: words for a lifetime A student once asked the Swiss theologian Karl Barth (1886 – 1968) if he could sum up in a few words what was most important about his life’s work and theology. Barth thought for a moment, smiled, and then answered “Yes, in the words of a song my mother used to sing me, ‘Jesus loves me, this I know, for the Bible tells me so.’” By Karol Kimmell

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hen young children first walk into choir, they already know songs the Wandering Minstrels sing in the nursery each Sunday morning: “Jesus Loves Me,” “He’s Got the Whole World in His Hands,” “I’ve Got Peace Like a River,” “We Are Marching in the Light of God,” and everyone’s favorite, “This Little Light of Mine.” These songs contain the most important theological statements that young children should learn: God made everything, God loves me, God loves everyone. Hum….? So, what songs do I choose for them to learn in choir as they grow and mature? What theological texts should they experience when they are four years old? Eight years old? Twelve years old? Eighteen years old?

The Challenge

Choosing music for our children’s choirs is a daunting task. I have stacks of music in my office, hymnals from multiple denominations, and two large filing cabinets full of “ideas”. Anthems are chosen on the basis of the season of the church year, the biblical readings for the day, appropriateness of style, the moment they are sung during the service, and the difficulty of melody and harmony.Yet with all this to consider, I find my biggest challenge is finding music that is worth learning —theologically and textually. All Saints’ Episcopal Church

Each choir spends six to eight weeks learning an anthem. Often we repeat anthems throughout the years, especially those with communion texts. We practice singing with crisp diction so that the meaning is immediately clear to the listener. We strive for unity of vowels and explosion of certain consonants. Most of our music is sung from memory; we review the words repeatedly. So, if we spend so much time learning the words and practicing how best to convey them, shouldn’t the choosing of texts be handled with care? We remember words easiest when put to music, so shouldn’t the church be providing children with songs of substance, songs that provide meaningful ways for them to express joy, sorrow, doubt, and faith, and songs that speak to their moment in history as well as connect them to the saints before and the saints yet to be? I told you, it’s a daunting task!

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Stories and Reflections

Our youngest choirs sing songs about simple Bible stories. Who built the ark? Brother Noah built the ark! Not that the Creation, Resurrection, or Noah’s Ark stories contain simple concepts, but it is easy for children to visualize the events and characters described. The children learn about the lives and actions of others and start developing their own beliefs. As the children mature, I choose texts for them that reflect the meaning of the action in Bible stories. In rehearsals we discuss the characters, their motives, and their responses to God’s call. A favorite anthem with our elementary and youth is “Lenten Love Song.” It paraphrases the action, discussion and struggle of Jesus in the Garden of Gethsemene. The music is sad, but powerful. The melody helps paint the picture using a descending melody line and appoggiaturas. When we sing “the olive trees bent over Him” the melody sounds like overarching branches, bending over in sympathy with Christ as he struggles to find courage to do what he knows must happen. I remember the exact moment the Junior Choir finally made that phrase come alive – full of musicality and an understanding of Christ’s

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dilemma – and the children recognized it too. All of a sudden the power of Christ’s actions took on new meaning for us. Music made that story come alive in a way unattainable by mere speaking. We still talk about that “Aha” moment although it happened over five years ago. We sang the anthem on Palm Sunday that year, and I know whenever the Passion text is read, those children remember Christ’s actions with a different meaning than if they’d never sung that anthem. I do. Another favorite is “The Gift of Love,” by Hal H. Hopson, which paraphrases 1 Corinthians 13. Though I may speak with bravest fire and have the gift to all inspire, and have not love, my words are vain, as sounding brass and hopeless gain. Though I may give all I possess, and striving so, my love profess; but not be given by love within, the profit soon turns strangely thin. Come, Spirit, come, our hearts control. Our spirits long to be made whole. Let inward love guide every deed; by this we worship and are freed.

In this world of instant opinions, quick responses, and non-stop access to communication it is important for our youth to stop and ask themselves, “Why am I doing this? Why do I respond a certain way? Do I need recognition for the good I do?” This quiet yet powerful song puts thoughtful words in the mouths and souls of our maturing youth.

Around the World

Singing songs from other cultures is another important aspect of our musical faith journey. We sing songs from Africa, the Caribbean, Latin America, Native America, Eastern Europe, the British Isles, the Mideast, and Asia. These songs help us see God and Jesus through the eyes of others and to understand the joys and struggles of other Christians, thereby expanding our theological base. We learn of God’s goodness, and, most importantly, we learn that God comes to all people, not just those who look and talk like us.

In our own words

melodic highs and lows and exploring the meaning of poetic lines, but when learning our older hymns, I often have to explain every other word! For instance, Hymn #450 has these phrases: angels prostrate fall, royal diadem, way of pain ye trod, ye ransomed of the fall, the wormwood and the gall, or from other hymns: wrought, dost, didst, wilt, at your coming thither, dwell with thee he deigneth, gifts thou here dost give, Wherefore O Father, draw nigh, human vesture, verity unseen, thyself at thine own board make manifest, the verge of Jordan, dross to consume. No one talks like that anymore! Don’t get me wrong, I love these texts; they are rich with meaning and the children need to learn them. But when one realizes how little is understood by our young Christians, one understands why children may not pay attention in worship or think that worship is something that’s for adults, not them. We need to be introducing new texts along with the old, quality new texts that use modern language and are immediately understood. And at All Saints’ we are doing just that. Here is the final stanza of a favorite new hymn: Let us build a house where all are named, their songs and visions heard and loved and treasured, taught and claimed as words within the Word. Built of tears and cries and laughter, prayers of faith and songs of grace, let this house proclaim from floor to rafter: All are welcome in this place. Simple, modern, visual, inclusive, powerful.

Singing our Faith

Singing our faith gives voice to expressions of joy, praise, sorrow, or pain. Learning these songs at an early age gives our children a vehicle by which they can join the songs of the ages, past and future…with angels and archangels and all the company of heaven who forever sing…. Karol Kimmell is Director of Youth & Children’s Music at All Saints’.

Teaching hymns to children from Pre-K through sixth grade is fun but exasperating. We love mastering the www.allsaintsatlanta.org

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Celebrating 50 Years of Ministry By Ann Ray

TODAY I’M THINKING BACK to all Saints’ 44 years ago when my daughters were 10 and 7, both in

Sunday School. The Hightowers taught the Kindergarten class with the famous All Saints’ rocking horse. Little boys were climbing the big magnolia out front. The sweet and lovable Mrs. Crawford Gurley answered the church phone in welcoming, soft tones. She was our church school secretary; she knew every child in the church school by name and loved them all. It was a happy time.

A new young priest from Florida had just come to our church. He was in charge of Christian education and worked with the church school and youth programs. His name was Walter Smith, and the congregation, young and old, began a loving lifetime connection with him that continues to this day. He had a concern for quality teaching in the church school and brought in professional educators to train the teachers.

All Sain ts’ Episcopal Church

He prepared our children for confirmation. He had a remarkable gift of rapport with the children, both the little ones and the teenagers. I have a vivid image of Walter after church, surrounded by little children who had flocked to him. He had two little boys, Howard and Steve, and in church one Sunday an announcement was made. Baby Daryl Smith had been safely born. The congregation rejoiced and we rejoice today that Walter’s family has come from far and near to be here with us. In 1969, Walter announced his decision to make a change from the parish ministry in order to pursue a different ministry in counseling. This was not happy news; we wanted him to stay on and on, forever, doing the same wonderful work with our young people that he seemed born to do. Walter went on to have a distinguished career as a marriage and family therapist, lecturer and leader in many capacities in the community, the wider church and abroad. Yet we never really lost touch with him and in the 90’s, when he came back to the clergy staff to help out during our interim, our connection with him was quickly rekindled. His presence during that time was a reassuring and inspiring one that continues now when we see him in the chancel, in the pew, or a Sunday class. We have gathered this morning to honor Walter, one of the saints of this family we call All Saints’, the beloved priest, pastor, teacher and friend who has enriched the lives of so many of us, old and young. Congratulations, Walter! Your 50 years of priesthood have been well spent and well lived, both in the church and in the world outside. It is a very great joy to be here today to celebrate with you and your family. Ann Ray is a lifetime Episcopalian, born in Mississippi, reared in Alabama and a 1945 graduate of the University of North Carolina. Her continuing love affair with All Saints’ began in 1956, when she moved to Atlanta from New Orleans with her family. She is now happily settled at Canterbury Court where she is a member of the Altar Guild, a service she performed for many years at All Saints’.

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comers

new

The Sweet Spirit of All Saints’

Mary Helen Rhodes and Harriet Pippin are newcomers who have entered the All Saints’ parish family with ease. Their warmth and easy-going attitudes make it easy to see why! I recently had the opportunity to meet them and chat about their journey to All Saints’ and what keeps them coming back to this wonderful place.

Burel and reconnected with him when they were both living in Atlanta. Michael urged Mary Helen and Harriet to give All Saints’ a try. It was an instant fit. Mary Helen liked that she was familiar with the liturgy and church holidays, and both Harriet and Mary Helen loved the choir and the wonderful music at All Saints’. Michael Burel and his partner Michael Crowe have been instrumental in helping Mary Helen and Harriet find their place at All Saints’. Through Michael and Michael, they have made many friends they hold dear to their hearts.

Mary Helen has lived in Atlanta for 17 years and is a Merchandising Vice President Assistant at Home Depot Corporation. Harriet has been in Atlanta for over 40 years. After a long career at Atlanta Decorative Arts Center, Harriet’s “retirement” job is with the floor covering division at F. Schumacher and Company. Mary Helen was raised Roman Catholic in Athens, Georgia. Harriet was raised Primitive Baptist in Barnesville, Georgia. Both were very involved with their respective churches in their growing--up years. As adults, both enjoyed working with young people and the youth group in their churches.

Since they have started attending All Saints’, Harriet and Mary Helen have become “regulars” at the 11:15 service. In fact, Geoffrey mentioned, “we see you more than the regulars.” Both Mary Helen and Harriet like the people at All Saints’ and the warmth that has been shown to them. They have been made to feel very welcome by both Geoffrey and Noelle. They like the fact that All Saints’ is “not pretentious” and feels “comfortable” to them. The size of All Saints’ is also a draw; they are happy that it is “not huge” like other churches they visited. Harriet especially mentioned liking the “sweet spirit” of All Saints’ parishioners.

In her spare time, Harriet enjoys walking for exercise, oil painting and music. Mary Helen enjoys gourmet cooking, tennis, and all types of painting. Mary Helen is mom to two grown children who live in Athens and Atlanta. They are also proud grandmothers to three grandchildren, ages 7 years, 3 years, and 14 months, who live close by in Athens.

Harriet and Mary Helen look forward to being involved with GIFT at All Saints’. They are also interested in helping with food and cooking-related events since Mary Helen is a lover of cooking. Another ministry they would like to work with is some aspect of helping women who are in a shelter or otherwise in need of assistance. They also are planning to be on the Greeter’s Guild. Look for them at the Greeter’s Cart this summer!

By Liz Jacobs

They are also moms to two wonderful Humane Society cats, Lady and Little Bear. Together for 15 years, Mary Helen and Harriet live in the Buckhead area. Mary Helen and Harriet searched for a church that felt right to them and went to several different churches before finding All Saints’. They came to All Saints’ on a long-time friend’s recommendation. Mary Helen went to Winder High School with parishioner and choir member Michael

Please join me in welcoming Mary Helen and Harriet to All Saints’. Let us thank God for the sweet spirit in all of us and our ability to make newcomers feel welcomed. Liz Jacobs is a member of the vestry and has been a member at All Saints’ since she was married to Bert here in 1991. She is mom to Joseph (14) and Annie (9). www.allsaintsatlanta.org

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The Person Who Sings Prays Twice By Louise Franklin and Craig McConnell

CRAIG MCCONNELL has had a passion for the performing arts, particularly musical theater, since an early age and currently serves as executive/artistic director for Galaxy Music Theatre. He cofounded the theater in 1997 as Galaxy Productions, and in 2005 orchestrated its conversion to a non-profit organization, when it took on its current name.

Craig grew up in the Methodist Church. It was actually his work in community theater that brought him to the Episcopal Church. In 1986, he began working with Onstage Atlanta, then housed in an old garage on Courtland Street, owned by St. Luke’s Episcopal Church. Unable to find a Methodist church in town where he felt at home, he began attending St. Luke’s and was confirmed there in 1988. All Saints’ Episcopal Church

Craig was acting in a production of Jesus Christ Superstar at Onstage Atlanta in 1989, when musical director Sally Priester told him that Ray Chenault was looking for a tenor. He has been a member of the All Saints choir for the past 19 years, and the rest is history. He says that for him, the theater community has always been a very inclusive community, one where his sexuality was not an issue. The second place he experienced that spirit of inclusiveness was at All Saints’.

Promoting Diversity Through the Theater Galaxy Music Theatre’s official mission is to produce quality well-known and original works in an intimate, neighborhood environment, while creating

an enjoyable musical theatre experience for diverse participants, both in front of and behind the curtain. Craig says that for him, the diversity portion of this mission derives from our vow every baptismal Sunday “to respect the dignity of every human being.” It is important to him that everyone be welcome at the table. The theater does not have a permanent home at this time. While it maintains a good relationship with Onstage Atlanta, now located in Decatur, the Galaxy Board of Directors feels that an intown location will ultimately best serve its mission of diversity, and the Board continues its search for a home. Galaxy also holds open auditions and always encourages persons of any ethnicity to audition,

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Craig believes firmly in the old saying, “The person who sings prays twice.” This is the impetus for his recent work with children, teens, and college students, with whom he feels a strong connection. This past spring he musically directed Urinetown, The Musical for DramaTech at Georgia Tech, The Robber Bridegroom for Shiloh High School in Snellville, and directed and musically directed Seussical, the Musical for the Off-Broadway Dance Theatre in Roswell.

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n our discussion about how theology inspires his art, Craig pointed out that Galaxy’s first production was I Do! I Do!, a show made famous in the early 1960’s starring Mary Martin and Robert Preston. Galaxy featured an African-American cast. To his knowledge, Galaxy was the first company to do so. Later on, they produced the musical Working, based upon the book of the same name by Studs Terkel. Working tells the stories of persons from all walks of life, from the executive to the waitress and the steel worker to the grape picker. Another production was Falsettos, which focuses on the Jewish and gay communities. To further draw in AfricanAmerican actors and audiences, Craig produced Dreamgirls and Smoky Joe’s Café, in 2006. For the 2007 Christmas season, the theater staged Handel’s Messiah, a Soulful Celebration. It was based upon a 1992 recording featuring the talents of Quincy Jones, Stevie Wonder, Patty Austin and many others as a gospel/rhythm & blues version of Messiah. Craig hopes to make this production an annual event.

A Spiritual Reawakening

A few years ago, Craig began battling a feeling of isolation from God brought on by the rituals and structure of organized religion. He was never ready to discard Christianity but was concerned that Christianity in general had gotten caught up in the ritual and literalism that the men of our past have told us what Christianity should be, and had forgotten what Christ taught about inclusiveness and love. The staging of Godspell in the summer of 2006 produced

His work with kids also extends to volunteering with Threads these past few years.

Dreams for the Future

a spiritual turn-around for Craig. He found himself connecting with God in the theater more so than in church. He went to every performance and was greatly moved each time. Nowadays, as his battle with isolation continues, he has been consciously shedding these intrusions and can feel the Holy Spirit at work more. This reawakening has affected his art. It has changed the way he deals with groups of people—he is calmer and less prone to temper and finds he accomplishes more with his actors. This attitude ties in to consciously respecting the dignity of every human being.

Recently, after reading Martha Sterne’s sermon for World Mission Sunday, specifically dealing with the Atlanta International School, Craig began wondering what he could do to include the refugee community in his work. Always a dreamer, he fantasized a musical that spotlights this particular community. Does anyone know of a musical that deals with refugees? If not, he may have to write one, or better yet, have one written by the refugees themselves, and he wants to use refugees for actors. For more information about Galaxy, check out www. galaxymusictheatre.com. Louise Franklin has been a member of the Threads governing committee for the past three years and serves as inventory manager and volunteer coordinator. A native Atlantan, Craig McConnell has been a parishioner and choir member at All Saints’ for 19 years. Craig currently volunteers as Executive/Artistic Director for Galaxy Music Theatre and freelances as a director and musical director for schools and theaters in the Atlanta area. www.allsaintsatlanta.org

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“True, my images are usually not the stuff of Life magazine or Rolling Stone.”

Seeing God in the Ordinary

By Parlee Chambers

I scan the world constantly with eyes hungry for different qualities of light, color, texture and pattern. Whether I paint or photograph, and whether the image is of something I might come upon and document or is created to represent a world or an idea for a client’s needs, I am attracted to celebrating the normal and everyday. I seek an authenticity and integrity within the object and also within the light that illuminates it. The sun for illumination is, of course, unbeatable and ultimate, in my opinion. Whether that largest of lights is filtering through a window, dancing sharply off a glass of iced tea or creating fingers of blue in the woods, let’s face it: lighting up the world is one of the things that God does best. Therefore, even when I must shoot in a studio, I strive to create light that I could believe the sun provided. All Saints’ Episcopal Church

For me objects glisten, or pale, they vibrate or emerge softly out of darkness. Steaming food, blowing fabric, splashing water: God knows I love the way these things take up space and fill our world. Mostly this stuff-of-our-world or observed-humanmoments are really very ordinary. Definitely they are ordinary. We can choose to look and see the beauty of interactions between people or even the way bottles or lemons might be glowing, or we can pass it by. I myself can get visually waylaid by the luster my daughter’s skin as she applies make-up in her mirror. I stop the car and rescue the marvelous texture, rough and peeling from a screen door discarded at the side of the road. True, my images are usually not the stuff of Life magazine or Rolling Stone. They are not tragic, proud or

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otherwise pivotal moments in the history of mankind. And yet they can be tragic, proud, tender and even arresting. At the very least I see the environs that play around our physical body as heaven’s too familiar canvas that constantly surrounds us, all the time dancing with and simultaneously mirroring our souls. Finally, I think that all of the imagery that flows through my head is some form of God saying, “LOOK! Look at how beautiful the earth is, your back porch is…SEE the holiness in everyday chores…the spirit in those shoes… the perfection of this decaying leaf… and the rightness of the rain on that child’s eyelashes.” Spectacular.

All Photos by Parlee Chambers

Mom to Dustin (21) and Lily (15), Parlee Chambers has spent her lifetime in creative endeavor with many years of production, photography, painting, art direction and styling work. Parlee’s paintings have been featured on The Gallery Wall in Ellis Hall. It is Parlee who redesigned and painted the youth lounge (and is often responsible for any cool bulletin boards on campus featuring our youth). She and husband Don, an award-winning photographer, make up Studio Chambers in Inman Park. Additional photos may be found on their website: www.studiochambers.com.

www.allsaintsatlanta.org

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Where Faith Meets ART By Eileen Nebhut

Arts Theology is made up of All Saints’ parishioners who are interested in, simply, theology as it relates to the arts. The Arts Theology crew is responsible for bringing “art” in its many and varied forms in front of All Saints’ parishioners to inspire thoughtfulness, creativity, discussion—joy. If you are thinking that “arts” in this case only means paintings and sculpture and photography—you are missing half the fun! Our theatre programs are big hits, offering a wonderful way to experience performance art, followed by an opportunity to discuss meanings with fellow parishioners and esteemed speakers. Most recently, participants attended a performance of “Doubt,” the Pulitzer Prize-winning play which won

Next Lenten season, look around the church for the Stations of the Cross pieces by All Saints’ parishioners. One of the stations exhibited this year was the work of one of our youth—Sara Claire Chambless. The Arts Theology committee is open to all age groups, representative of the artists we feature! At Christmas, you’ll see us selling Christmas cards with the pictures of the stained glass windows on the front. In fact, we hope you will see the arts at All Saints’ all year round… Interested in Arts Theology? Join us on one of our outings to private homes for art tours, or to a local museum for a lecture—or join us as a committee member! We are open to anyone with

“Arts Theology brings the visual arts to All Saints’ as well.” four Tony awards including “Best Play,” and took part in a “talk-back” in Ellis Hall with Harry Pritchett. Arts Theology brings the visual arts to All Saints’ as well. Our fine arts show and sale in 2006 featured over 30 All Saints’ artists and works ranging from bronze sculpture to watercolors and woodwork. Part of the sale proceeds went to the J2A (Journey to Adulthood) program —thus providing a venue for our artists, as well as benefits to our youth ministry. Since the 2006 show, we have created The Gallery Wall in Ellis Hall, where you will find artists’ work exhibited year round! We rotate artists every two months, and purchases can be made through Lauri Begley, director of parish life. Photo Credit: Parlee Chambers All Saints’ Episcopal Church

a love of the arts, and with ideas on how to bring “the arts” to All Saints’. If you would like to know more about our ministry, please contact Marie Weaver or Eileen Nebhut ([email protected], eileen@ nhabitation.com). When Eileen Nebhut isn’t bringing the arts to All Saints’ she’s working to bring order, beauty and function to her clients’ homes. As founder of NHabitation LLC, a home consultation company, Eileen manages a range of home improvements—from renovation projects to organizational and decorative work. Eileen lives in Inman Park, has attended All Saints’ for three years and co-teaches 7th Grade Sunday School.

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The Art of Furniture Making By Paige Martin

When Rob Cart was about eight years old, his mother wrote in his baby book “Rob is the carpenter in the family.” As far back as he can remember he had a desire to create things. He began making furniture in 1980 as a hobby, but he was good at it – really good at it – and it became his livelihood in 1997, when Rob took on the craft full time. Rob mostly produces commissioned pieces. “I usually work from photographs of different pieces of furniture that the client likes and from any clues they can give me as to what they want it to look like,” explains Rob. His clients approve scaled drawings and then Rob goes to work using predominantly hand tools to employ the same methods and technologies that were used in the 18th and early 19th centuries. Most of his designs are developed from examples from this era. One of the most rewarding successes for Rob was completing his first chair. It took about 10 weeks to make and tapped into all of his woodworking skills (he could make a similar chair today in about two to three weeks). One of the challenges of making a chair is that all of the joinery (where wood pieces connect) is cut and fit using only hand tools and must fit precisely to have the structural integrity to withstand the stresses of use. Also, most components

of a chair are jointed on an angle with some components angled and curved at the same time. A chair is made one piece at a time, starting with the chair back and working forward. Each piece is cut and fit one at a time, building on the previously-fitted parts. The artist must accurately cut and join each piece so that all the components will come together to form a chair. Honduran mahogany and American black walnut are Rob’s favorite woods to work with because both possess the attributes of good furniture wood: beautiful grain, figure and color, as well as stability and durability. The artist buys his wood in what’s called “rough sawn condition.” According to Rob, “One of the rewards in working with wood is discovering the beauty in each unique piece. It is like a diamond in the rough; its color, grain and figure are hidden under the rough surface. It is only when you plane it smooth for the first time that its true beauty is revealed.” Interestingly, Rob observes that the most beautiful pieces of wood come from trees that have survived harsh conditions: “During times of drought, a tree’s growth rate is reduced, causing its annual growth rings to become very dense, increasing the tree’s overall structural strength, which in turn enables it to grow even larger as conditions improve.” Rob finds this to be the case throughout nature—and all of God’s creations. “The struggles and hardships in life are an important part in our spiritual growth, something that without, our own integrity would be weakened.” Paige Martin has been at All Saints’ and in the Atlanta area for four years. Her furniture making is limited to a television stand she produced in a woodworking class at Auburn. The stand is appropriately placed in a closet. She lives in Decatur—and in awe of Rob Cart’s talent.

www.allsaintsatlanta.org

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Nativity (mixed media) – Currently part of the Episcopal Church and Visual Arts “Portraits of the Self” exhibit

By Luis Coelho

The A r tis t ic Ministry

“So, you want to be an artist,” he asked. “Yes, sir,” I responded. “So, you don’t want to study theology anymore,” he asked. “No, sir, I still want to study it.” The man who asked me those questions was a parishioner at the church I served as an intern the whole year of 2007, back in the Anglican Diocese of Rio de Janeiro. Like many, he could not see the manifold interrelations between art and theology. I thoroughly explained to him how the Church has always used art as a means of retelling stories about the people of Israel and also about Our Lord Jesus and all the saints. And then I told him about my earlier attempts to start art school and how I felt called to incorporate art and ministry together. All Saints’ Episcopal Church

Still, he was puzzled. And then, only God knows why, I eventually told him: “I want to pursue this vocation because I firmly believe that God is the source of all beauty, and as part of his creation, we enjoy being able to create beautiful works to praise Him.” He finally settled, albeit a little disturbed, with how obvious and still how unnoticed those words were to him. More recently, I found myself giving a similar explanation to a completely different audience: art students. While having a meeting with a professor here at SCAD-Atlanta, we were invited to show some of our art and explain why we had chosen that field. Most of us in that room were visual artists, or at least visual artists— wannabes. We showed our art to our peers and also to the professor. When my turn came, and I finally got to show some of my pieces, a student noticed how commonly religious themes were present in my artwork and asked why. I told him—to the awe of some of my peers—that since I believed we were made in the image and likeness of God, not only were we gifted with creativity, but we also could use our creative abilities to praise God through the resources he has given us. I wonder how, or when, art and faith got disconnected from each other—at least to the wider public. In art circles, this is often true. It is still impressive to me to notice how many artists and art students, who in many cases are people of faith, do not perceive how precious the artistic creative process is and how blessed we are to have the opportunity of doing it. Even churchgoers fail to see how natural God’s praise through art is. When I finally communicated my intention to come to Atlanta to

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pursue a BFA in Painting recover our inner Pantocrying (mixed media)—Donated to Christ the at SCAD, and therefore radiance. As Christians, King Anglican Church—Rio de Janeiro/RJ to combine it with longwe are called to spread distance theology studies the redeeming message at one of the Brazilian Anglican seminaries, some people in many forms, and art is one of them. in the Church found that complicated arrangement to be So, the next time you find yourself appreciating a a very difficult one. After all, to them, either you are an work of art, do not forget it is also a prayer: a plea artist, or you are a priest. from the human spirit to its Divine Creator, and also I refuse to accept this exclusive definition of ministry, an opportunity to engage the original beauty of God’s and many of you already know why. At All Saints’ you creation. probably have had the joyful opportunity of feeling God’s presence through the beauty of our choirs, through the Luiz Coelho is from the Diocese of Rio de Janeiro, Brazil. He is currently a second-year seminarian of the long glooming light that crosses the stained glass windows, distance program of Egmont Machado Krischke Theological through the various art exhibits, and even through the Seminary and an International Scholarship Award recipient well-chanted liturgies. All of these have something in at the Painting BFA program of the Savannah College of common: they are the fruit of the human creative process, Art and Design. His website, luizcoelho.com, includes his with the sole purpose of worshipping the One to whom art and his blog, on which he examines “Christianity in the third millennium, from a progressive, Latin American all glory and honor should be given. and Anglican point of view.” Some of his artwork and meditations can be seen at the Episcopal Café and As children of God, we are part of His beautiful creation. Episcopal Church and Visual Arts. This summer, Luiz will be God has also entrusted this creation to us and has made the Brazilian youth steward at the Lambeth Conference, and it available for us to enjoy and use in order to generate is developing a visual arts lectionary and fundraising effort beauty in the midst of this broken world. It is true that which can be accessed at http://lambeth.luizcoelho.com. stains of sin sometimes cover our beauty. However, While in Atlanta, Luiz joins All Saints’ in weekly worship services. through Christ our Redeemer we are always able to www.allsaintsatlanta.org

Sa i n t s A l i v e • P ARISH L IFE

By Timothy Frilingos

I Love You With All

Of My Art

I knew a girl in college who wore a faded blue t-shirt with a heart on it and the words “I love you with all of my art” printed on the front. The shirt was from an art camp, but I was never sure if it was a camp she attended or if she had picked up the shirt at a thrift store, inspired by its clever slogan. The popularity of thrift store apparel created a lot of confusion on campus in those days. I was fond of wearing a short sleeve button-down gas station shirt that featured the name “Ray” on a large patch sewn into the right breast pocket. One day I wore it to my Environmental Science class, and the professor approached me with a confused look. “Is that a nickname?” he wondered. “No, I just bought it at All Saints’ Episcopal Church

a thrift store,” I answered. “Oh,” he replied. He then awkwardly explained how he had a similar mislabeled shirt that he sometimes wore. I do not remember the details of his shirt because during the conversation instead of concentrating on his words, I began to question the whole practice of wearing this type of “ironic” clothing. Class began and after that day I never wore the shirt again. I did not get rid of all my thrift store shirts that day. They took up a considerable amount of my wardrobe and since it was March in the Midwest, I still needed as many layers of clothing as I could piece together. Over the years the amount of thrift store shirts in my closet gradually shrunk until today I only have one that I continue to wear. It is related closely to my days at Wheaton College, and I would cry if I lost it or it were ripped beyond any hope of repair. It is a red shirt that features the Rolling Stones’ “ Steel Wheels” tour logo on the front. The back of the shirt is labeled “ROAD CREW” in big block letters. I was in high school when I found the shirt, and I was beginning to take Rock n’ Roll very seriously. Whenever I wear it, I hear stories from people who attended those concerts. I have to admit that I was only about 11 at the time of the tour, and though I possibly could have attended with my parents, they tended to be more Peter, Paul, and Mary than Mick and Keith. Besides there was no way I could have been a roadie at that age. The shirt gained personal significance in college when I began to wear it in connection to a specific event. I was part of the

campus theater and the night after the final run of show, we would stay up all night and tear down the set and generally celebrate the end of a play. I made a point to always have the Steel Wheels shirt available to wear. If I were in the cast of the closing show, I would pack it in my locker and switch into it before picking up a screw gun or pry bar. At the end of the night, the thin red shirt would be covered with dirt, dust, sweat, and occasionally a few drops of blood. The theater at Wheaton College was called Arena Theater. The name had meaning. Jim Young, its founder and the first professor specifically hired to instruct theater at the college, wanted a space to explore Christianity and the arts. He made sure “Theater” was spelled with an “-er” rather than an “-re” because he believed the latter to be stuffy and snobby. He chose “Arena” because he thought Christian artists should feel like they were being thrown to the lions when they went onstage. When he began the program in the early 1970s he jealously guarded it against administration pressures to turn it into some sort of run of the mill evangelistic endeavor featuring Passion plays and altar calls. This fortitude created a strong sense of history and community for its members. To be in a play you had to first audition for the company that Jim labeled “Work Out” (Jim explained that we would “work things out” in the process of creating theater). The Steel Wheels t-shirt is a personal relic of the specific time I spent with Work Out. Wheaton College is a nondenominational Evangelical Christian school founded by a group of abolitionists in the mid 19th Century. Its motto “For Christ and His Kingdom” permeated all academic disciplines and even many casual

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conversations. The arts struggled on campus. Not only were many specific arts (theater and film) banned up until the 1960s, all art programs had to work hard to justify their existence in “His Kingdom.” For many students the arts were awash in worldly desires and hedonistic practice. The only way to participate in the arts was to view them with a puritanical Protestant work-ethic and justify them as evangelical tools. Wheaton’s Conservatory of Music was shaped to fit this mold of purposeful arts. I worked several years with the Conservatory opera class, and while I found the students highly skilled and amicable, I always hoped that they would let go a little more in the moment and create something truly daring.

Arena Theater was a black box that we built into a stage from the floor up for every show. By my junior year I was running the scene shop and I worked with set designers to create spaces that allowed actors to play and audiences to engage. I love theater because the creation process happened

form of worship in which I have ever participated, but it was the most satisfying as well. I still sometimes throw on the Steel Wheels shirt to do yard work or other home projects. I even ran a few marathons in it before I realized 100% cotton is not the best material to wear when running a long distance. I put it on because it inspires me to remember the creative work I did in college. Work I still aspire to do. And who knows, maybe someday I will find myself in Wheaton on closing night with nothing better to do than tear down a set.

“Is that blasphemy?”

At times the members of Work Out strayed into intense navel gazing as we attempted to justify what we did in the Wheaton College community. We worked hard to put on these plays, and we wondered if the audience simply saw them as distractions from the true work of the Kingdom of God. We all could recite Arena Theater’s tenets of justification: yes, we portrayed sinful people in a sinful world, but that created compassion in us and our audience; or, just as Jesus told parables, we use stories to explain greater truths; or even, God commands us to take time rest and enjoy life and our theater allows stressed-out college kids to do just that. These are all great reasons to do theater or the arts, but after a few years they were not very important to my work. The work I did at Arena Theater was worship. I was in theater because I needed to create something from a blank space and breathe life into it. Through art I began to understand the heart of God.

within a group not alone in a studio. I imagined the joy we felt solving problems onstage or off was similar to the Holy Trinity hashing it out in the beginning. Is that blasphemy? It seems so accurate a description of what we were doing. Though my chances to act onstage were limited, I treasured the experiences to play characters not because I got to see the world through someone else’s eyes, but because I began to see myself clearer. During scene work one day I was struggling with the intention of a character. While the character clearly wanted to say and do one thing, the play’s author gave him all the wrong things to say. During a dispute his wife pleads with him to tell her that he loves her. I wanted to scream it as loud as I could, but instead my line was, “Well, it goes without saying. . .” After the scene I explained this dilemma to our director, and before he could respond, I had internally realized the truth of the scene. The character’s reluctance to open up was what I did all the time (and what I still do).

The girl who wore the, “I love you with all my art,” t-shirt was part of Work Out as well. She worked then as the head seamstress and is currently designing costumes for plays in New York. I would frequently see her in that shirt around the theater as we relentlessly put together another show. I imagine she noticed me in my stinky Steel Wheels shirt as well. I wonder if she has hung onto her t-shirt. I remember it so clearly still. Obviously the cleverness is indelible, but I think it has stuck with me because at that moment in my life, I was beginning to understand that creating art could truly be an expression of love, not just for the community or the audience, but for God. Timothy Frilingos lives with his wife Beth and son Paul in Decatur.

It is not that I did not want the content of our plays to have meaning, I just realized it was not up to me whether the audience took home a new understanding of the world or not. I could leave that work to God. My passion was to worship through the act of creating. It was the hardest www.allsaintsatlanta.org

Saints A l i v e • P ARISH L IFE

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Young singers from around the world auditioned for 20 spots to participate in Bobby McFerrin’s “Instant Opera” Professional Training Workshop at Carnegie Hall this spring. These artists brought many musical, ethnic, and linguistic talents to this collective. Twenty others of us had the opportunity to audit the class and watch this Master of Vocal Improvisation create an opera in four days. Raised an Episcopalian in NY, Bobby seriously considered entering the priesthood before music became his ministry. Born to parents who were both voice teachers, Bobby obviously absorbed much from his parents but began as a jazz pianist. Bobby’s father, Robert McFerrin, was the first AfricanAmerican to sing with the Metropolitan Opera and was the singing voice of Porgy for Sidney Portier in the film version of “Porgy and Bess”.

By Virginia Schenck

A Platform for Adventure Are you listening? You’ve taught us “to open our ears” to hear “beyond the obvious.” “I’m not the same person.” I’ve had a “spiritual experience, an epiphany.” —Participant comments All Saint s’ Episcopal Church

Often known as the “Don’t Worry Be Happy” guy, (a song that launched him in to world-view), Bobby has gone on to gain expertise in other musical areas and is a 10-time Grammy-award winning artist. His collaborations and recordings include Yo-Yo-Ma, Chick Corea, the Vienna Philharmonic, and Herbie Hancock, thus establishing him in both the jazz and classical worlds. Either conducting or using his voice as the solo instrument in the classical world, walking on stage with little or no rehearsal to improvise with jazz artists, or joining his 12-voice a cappella group, Voicestra, Bobby continues to astonish and amaze with his four-octave range, sensitivity, and professionalism. “The stage is a platform for adventure,” Bobby said, “Take the initiative!” Always up for a new challenge, McFerrin has been a part of Carnegie Hall’s Perspectives program this spring including many concerts in addition to this course. The Professional Training Workshop definitely presented a new edge as Bobby strove to keep a totally improvised program with his students in a loose form in order to convey the story of The Tower of Babel. As a singer, teacher, and music therapist, I

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relished watching this master teacher work his magic. Warm, friendly, listening to others’ ideas, and being a “goofball”(his words), he worked efficiently moving the pace ever forward with the willingness to try anything. Through improv games, playing, moving, and constantly singing, the participants brought forth their own styles and talents as well as learning new ways to listen, blend, and stretch themselves vocally. These 20 singers represented England, Lebanon, Turkey, Israel, South Africa, Brazil, Argentina, France, Australia, and varying parts of the U.S. Only a few young professionals were trained in western classical style, which included not one, but two counter-tenors! This vast array of musical genres wove classical, Celtic,

Are we listening to each other? Are we listening to ourselves? Are we listening to God? Are we listening?

Tuvan throat singing, beatbox, jazz, funk, Broadway, and gospel to create cacophony and/or harmony. One participant stated how difficult it is to decide when to assert one’s self musically and when to listen. Later on, in private conversation with Bobby, I mentioned how the participant’s statement is a metaphor for life. We went on to discuss improvising as a spiritual discipline. After practicing vocally and keeping one’s vocal muscles in shape, there is then the letting go to listen, receive. Bobby said he prefers this in an improv situation and suggests not thinking of a musical idea before singing but committing to what comes out. “Make a mistake, go for it, it’ll be a ‘beaute’ and we’ll make something out of it. We’ll be each other’s safety net,” Bobby said. Often asked of his own spiritual practice, Bobby begins his day by reading the Bible. When not on tour, he claims to live simply by walking with his dogs through the woods surrounding his home, swinging on the front porch, and loving his wife and family. It’s no surprise that this thoughtful and intentional artist chose The Tower of Babel as his theme. On Friday night, May 2, 2008, the final performance was presented to a sold out crowd at Carnegie’s Zankel Hall.

In 90 minutes of improvised singing, we witnessed Creation, harmony, diversity of virtuosity, the rise and fall of the Tower, grief, divisiveness, to hope and unity. Interestingly enough, it was the three women from the Middle East who sang us back into peace and promise. The audience laughed, cheered, and cried as singers showcased themselves yet remained a part of the whole, weaving in and out of Circle Songs (Bobby’s name for communal partsinging with improvised motifs, interlocking to a group chant). “Always go for the greatest good of the whole” is a statement we often hear directed in choral singing and was certainly emphasized here. Another great metaphor for life. Joining in when encouraged at various points throughout the opera, the audience enthusiastically did so. By the end, the singers had abandoned the stage to surround the hall in their ending Circle Song with Bobby engaging the audience to echo his cries. Everyone was on their feet, everyone singing a part to contribute to the whole. This lesson of The Tower of Babel seems timely today as politics, world challenges, and the need for harmony increase in need. Can the music and story remind us of the lessons learned? *Genesis 11:1-9

Virginia Schenck has been a member of All Saints’ since 1986, a member of the All Saints’ choir since 1992, and currently chairs the Woodall Lecture Series Committee. She is a member of the music faculty at The Paideia School and teaches vocal improvisation in the community. This was Virginia’s second experience with Bobby McFerrin.

www.allsaintsatlanta.org

Saints A l i v e • P ARISH L IFE My approach to the design of things ecclesiastical is informed by a lifetime of work designing for stage plays and subsequently the venues in which performing arts programs are presented. Of necessity, that work involves a knowledge of architectural history, the development of middleeastern and western clothing, the physical properties of light, color and optics, electricity and the ability to paint and draw.

Ambo

In addition to being a walking Episcopal dictionary, Larry Graham has designed everything from clergy vestments to an ambry, which is a recess in the church wall for holding sacramental vessels. We asked Larry to share his reflections on the intersection of his faith and creative work.

The

Work of Worship

By Larry Graham Photo Credit: James Tolmach Handmade Furniture, Avondale Estates, Georgia

These subjects are taught in specialized theatre programs at colleges and universities over a period of six years. During that time, one learns not only the theoretical, but the practical application as well. Scene painting, for example, is something akin to mural art. Most of the canvasses I have painted for what are commonly called “stage drops” have been somewhere between 24 and 36-feet wide and correspondingly high. Costuming a play often involves hundreds of separate pieces including period corsetry, garments, wigs and footwear. Performance lighting involves painting each moment of each scene with delicately colored lights that change almost constantly and also imperceptibly. All of the work is done in support of telling a story set in a world created and peopled by the playwright. You may not believe in fairies at the moment. But if you go to see a good production of Peter Pan, that will change. Because when Tinkerbelle is dying, and Peter says, “If you believe in fairies, clap your hands,” you will! The stage designer is there to make physical the playwright’s world. This work helps the audience suspend its disbelief by giving them auditory and visual clues about the playwright’s illusory world. Anything that detracts from the coherent consistency of the illusion destroys it and spoils the fun for the audience. For that reason, the paramount thing that stage designers have drilled into them during their education is that if

A ll Saints’ Episcopal Church

Pages 28 & 29 the design calls attention to itself, it is bad design; and that good design supports only the telling of the story. Self-abnegation is the stage designer’s lot, and for good reason. The world of the theatre is a place of illusion. But the Church is not. It is the place of ultimate reality. The sacraments aren’t just symbols or remembrances of things past. They are the visible and outwards signs of grace bestowed. I often feel that All Saints’ is a “thin place” in the pre-Christian Celtic sense. “Thin places” are times of year (like Samhain/Halloween), or places, when the veil between this world and the next becomes more transparent; a place where the living and those beyond experience a closer bond. As the Preface to the Eucharistic Prayer has it: Therefore, with angels and archangels and with all the company of Heaven, we laud and magnify your glorious name as we sing, Holy, Holy, Holy…”

The priest at the altar, in brightly colored vesture, is a punctuation mark in front of the white of the stone reredos. The color draws our eyes to the action at the altar: the cup, the bread. Then: Rank on rank the host of heaven spreads its vanguard on His way, as the Light of Light descendeth from the realms of endless day.

For those of us who have found the “thin place,” this is not theatre, nor illusion, but the supreme reality, when heaven and earth are joined. Ecclesiastical design is good design when it supports telling the story; when it serves the inner meaning of the liturgy; when it points to God. The work must not point to itself, or (even worse) to the designer. It must serve only the work of worship. In a historic landmark like All Saints,’ it is my personal belief that any new work should blend as seamlessly

Font

Credence

as possible into the old, lest it call attention to itself. About 20 years ago, it was my pleasure to design an ambry for the sanctuary of the church. The day after it was installed, a member of the Altar Guild said, “Am I crazy? Have we always had that and I never noticed?” It was one of the finest compliments I have ever received. A standing joke on the Memorials and Gifts Committee is that I am heartily “anti-plaque.” I am. I don’t object to some small and discreet identifier that gives the history of the thing. But the thing—whatever it is—ought to point to God, not to the giver. We give Thee but Thine own, Whate’er the gift may be; All that we have is Thine alone, A trust, O Lord, from Thee.

To offer a portion of the talent that I have been given is, for me, both a delight and a sacred duty. My prayer is that I may faithfully do what Dorothy Sayers recommends in The Man Born to be King: When a story is great enough, any honest craftsman may succeed in producing something not altogether unworthy, because the greatness is in the story, and does not need to

Ossuary borrow anything from the craftsman; it is enough that he should faithfully serve the work. Larry Graham has been attending All Saints’ since 1981 and has served the church in the choir, as verger, Eucharistic minister, on buildings & grounds committee and the memorials and gifts committee. Larry lives in Dunwoody with his partner, Rick Jones. www.allsaintsatlanta.org

Saints A l i v e • P ARISH L IFE

The Gospel Truth

Singing about Faith and Doubt

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“With this project, I wanted to say the unsaid thing, which is what the best songs always do. And here are two unsaid things people wish they could say about religion in America: 1) I’m a nonbeliever but I wish I could believe, because I see the deep sense of purpose the church can offer people, and 2) I’m a believer but I have very serious, troubling doubts and disagreements with the church.” —Susan Werner By Tracy Wells

Anyone who caught Susan Werner’s May 18 show at All Saints’ can testify first-hand to her captivating stage presence and quick wit. But Susan is also an incredibly thoughtful songwriter, throwing herself into her albums with the discipline of a graduate student writing a term paper. Susan did her homework for her most recent album, “The Gospel Truth.” A selfproclaimed agnostic who hadn’t darkened the door of a church in years, Susan spent several months attending over 20 different churches around the country to hear the music and to “challenge her preconceived notions” about the faces of American Christianity. And the result is an album that is at once faithful and irreverent, that gives voice to the complexity Susan found in the pews across America. Here I catch up with Susan and talk with her about faith, doubt, music, and “The Gospel Truth.” Tracy: There is a lot of theology in “The Gospel Truth.” The album is rich in complexity, from more traditional songs like “Did Trouble Me” to more “edgy” pieces like the new “Our Father.” If you could sum up the central theological message of the album, what would it be? Susan: To be honest, I’m not quite sure what the album says about God. I know what it All Saints’ Episcopal Church

Pages 30 & 31 says about us as human beings—which is, we are complex creatures. And that we can hold faith and doubt together in our hearts and minds simultaneously. That message alone is what drives this project, what moves it by word of mouth from one friend to another all around the country. I had no idea what I was getting into with this, but it’s been by far the most rewarding project of my career. This record seems to mean so much, so personally, to so many people.

they leave a great concert—smiling, embracing each other, in the same way they do after a good church service. But I’m not sure music moves them to be generous the next day in the same way a religious service might. I’m not sure it installs kindness on the hard drive. There are similarities between concerts and church services—but at almost every church I went to, there were the elderly and/or people with physical and mental challenges. Concerts are mostly for the wealthy and healthy.

It’s also a spiritual practice in that you know when you are faking it in performing a song, you just do. It keeps you honest with yourself and lets you know when you’re falling short--which is what a vital religious practice does, too, I suspect. Tracy: You have said in a previous interview that perhaps agnostics and atheists miss out on the opportunities that organized religion provides to motivate people to do good in the world. Do you think music can serve this same function? Susan: I see people really smiling when

Susan: The choirs in the AfricanAmerican churches were astounding. It’s a kind of musicianship that isn’t much appreciated in the academic or conservatory world, and that’s a tragedy, and a loss on both sides. We are talking high-level musicianship--and much of it learned and performed by ear, so it has an incredible vitality. Incredible. I found the Orthodox Church service I attended fascinating, as the entire service was sung, not spoken. I liked that a lot. We talk all day, every day. Singing is a total relief from our everyday routines. I had a mentor who once said that the Roman Catholic Church lost something important when they gave up the Latin mass. I agree—what they lost was the refuge that it offered from everyday language; your brain enters a different wave pattern when you recite prayers in another language. I’m not a theologian, but I did grow up Roman Catholic and that’s one thing I’d talk to the Pope about. Bring back Latin. Really.

Tracy: You have said in previous interviews that music itself comes closest to being your “religion.” What about music makes it a spiritual experience for you? Susan: There’s the element of total absorption in doing something, whether practicing my scales or writing a new song—it feels something like prayer, I think. And there’s the joining with others—making music with others, whether it’s with my bass player or my harmonica player, or improvising with anyone. You find a common humanity with someone else in the experience of making music.

Tracy: In the churches you visited while doing your research for The Gospel Truth, did anything stand out as a particularly powerful example of theology being expressed through art?

For those of us who don’t go to church—we have little reason to interact with people who aren’t part of our work environment. I think that sometimes results in a kind of myopia—we start to believe everyone in the world is part of the workforce, because that’s all we see outside our homes. It impoverishes our lives, only to associate with people like us, and with our abilities. That’s one argument for the church, right there. But I can tell you this—since doing the Gospel project, I’ve had to hold my tongue a few times-- I had to live up to the better messages of the project--and be a good “Christian” because I knew I was going to sing these songs that night and I could not let myself be a jerk. Really.

Tracy: The album has been very well received amongst churchgoers. What does this do to your sense of the album as an “agnostic” album? Susan: I’ve learned how very many church-going people, and even clergy, have harbored unexpressed and lonely doubts over the years... what’s funny is how many people come up after a show and they buy the CD and say, “Now, this one’s for me and now sign this second one for Father Frank.” As far as it being an agnostic album, I think I’ve learned with this project that I’m barely agnostic. I mean, I just barely qualify. I believe in a great deal of what the church teaches... I’m just not sure there’s a God somewhere steering the big car, ya know? Singer/songwriter Susan Werner was our guest for the Café Night on May 18. Tracy Wells is the All Saints’ webmaster, who encouraged Lauri Begley to invite Susan to All Saints.’ www.allsaintsatlanta.org

Saints A l i v e • P ARISH L IFE

Spirituality, Place and Art By Marie Weaver

The low bleating of sheep, bells

gently ringing as they amble to and from pasture pulls me outside. The shepherd urges, “Andiamo, pecore!” The birds tease—a cuckoo calls from the edge of the pond, and swallows teach fledglings to leave the limonaia where I’ll soon be working. A giant hare leaps from row to row under the olive trees as I walk up the lane to meet my class. The distinctive Sienese piglets squeal for “more.” Signs of life—and gifts of grace—at a little piece of heaven called Castello di Spannocchia, a farm near Siena in Tuscany. Or, as Thomas Merton might have called it, a garden of God’s creation. With my long-time friend and mentor, Sabra Field, a Vermont printmaker1, I co-teach and run a two-week woodblock printmaking workshop in this garden of God’s creation. We gather at Spannocchia, an ancient Tuscan farm, or tenuta, that has been reclaimed for a variety of purposes. Most importantly, the Cinelli family owns and runs the farm in order to preserve traditional Tuscan culture, and as much as possible, traditional sustainable agricultural practices. To aid their mission financially and to enhance the quality of life on the farm, the Spannocchia Foundation2 hosts many different workshops from spring through fall each year. As you might expect, many workshops are food-related, but the staff enjoys having writers, artists and naturalists in residence also. For our workshop, Sabra and I teach a group of 12 people, usually Americans, who choose to spend two weeks drawing and making prints inspired by the Tuscan landscape and culture. All the students stay on the property in the villa All Saints’ Episcopal Church

portion of the residence, and all of our meals are served there. Most meals are recipes that use in-season Spannocchia produce and meats cured from their livestock. The food is so good that Bon Appétit magazine did a 10-page feature on Spannocchia in February! But you can imagine that in spite of how wonderful and complete an experience we have on the farm, we also take a few field trips so we can benefit from the rich trove of Etruscan, Medieval and Renaissance art in Tuscany. One thing we discover is that we are staying in a landscape that looks much the same as those in Renaissance paintings. A question that comes to mind is this: if I am living for a couple of weeks in a landscape that at one time WAS a Medieval then Renaissance farm (Spannocchia was founded in the 12th century), and before that an Etruscan landscape, how can I be connected to the spirit(s) of those who lived, worked, dreamed, and traveled in that place many hundreds of years earlier? And if I can connect spiritually across the years, what does that mean in my life? In Tuscany, I am a traveler enjoying the rewards of someone else’s labor. I’m not working the soil, but I am standing on that earth and eating food flavored by that place. I’m

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energized by the view created by rain and rivers and gravity and farmers and woodsmen and soldiers and bridge builders and architects and countless women over many years. I’m inspired by the people living and working around me. I feel connected. But what labor can I offer that can be a contribution to extend the connection? My offering has to be my art. My husband remarked that his view of artists working quietly on their drawings and wood blocks is much like his image of monks bent over their manuscripts, completely absorbed as if in prayer. Quietly, mindfully, immersed in my work, I am spiritually in the place of my imagination, whether I am working in Tuscany or in my studio in the West End of Atlanta. I am connected. I recently read a portion of a prayer by Teilhard de Chardin, a late 19th-early 20th century French philosopher and Jesuit priest, who was inspired by an experience he had while on a scientific expedition in the Ordos Desert. Intertwining land and spirit, his words—an Offering for the Mass—speak to me. “Over there, on the horizon, the sun has just touched with light the outermost fringe of the eastern sky. Once again, beneath this moving sheet of fire, the living surface of the earth wakes and trembles, and once again begins its fearful travail. I will place on my paten, O God, the harvest to be won by this renewal of labor. Into my chalice I shall pour all the sap which is to be pressed out this day from the earth’s fruits. My paten and my chalice are the depths of a soul laid widely open to all the forces which in a moment will rise up from every corner of the earth and converge upon the spirit. Grant me the remembrance and the mystic presence of all those whom the light is awakening to this new day...”3

I am not a priest. I don’t have the privilege of raising a paten and chalice in offering to the Lord in the Mass. Yet I do feel connected to the universal through prayer, which comes in many forms. When I raise my pencil to judge the proportion of an object I am drawing, or draw a line to describe an image (real or imagined), or press my knife into a tracing on a block of wood, I am equally offering my labor to God— celebrating whoever and wherever she may be—and in those acts, I am calling upon God, consciously or not, to share my life and guide me. I am in the mystic presence of all those whom the light has awakened and is awakening to this new day. I am connected. 1. www.sabrafield.com 2. www.spannocchia.org 3. From Explorations in Art, Theology and Imagination by Michael Austin Marie Weaver has attended All Saints’ for five years. She and husband Steve Harvey live in Midtown. To see images in full color, and to get more information about Marie’s work, visit www.marieweaver.com or contact Marie at 404-444-3550 or [email protected]. For more information on the workshop Woodblock Printmaking in Tuscany, visit www.spannocchia.org/education/programs 2008/woodblock-printmaking/.

www.allsaintsatlanta.org

Saints A l i v e • R EFLECTIONS

Working

Love

T By Della Wager Wells

The DeWitts sang. That’s what I always loved about my great uncle’s family. He was the second youngest of five children, and my grandmother was the eldest. I was the eldest of the youngest of a pair of Episcopalian Irish twins, so my great Uncle Bob’s five kids were teenagers when I was a little girl. They would all come to my grandmother’s house on holidays, and the boys, Larry, John and Robert, would gather with my Uncle Bob around my grandmother’s upright piano and sing hymns in four parts, with the top two voices, soprano and alto, dropping down an octave to accommodate their male voices. I sat on the floor in a corner and listened to them for as long as they’d continue. Uncle Bob was not a big man—the DeWitts are not big people. My nuclear family gets its height, mass and shoe size from later swimmers in the gene pool. Uncle Bob was fairly slight but had a beautiful, rich baritone voice, and I always thought he looked and sounded like Bing Crosby. The times I remember were in the early 1960s to the early 1970s, and my great uncle Robert Lionne DeWitt was then Bishop of Pennsylvania, at the time age 48 and then the youngest bishop ever elected by the Diocese of Pennsylvania. When he was installed as bishop, race riots were erupting in Chester, Pennsylvania, and I remember my family talking about my uncle and the dean of the law school at the University of Pennsylvania, Dr. Jefferson Fordham, driving from Philadelphia to Harrisburg to roust Governor William Scranton from bed to plead with him to help stop the violence and find a way to resume discussion. There had been racial clashes with injuries and hundreds of arrests, and dialogue had broken down. Uncle Bob and Dean Fordham asked the governor to intervene. Uncle Bob evolved into a socially liberal activist known broadly for outspoken advocacy in and out of the pulpit, campaigning for women’s rights and against social inequity, racism and the Vietnam War. His bluntness drew a lot of fire, both within and outside the denomination, but he loved getting the church, himself and his associates involved and endorsed the activities of those acting out of conscience rather than rules. He believed that ministering to the poor, the oppressed, the young and black is more important than trying to preserve the comfort of those already in the pews. All Saints’ Episcopal Church

In 1971, he led a group of religious leaders in a fast in front of the White House in protest of U.S. supported incursions into Laos during the Vietnam War. He told The Washington Post then that he suddenly realized that he had been riding along in the back seat and couldn’t do it any longer. He said, “I began groping for some meaningful, traditional religious expression of my feeling, and I remembered that Jesus said to his disciples, this kind of expression comes out only with fasting and prayer.” I was still a little young at this point to consistently follow the news with a broad comprehension, so word of these deeds came to us in upstate New York in discussion at the dinner table, and I really can’t say honestly that my grandmother’s and my mother’s first comments were to commend my great uncle’s Christian motivation or commitment to social justice and equality—they were worried sick about his safety and that of Aunt Bobbie and the kids, but my uncle continued his work. Although some in the diocese felt that religion and community activism did not mix, Uncle Bob felt that issues of peace and justice were absolutely Gospel issues. In 1974, my uncle finally did something that “just took the cake,” as my grandmother would say—joining with two other bishops, Edward Welles of Missouri and Daniel Corrigan, a former national officer of The Episcopal Church, to break with nearly 2,000 years of tradition in ordaining 11 women into the priesthood on July 29, 1974, the Feast Day of St. Mary and St. Martha, at the Church of the Advocate in Philadelphia. Five qualified women had been presented for ordination alongside their male colleagues the preceding year in the Diocese of New York, and Bishop Paul Moore declined to ordain them. The women persevered, and the following summer, the women, plus others, sought to be ordained by the three bishops—Corrigan and Welles, who were retired, and Uncle Bob, who had just resigned as bishop to be editor of The Witness magazine and president of the Episcopal Church Publishing Company. The reaction to the ordination was immediate—an emergency meeting of the House of Bishops was called in under two weeks, denouncing the ordinations and declaring them invalid. Charges were filed against the three bishops, and there were attempts to prevent the women from serving as priests. The three bishops were censured by the House of Bishops after a vigorous debate, and in 1976, at Convention, delegates determined that the women’s ordinations were “valid but irregular.” In a celebration of the women’s ordination in 1999, Uncle Bob still insisted, “It is ironic that what happened 25 years ago here at the Advocate was for a time seen more as an issue of three misbehaving bishops than as a breakthrough created by 11 pioneering women. Make no mistake; the event was a creative action of, by and for women. The bishops were only accessories.”

Pages 34 & 35 That’s a lot of detail about events that happened almost 35 years ago, especially since we quite evidently have fixed this problem in The Episcopal Church, if not more broadly across the globe. All Saints’ has a history of terrific women priests beginning with Barbara Taylor in the early 1980s and continuing with Elizabeth and Noelle now. We have even come to the point where we are delighted to find a qualified male candidate in John Herring so that we can better reflect the diversity of our parish in our staff. The younger among us don’t even know another way. It reminds me of the response of my son Judson, now a graduating high school senior, to the “What do you want to be when you grow up” question that plagues him now and plagued him when he was five and in kindergarten. I tried to coach him through it—he had to answer the question for a homework assignment. “You could be a doctor like your PopPop, or a teacher like your Dad, or a builder like Big PopPop—or you could be a lawyer like Mommy, Aunt Ruth and Mrs. Thatcher,” I said. Judson said without missing a beat—and I promise without any kind of maternal brainwashing—“That’s silly. Boys can’t be lawyers.”

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So I’ve been thinking about the many changes over the past 30-40 years in our world, many of them affecting us both broadly and directly here in this room. What frontier now in our ongoing mission to see Christ in all persons and respect every human being? How do we love actively, every day, purposefully, deliberately, intentionally and effectively? Unfortunately, we still have much loving work to do to realize the promise of one body and one Spirit—one Lord, one faith, one baptism; one God and Father of all, who is over all and through all and in all. We have our pressing need here at home to ensure that our gay, lesbian and transgendered members are recognized, active and affirmed in this body, within their families and partnerships. More distantly, but affecting everything we do here at home, we have ongoing wars tied directly to faith and doctrines of the combatants. We have genocide and cruelty, particularly in the emerging economies, and particularly against women and girls. And we even have ongoing refusal to accept the ordination of women in certain of these same areas. We have traveled a long way, but there is much, much more to do to love and serve. I love Refugee Ministries Sunday, filled with children, African, Caribbean, and Native American music. I love that Michael Cobb, our sound engineer, sang our processional hymn “Siyahambekukha nyenkwenkhos,” we are marching in the light of God, yesterday morning, with happy movement and the joy of recognition and belonging. He is always bent to his work at the sound desk, and I have never seen him sing before. We need to continue our efforts to offer music that is relevant and accessible at some time to everyone in the congregation.

That doesn’t mean that the beauty, history and continuity of our Anglican tradition, which in and of itself roots us in community, should be ignored in favor of praise music and contemporary settings. It just means that we need to be open and inclusive musically in the same way we strive to be theologically, culturally, intellectually and emotionally. We need to unite and grow (to use a business verb) the community of God, Christ’s body, as a multi-cultural, multilateral, multi-generational, dual gendered, multi-preference, loving community in which all are known, all are loved and each strives every day in this body to love and serve. I loved Noelle’s sermon about building a house in the Kingdom of God, echoing the Gospel reading of the day that my father’s house has many mansions, building a house in the Kingdom of God brick by brick, stone by living stone. I have often sensed the love of the body of Christ in an empty church, in the middle of the day, with no service going on. I can smell it in the scent of wood and wax and brass polish and the lilies left from Sunday on the altar, all living relics of the loving hands that served. I can see it in the dusty beams of midday light streaming through the stained glass. I see the love of the body of Christ in the bulletins lying on the sideboard in the Narthex, announcement after announcement of morning runs, baptisms, pancake or potluck suppers, Popcorn Theology, GALAS, meetings of GIFT groups, transitional classes for youth—Rite 13, confirmation, and recognition of our graduating seniors. I see the love of God in our lives together in community. I have often noticed and loved our needlepoint kneelers, made by the women (and some of the men) of the church, as they are everywhere. Just as we build a church, or a home for members of the body of Christ for shelter and to dream, the women make the kneelers, stitch by stitch, creating the beautiful symbols that remind us of our promises to God and to each other: to love one another, be in community, feed and care for one another, every stitch their prayer. What a gift it has been to work with this body, the vestry, staff and the rector for the past three years! This body, the vestry, is a microcosm of the parish, which is a microcosm of the body of Christ. As this vestry evolves every year, refreshing itself with the new class, graduating a senior class, the body itself and its love and purpose remain in place and strengthen. Goodbye, to all of you, to all of us, in the historical sense of the word, which is an elision of the benediction “God be with you.” Head into the wind, take the lead and go forth for God.

The power of this love is amazing. Della Wager Wells, wife of Jere and mother of Judson and Aubrey, has been fortunate to be a member of the All Saints’ morning choir since 1986 or so, with a sabbatical during the years that the children wriggled too much to sit in church with their father alone. www.allsaintsatlanta.org

reader,

dear

Taking the Gospel readings as a theme-setter, we find Jesus teaching his listeners about the Kingdom of Heaven. The discourse of Matthew 13 contains simile after simile: “the Kingdom of Heaven is like” this and this and this. The metaphors are often meteorological or botanical (or both). If we study the passages from Isaiah and Matthew set for July 13, we find these metaphors at work. This Isaiah reading comes, biblical scholars say, from the hand of a prophet in exile, writing in the sixth century BCE, with a message of consolation and hope. In this lesson (55:10-13), the writer asserts that God’s word is like the rain, in that the rain comes down, waters the earth, and then— after benefiting the earth—returns to the heavens. I’m reminded of those diagrams of clouds and rain that appeared in my fourth grade geography book, diagrams that showed arrows pointing down (as the rain fell) and pointing up (as the water evaporated and returned to the puffy clouds that the arrows were aimed towards). One has a sense not just of isolated phenomena but of a system, a whole system, that works in complex fashion. Now turning to the Gospel lesson, we find Jesus in the boat, preaching to a crowd. The speech begins with the Parable of the Sower, in which the speaker describes the fate of various seeds, some of which fall on congenial soil, and some of which don’t. The Kingdom of Heaven “is like” these seeds (Matthew 13: 1-9, 18-23). We watch the cycle of each set of seeds, some of which never sprout, some of which sprout but wither, and some of which sprout, grow, and flourish. According to the Isaiah writer, God‘s kingdom is that of a beneficent and purposeful divinity. God’s word and presence on earth is never random, never without results. The Gospel passage introduces the idea of human responsibility as well as divine responsibility. Some of the seed will not flourish, and Jesus explains those details by noting that some people who hear God’s

word have evil influences; some cannot stick to the process of growing; some find themselves distracted by temptations that for the moment seem brighter than any promise the young plant holds. Actually, the parable format allows the hearers to find themselves in the Kingdom more easily than a dogmatic lecture would. Go back and read the omitted passage from the lesson, a passage in which Jesus explains the benefits of metaphor. He both flatters his disciples (“You’re smart enough to do this”) and challenges them to make themselves careful listeners and learners. Each one is prompted to ask, “Where am I in this story? Am I the stony ground? Am I the weedy patch?” Taken together, these lessons lay out for us a view of God’s Kingdom. That Kingdom is whole and purposeful, but it is also pregnant with possibility. It contains both good and evil, not because God is not quite strong enough to hold off the evil, but because God offers us creatures the chance to be ourselves. This means that the rain has a chance to be itself, the river has a chance to be itself, the soil has a chance to be itself, and the seed likewise. God creates a whole and purposeful reality, a reality that includes both failing crops and flourishing crops, both flood and drought, both human failure and human success. Turn to Romans, and find 8:35-39. In this famous passage, St. Paul describes the world of God’s Kingdom. It is a world that includes peril and affliction, but it is a world of a loving God, from which none of these perils can separate us. It is a world of wholeness and purpose. Wholeness comes not from some absence of danger and failure, but from the constant and purposeful presence of God All the best to you— Malinda Snow

Each month Malinda Snow, coordinator of our lectors, writes a letter to her readers, previewing the lessons or prayers they will be leading in the coming weeks. She is a member of the faculty at Georgia State University.

All Saints’ Episcopal Church 634 West Peachtree Street NW Atlanta, Georgia 30308-1925 summer 2008

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