Heaven 10 in Milton Keynes

Saturday morning at Heaven 10, a Music and Arts Festival organised by Ernesto Lozada-Uzuriaga-Steele artist adn priest, at the Church of Christ the Cornerstone in Milton Keynes. Anouar Kassim put together a celebration of Islamic Arts heritge and culture, incuding fascinating and beautiful stuff from Iran and Somalia, as well as work by a remarkable Muslim Caligrapher, Haji Noor Deen. He combines Arabic and Chinese writing in ingenious and thought-provoking ways, at all shapes and sizes including some giant originals that would test most caligraphers’ art to destruction.

I was also fascinated by an installation by Air-MK, which produces multimedia sensory zones to stimulate prayer and reflection. Howard Williams and friends transformed the small chapel at Cornerstone into a remarkable reflective space, with a screen on which people could react to questions about themselves and God, in their own time. There’s a great vibrancy and creativity in the air in MK, and the way the city is sucking in people from all over the world in interesting ways is becoming very apparent...

Holocaust Memorial Day in MK

A great honour to say a few words with others at this year’s MK City Holocaust Memorial Day celebration at Christ the Cornerstone. We were opening an exhibition of art principally by two artists, Edna Eguchi Read and Alicia Melamed Adams.

Edna’s work explored the legacy of war, including Afghanistan, as someone of partly Japanese ancestry. She encodes the legacy of Hiroshima and Nagasaki not as anger, but an errily ash-covered general and domestic world of stuff. Ordinary things are reduced to a kind of useless sterility, where all that is left is form, bereft of function. She does something similar in this exhibition with passport-sized images of troops killed in Afghanistan, flattened as a collage onto a wall. Drat! I didn’t take a picture... you’ll just have to go and catch the exhibition if you can. I had seen the same thing on Sunday at the Cape Town Holocaust Centre — a collage of ordinary people’s photographs greets you as you enter the historical displays area.

During the evening Arran Hartley and Georgia Bateman, presented a moving a/v collage reflecting on their school visit to Auschwitz. It took a fresh, powerful view. They had been especially shocked and moved by the piles of stuff, shoes, hair, artifical limbs. Alicia’s work as an artist who survived the holocaust puts faces to the story. This is very important because we are about the last generation to have the privilege of talking with and learning from holocaust survivors. All our grandhildren will have are the faces in art, or the Holocaust may be reduced to a mere topic in history, not an exposure of our own tragic capacity for evil.

Alicia’s work is fundamentally a statement of hope in the face of the unspeakable. She pulls no punches. Consider this picture, The Parting, and commentary:

My parents and I and a few relatives who had survived worked for a German, Victor Kremin, who set us up in a small camp where we collected iron and rags. On 24th July 1943 we were surrounded by Gestapo and taken to the local prison. It was their custom to keep people for three days without food until they were weak and then to load them onto lorries and shoot them outside Drohobycz in Bronica Woods. When we were brought into the prison I saw Poldek Weiss who was 17. We had met twice before in a friend’s house. His father was a tailor for the Gestapo. His father made a suit for the head of the Gestapo and the son was released from prison. He begged his father to intervene on my behalf. I was 14 at the time. His father made another suit and I was let out on the third day as Poldek’s wife. My whole family were shot the next day. This picture is called The Parting. It shows me parting from my family in prison.

Ultimately, though, what makes Alicia’s work so extraordinary is her capacity for hope and joy that was not entirely rubbed out. Her final painting was entitled Going up soon, but where? in which, Julia Weiner says:

the artist thinks about her own death. After the horrors of her childhood, death appears to offer little horror to Alicia, and this light-filled work with its radiant pink backround contrasts to the earlier works about death. There, she used dark colours and menacing shapes to evoke death by violence and at the hands of others. When death comes naturally it’s not to be feared.

Sustaining the Sacred Centre 2

Reflecting on our Area Deans and Lay Chairs residential, the thought was that we could go away and talk in the abstract about how to sustain the sacred centre. Alternatively, we could instead go and sustain our sacred centre, with three creative spiritual guides to accompany our group and catalyse thoughts and prayers in ways that would deepen our awareness of God in our lives. I reccomend this approach highly for tired churches and groups.

Our Second guide was Dani Muñoz-Treviño, a wondrfully gifted, creative and reflective priest. Dani has done a curacy at Hazlemere, and is just coming to the end of a time in Marlow, during which he has built an emergent congregation and led a number of arts projects and activities involving hundreds, and sometimes thousands of people. He’s off soon to create a new project in Andalusia, Los Olivos — a two hundred year old hacienda, set in thirteen acres of national park. This will be Spain’s first Christian Art and Spirituality Retreat Centre, opening in the autumn of 2010.

Dani took us through a journey together around the ways people engage with God in a time of change, accompanied by movie clips and community art. His presentation built, very much, on Ernesto’s in which we entered an Old Testament narrative at depth, connected with the soundtrack of our lives in Christ, then crystallised th learning into an image. There’s a sense in which this is an area where the first are last and the last first. Some well established churchgoers have real difficulty engaging with God through art and creativity, where people everyone might think of as being complete outsiders sometimes get it instinctively.

I was also struck by the way that high energy arts projects such as Dani has been encouraging in Marlow seem to generate the energy to sustain themselves in new ways, sometimes by the seat of their pants, but well enough to survive. This said something powerful to me about the possibiities if we think we are short of resources; one response is to go round weeping need until someone feels sorry for us and shells out. Another is to kindle more energy at the heart of the project, so that a kind of mutual firestorm develops between people who understand and feel passionate about it. If nobody’s passionate about it, this could be divine guidance to give it your best shot, then try another project. If people get passionate about it, energy and all kinds of resources seem to flow from that shared commitment.

That’s the theory, and the gubbins of getting Los Olivos up and running will certainly test the theory. If Art is many people’s route to spiritual awareness, what matters is to unlock that potential in everybody, churchgoer or not. Gospel, good news, in an age where so much popular imagiation is locked down by sterile rationalism and superficial manipulation, is partly about refreshing the whole culture by releasing imagination. The Church’s role is not primarily to dogmatise at people from its own little bubble, but to celebrate and share images and experiences that create openings to God for hearts and minds and free the Spirit...

Sustaining the Sacred Centre 1

What kind of business do we think we’re in? The Church’s business is as much to know God and enjoy him for ever, delighting in Scripture and prayer, as it is to undertake organisational and administrative indoor games. The latter matter too, but only in relation to the former, because if all we ever do in Church business meetings is secular Church business, we lose our capacity to do anything after a while.

Our first diocesan prioirity for next year is what we call “sustaining the sacred centre” — nourishing our roots of faith, cultivating our imagination and openness to God, using poetry, song and and art, and releasing creative energy that can only come from deep encounter. Therefore, recently, inspired and organised by Archdeacon Karen Gorham, we replaced a regular area deans/lay chairs business meeting with a day enneagram workshop together.

This revealed the extent to which we have gotten into the habit of trying to transact complex business together with a less than adequate understanding of each person’s God-given humanity to sustain our process. Getting to recognise, articulate and enjoy our differences and particularities has helped us forward immensely. Suddenly we found we could frame and reframe our business questions in appropriate personal as well as theoretical terms. Thus more productive gets done.

Building on Karen’s brilliant idea, therefore, we have just been away with 22 area deans and lay chairs to Glenfall House, Cheltenham, for a 24 hour residential. We took with us some resource clergy — Ernesto Lozada-Uzuriaga Steele, Dani Muñoz-Treviño, and Ian Adams. All content was fantastically rich, and I’ll try and get to blog all three, but I’ve just got space for one today. Twenty Four hours seemed like a much longer time (in a good way!), and we all left feeling energised and revitalised spiritually.

Ernesto serves in Milton Keynes, and is an artist and priest. He has developed a knack for leading others into biblical stories, especially from the Old Testament, to explore them and enjoy them, then open themselves to creative possibilities in them. We took two stories — Jacob’s Ladder and Jacob wrestling an angel. Interacting individually and together with the text, themes of Solidarity and Struggle began to emerge, and really got us humming as we began to recognise resonances in our own stories from which we identified songs from the backing track of our lives. Using this we tried to identify, personally, symbolic objects and experiences that seemed to capture what God was saying to us about faith as solidarity and struggle. Tim Norwood’s doodle, here, captured some of the images that were spelled out around the room b y the end of our time together.

This may sound slightly weird, but it really opened a lot of spiritual doors for our group. You just explore the text in its own terms, suspending the question “what does it mean?” until you have really interacted with the story at a deep level in its own terms, and played with it and entered into it emotionally and imaginatively. Then you identify a song from the backing track of your own life and experience, and see what images God opens in your mind in response.

For anyone wanting to try this kind of thing in the privacy of their own home, Ernesto has a new book out, Five Stones and a burnt Stick. This takes the reader imaginatively into the Moses story, exploring his intimacy God against the counterpoint of his relationship with his wife. It made me realise how rich the Biblical tradition is, especially once we release it from the tyranny of being rationalised off into abstract ideas, and just let the narrative work on us, like the people did who originally told these stories around iron age campfires...