Nadia Bolz-Weber is the tattooed, Lutheran pastor of the House for All Sinners and Saints in Denver, a church where a chocolate fountain, a blessing of the bicycles, and serious liturgy come together. She’s a face of the Emerging Church — redefining what church is, with deep reverence for tradition:
"I think that me and my fellows are more comforted by mystery than we are by certainty and so there’s this mystery that you get to enter into in the liturgy and in the eucharist that we find very comforting to go back to again and again."
Take a listen. She will not only surprise you, but she will make you laugh out loud.
Romney, Mormonism, and the American Compromise
by Terryl Givens, guest contributor
Mitt Romney is threatening to disturb the American compromise with Mormonism.
Nineteenth-century observers were largely indifferent to the new religion Joseph Smith founded in 1830. Most dismissed his claims about angels and gold plates as just another example of American gullibility. “Had we not seen in our own days similar impostures practiced with success,” yawned one Illinois contemporary, “[Mormonism] would have excited our special wonder; as it is, nothing excites surprise.” But in Missouri and Illinois local tensions erupted in violence, and national concern intensified when Brigham Young — relatively safe in the refuge of Utah — announced a system of plural marriage in 1852.
For the next forty years, from the popular press and pulpits alike, cries for the eradication of this “relic of barbarism” streamed forth from the pulpits, press, and party platforms. Then came concessions — but limited concessions — from both sides. Mormons abandoned polygamy and political isolationism. And America granted partial accommodation. The deal was signed in 1893 — but it was a devil’s bargain. Here is what happened.
At the choral competition of the World’s Columbian Exposition held in Chicago, on Friday September 8, in front of packed crowds, the Mormon Tabernacle Choir dazzled the audience and the judges alike, to win the silver medal. (The general consensus of Mormon and non-Mormon alike was that they had actually earned the gold.) The recipients of rapturous acclaim, the choir had suddenly become America’s sweetheart. They were invited to provide the patriotic music for the placement of the Liberty Bell at the Chicago Exposition. Their farewell concert was standing room only, journalists raved to a receptive public about the singing sensation, and concert promoters lobbied the choir to tour the east. Suddenly, Mormons were not just legitimate, they were popular.
And then, a funny thing happened on the way to the festivities. In conjunction with the grandiose Columbian Exposition, organizers had planned a World’s Parliament of Religion for September 11-22, 1893, in order to “promote and deepen the spirit of human brotherhood among religious men of diverse faiths.” Over three thousand invitations had been sent worldwide, to bring together representatives of every world faith and Christian denomination in a momentous gesture of interfaith respect and dialogue. Many faiths were underrepresented — but only one group was deliberately and conspicuously left out altogether. And that was, not unpredictably, the Mormons. So even while the choir was singing its way into history and America’s heart, the Mormon church was emphatically denied a voice in the nation’s first attempt at a comprehensive interfaith dialogue. What seemed like a contradiction was actually a compromise.
In the century since the Chicago fair, Mormons have been lauded for their choirs and their football. They are largely respected as good, decent, family-centered people, who are welcome to sing for presidents and dance with the stars — and everyone agrees to avoid theological questions. But as presidential nominations near, Romney’s candidacy threatens this compromise, because what a Mormon presidential candidate actually believes seems far too important to table. And when Mormon theology enters the public discussion, the words Charles Dickens wrote in 1851 strike many as still apt: “What the Mormons do, seems to be excellent; what they say, is mostly nonsense.”
But this is only true because in acquiescing to the compromise, Mormons have largely left others to frame the theological discussion. In opting to emphasize Mormon culture over Mormon theology, Mormons have too often left the media and ministers free to select the most esoteric and idiosyncratic for ridicule. So jibes about Kolob and magic underwear usurp serious engagement, much as public knowledge about the Amish is confined to a two-dimensional caricature involving a horse and buggy. But members of a faith community should recognize themselves in any fair depiction. And it is the fundamentals of Mormonism that should ground any debate worth having about Mormon beliefs or Mormon membership in the Christian community. What are these fundamentals?
- God is a personal entity, having a heart that beats in sympathy with human hearts, feeling our joy and sorrowing over our pain.
- Men and women existed as spiritual beings in the presence of God before progressing to this mortal life.
- Adam and Eve were noble progenitors of the human family, and their fall made possible human life in this realm. Men and women are born pure and innocent, with no taint of original sin. (We find plenty on our own).
- God has the desire and the power to save, through his son Jesus Christ, the entire human family in a kingdom of heaven, and except for the most perversely unwilling, that will be our destiny.
- Heaven will principally consist in the eternal duration of those relationships that matter most to us now: spouses, children, and friends.
None of these beliefs is relevant to a political candidate’s fitness for office. But they should be the starting point for any serious attempt to get at the core of Mormon belief. And there should be no compromise on that point.
Terryl Givens is Professor of Literature and Religion at the University of Richmond.
This essay is reprinted with permission of Sightings from the Martin Marty Center at the University of Chicago Divinity School.
The Three Christmases of the Holy Land
by Taline Voskeritchian, guest contributor
In the lands between the Mediterranean and the Jordan River, the first of three Christmas celebrations was on December 24, the Christmas of the English, or so we thought of it then in the years of my adolescence. My family — ethnic Armenians, Christians by subscription more than piety — had settled in Jordan, a largely Muslim country, where I grew into adulthood, pulled this way and that by the three Christmases of the Holy Land. Of course it was a misnomer to call it the Christmas of the English because December 24 was celebrated by Catholic and Protestant Arabs as well.
In those days, in the 1950s and 1960s, the Middle East was a very different place from what it has become of late. Unlike the Christians of Iraq today, we had little fear, did not hide our religious affiliation but did not brag about it either. In the Holy Land of those times, celebrations of Christmas were for us and Muslims, at least at our post-colonial school which had been run for many years by English missionaries; it had a mixed student body of Christians and Muslims.
For me, the home of the English Christmas was the Ahliyyah School for Girls, which I attended after third grade and all the way to the end. The Ahliyyah, which is still a thriving school, was the successor to the Christian Missionary School, whose British headmistress was whisked away in the wake of the 1956 Suez Canal Crisis. The school’s name was changed, as well as the board. The Christmas celebrations persisted.
Tuesday Evening Melody: Saturday Night Tavern Storytelling with Over The Rhine’s “All My Favorite People”
by Marcy Bain, guest contributor
As a Presbyterian minister I spend a great deal of time in sanctuary spaces, but I confess that my favorite spiritual music is not always sung by the Sunday morning choir. Often it’s sung in Saturday night taverns by mainstream folk artists like Over The Rhine, Patty Griffin, and Jennifer Knapp. Other artists shuffle in and out of my iPod rotation, but when I seek spiritual comforts, to these musical mainstays I always return.
The other day I was trying to locate that thing, that ineffable quality in their music that draws me into sacred space, and it proved a daunting task. Like a flash of creative insight, or a burst of beauty that wrecks the senses, I can’t really put my finger on the pulse of such mysteries; I can only receive them when they come to me. And so it is with these artists and their songs.
However, if I endeavored to speak in broad terms, I would say that these artists hold a few key characteristics in common. They make music that strikes a spiritual chord in me without being doctrinaire. They each pursue excellence in their craft. They defy labels and simplistic categorizations. Folk music at its core is story tellin’ music; each of these artists sings out their stories from the deep-seated wellsprings of spirit and soul. None of them make music specifically geared towards the Christian marketplace, but all of them have deeply nourished me in my journey of faith.
For those of you with New Year’s resolutions to expand your musical palette, start with Over The Rhine’s “All My Favorite People,” dive in to Knapp’s “Mr. Gray,” and let Ms. Griffin take you to church with her stirring rendition of “All Creatures of Our God and King.” If the Saturday night tavern happens to be your favorite sanctuary, who knows, you just might get to see a preacher overcome by “a juke box altar call” (to borrow a lyric from another OTR song) as she sits in the corner putting the final polish on her Sunday morning sermon.
Marcy Bain is an ordained Presbyterian minister from Dayton, Ohio. She believes that there is a special place in heaven for girls with guitars, and she is ever so grateful for all that they’ve contributed to her life.
Want to recommend a song for our Tuesday evening melody? Submit your suggestion and a little bit about the tune. We’ll take a listen for possible publication on the On Being Blog.
Sacred Choral Music in Worship Has a Power All Its Own
by Michael McGlynn, guest contributor
Participants in the Royal School of Church Music Cathedral Course (RSCM) perform in Christ Church Cathedral Dublin. The RSCM promotes singing for people of ages by training choirs to sing church services to a high musical standard in cathedrals and churches throughout the United Kingdom. (photo: Richard Bloomfield/Flickr, cc by-nc-nd 2.0)
I was brought up as a Roman Catholic. My parents endeavoured to give me every opportunity to be exposed to a vast range of music, strongly encouraging our explorations, be they rock or classical music. In school the main exposure to singing was musical drama in the form of Gilbert and Sullivan with a few hymns in unison at every church service. It is understandable, therefore, that when my first exposure to sacred choral music at last arrived at age nineteen in University College Dublin Chamber Choir, it was like being hit with a mallet on the head.
I clearly remember my first rehearsal. We sang two songs, “Christus Factus Est” by Anerio and “O Sacrum Convivium” by Messiaen. Suddenly much was made clear to me. Maybe this was why people still spoke fondly of the extinct Latin Mass, with its remote and mysterious ceremony? It also helped explain to me why services were structured as they are. Music wasn’t simply a chance for the congregation to sing together, rather it was a series of sonic sign-posts angled towards illumination of the underlying spiritual truth of the service.
The Latin language, with its soft and non-percussive sound, had a natural affinity to the music that it was carried by. Later I discovered the music of Tallis, Gibbons and Byrd, being struck by the beauty of the harmonic language and the mellifluous use of the less-musical English language. Simple, direct statements of belief were woven into a powerful lattice of spiritual affirmation. Exposure to more recent music written for the Church today plainly showed that composers were acutely aware of their musical ancestry and quite capable of working within the practical constraints of service structures and the capabilities of the performing groups that they composed for. Indeed, the love of singing contemporary music among the better choral groups was a great pleasure to behold, even if much of the music demanded skills that were just on the edge of what the singers were capable of.
With respect to my Roman Catholic upbringing, I had rarely understood how the odd hymn here or there and the simplistic one-line responses and calls in the vernacular could compare to the carefully constructed musical structures that I participated in while singing in my first Church of Ireland services. It irritated me that much of what was musically beautiful in the pre-Vatican II church had simply been consigned to performance repertoire, rarely heard within its originally conceived context.
Sometimes I felt like a starved man who eats as much as possible very quickly, deputising and singing at the two major Church of Ireland Cathedrals in Dublin, St. Patrick’s and Christ Church Cathedrals as often as I could. I sang for free at weddings, funerals, services — anything I was asked to do simply to experience this music in the context of its original conception.
By this time I was beginning to compose on a regular basis. Although the main thrust of my composition was towards the development of a new form of Irish choral music, I was consistently drawn to spiritual texts. Two early efforts I wrote for competitions organised for use in the Church of Ireland service were “Codhlaim go Súan I’d Chroí” (“I Sleep Softly in Your Heart”) and the anthem “Come Let us Sing” the former for a competition to find an anthem in the Irish language and the latter a setting of a more traditional Church text. This work eventually gave rise to my “Celtic Mass”, a combination of texts in Latin and Irish on diverse texts. Latterly my spiritual output has included the four “Tenebrae Responsories”, a “Missa Brevis” for St David’s Cathedral in Wales and a diverse collection of individual sacred works that include my “Agnus Dei” which was commissioned by the American choir Chanticleer in 2006 for their five-composer project “And on Earth, Peace: A Chanticleer Mass”.
Despite it being nearly thirty years since I was so profoundly influenced by this music, it continues to be a part of my life. I attend regularly at Saint Bartholomew’s Church in Dublin which has a fine and ambitious musical programme. I believe that the power generated by community singing of good quality has a ripple effect on the entirety of society. This music and literature has survived because it is simultaneously functional and art. It is important to bear in mind that composers who have written this music for over a millennium have done so with a desire to articulate their own spiritual ideas while transmitting genuine and heart-felt insight to a congregation. I now realise why this music has influenced and affected me the way it has. Choral music in worship can bring congregation, singer, and composer together in a unique and wonderful way. The power of this should never be underestimated.
Michael McGlynn is a composer, choral director, and founder of the Irish choral group Anúna. His music has been recorded and performed by vocal ensembles such as Rajaton, the National Youth Choir of Great Britain, The Dale Warland Singers, Conspirare, the BBC Singers, the Phoenix Chorale and Chanticleer. You can read more of his reflections on life and music on his Pictures & Visions blog.
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