Remember

By: Maria Fee

Many view artists as misunderstood loners writing with wadded balls of paper around their feet or as painters wearing paint-smattered smocks, wild hair, frantically muttering to themselves. Nicholas Wolterstorff gives us a more inclusive view “Art—so often thought of as a way of getting out of the world—is man’s way of acting in the world. Artistically man acts.” 
(Wolterstorff, Art in Action, p.5)

According to Margaret Kornfeld these actions can assist in knowing God. Our “God is a God who wants to be remembered and has created our bodies—with complex neurochemical systems—so that memory is possible.”(Kornfeld, Cultivating Wholeness, p.86) Writing to pastoral caretakers Kornfeld reminds them that “Our bodies remember through our senses.” Art performed for and by a community, say like a liturgy, aids memory, gives direction, breaks down walls of hostility.

Natalie Angier on assignment for the New York Times Science section participated in a symposium on the evolutionary value of art. She notes how looking at the breadth of history the action of art has been a “profoundly communal affair of harvest dances, religious pageants, quilting bees.” Furthermore, she recalls how “passionate town rivalries… gave us the spires of Chartres, Reims and Amiens.” Moreover, it is through shared art experiences people are united together and are “persuaded to treat one another as kin.”

Angier goes on to describe how the lofty origins of art start from the “intimate interplay between mother and child.” The “visual, gestural, and vocal cues that arise spontaneously and unconsciously between mothers and infants” are aesthetic “operations of ritualizations.” (“The Dance of Evolution,” NYTimes) In other words, the human capacity to create art and liturgies are utilized by mothers everywhere, through all time. It’s interesting to note how Angier writing from an evolutionary framework establishes art as a relational operation. “Artistically man acts” because he is responding to its creator.

If the secular world can recognize the aesthetics as a fundamental catalyst for community and relationality why haven’t Protestants fully utilize this particular category of being? Shouldn’t Christians use all possible means to aid our memory of who we are in Christ? Perhaps, then, more embodied activities need to be enacted in our corporate worship. The artist Robert Adams speaks of memory from another perspective: “The thing the artist is trying to give you is a reminder of those rare times when you did see the world so that everything seemed to fit—so that things had consequence. The majority of evidence is for chaos, let’s face it. Most of the time things don’t seem consequential. But the value of art is that it helps us recall transforming times that are of such a quality that they last.”*

Worship allows us to respond to God’s work in our lives. Through a community’s set of symbols and actions they recall how life makes sense despite its perceived chaos. Good Christian liturgies happen todisplay theology; thus teach theology alongside the sermon, maybe even deepens it.

Artists, please help Christians remember.