comments on the sounding the depths festival
- an international festival of contemporary arts and theology
10-16 September 2000
Cambridge, UK
before the festival
- Susan Howatch, author
- Dr George Carey, Archbishop of Canterbury
- Lord Puttnam, film director
after the festival
- Church Times 29/9/00
- Nigel Forde, playwright
- Michael O'Connor, Royal School of Church Music
- Professor William Dyrness, Fuller Theological Seminary
- Dr Colin Greene, Bible Society
- Dr Jolyon Mitchell, University of Edinburgh
- Revd Dr Jo Bailey Wells, Clare College, Cambridge
- Professor Roger Lundin, Wheaton College
before the festival
Susan Howatch, author
'This festival will be of great interest not only to those involved in the arts but also to everyone interested in meaning and value in today's world, for this is the cutting edge of theology at the start of the twenty-first century, a unique way of showing how theology and the arts can interact so that both are enriched. Indeed,by exploring different aspects of creativity in this way, I feel that the festival will cast a fresh light on both the Creator God himself and the human race which he created in his image.'
Dr George Carey, Archbishop of Canterbury
'Too often in Christian history theology and the arts have been separated off from each other. I was delighted, therefore, to learn of theTheology Through the Arts festival and want to take this opportunity of wishing it every success.'
Lord Puttnam, film director
'The festival is an important and stimulating event which supports all those who want to promote dialogue between theologians and artists.'
after the festival
Church Times Friday 29th September, 2000
A long-running debate continues with panache Roderic Dunnett joins the arts-and-theology circuit in conjunction with the Bible Society and Camfest 2000, Theology Through the Arts - the University of Cambridge research project which 'aims to explore how interaction with the arts can help us explore the riches of the Christian faith in fresh and illuminating ways', has just mounted a week-long festival, 'Sounding the Depths'.
Christianity has been interacting pretty exhaustively with the arts since Ambrose indexed the nomes, and the Appian Way came alive to the sound of samizdat subterranean music. Giotto had something to say on the matter, as did Charlton Heston. Some of the avowed aims of the organisers read like so much pious optimism. What galvanised this festival, however, was the spread of arts represented, and the intensity and coherence of vision and beliefs of the featured artists. They included the composer James MacMillan and the painter Mark Cazalet. Charlie Mackesy, Richard Webb, Oliver Soskice, Victoria Rance and Francis Hoyland were among the artists on show in 'Sounding Sight', a wide-ranging exhibition at Emmanuel United Reformed Church, where two other featured artists, Anneke Kaai and Mark Cazalet, joined in an open forum focusing on the link between theology and the visual arts.
A day-long seminar, 'Reel Spirituality: Cinematic Wisdom and the Book of Ecclesiastes' juxtaposed leading film-makers and scholars to engage with such issues as, 'How can we deepen our understanding of ancient texts such as Ecclesiastes?', 'What 'wisdom' does cinema bring to the Bible?', and 'How can we 'do' theology through film?' By way of a curtain-raiser, three films were shown, with subsequent discussion: 'My Name is Joe'; 'Liar Liar' (directed by Tom Shadyac); and 'Pleasantville'.
Sounding the Depths also achieved three splendid 'firsts', including the UK premiere of the director Agnieszka Holland's new film 'The Third Miracle' (a 'spiritual detective story'), and the world premiere of 'Till Kingdom Come' - the story of God's Mutineer, a new play by Nigel Forde, exploring the consequences of the savagery of the Civil War for Robert Lockyer, a trooper in Oliver Cromwell's army.
The subject of the third premiere might be classed as a miracle also. James MacMillan's 'Parthenogenesis', a setting of crystalline couplets by the highly expressive Preston-born poet Michael Symmons Roberts, was inspired by the story of a young German woman who gave birth, after an Allied air-raid in 1944, to a daughter without, so it seems (and the medical evidence concurs), having had sexual relations. Symmons's dramatisation, drawing quizzical parallels with the annunciation, is both profound and striking, and MacMillan's 40-minute work, if clumsily semi-staged and not always as subtle in its word-setting as his translucent preceding work 'Raising Sparks', produces some powerful melodrama for the baritone role (a 'flawed' angel, sung by Christopher Purves), and some impressive declamation for high soprano (Lisa Milne). The work teeters on the edge of histrionics, arguably saved by Symmons's sometimes elusive, yet ravishing, text.
Nigel Forde, playwright, 'pod' group member for 'Till Kingdom Come'
The process was fascinating, challenging, enriching and a singular privilege. I hope this is the start of something quite profound; we mustn't stop here.
Michael O'Connor, Royal School of Church Music
The Festival was an exciting and energizing experience for me and for all those I spoke to during the three days I was able to participate. It brought together a rich variety of talents and enthusiasm in a context that clearly enabled all to find space to flourish.
Those performing surely sensed a hospitable reception: the quality of the images presented was matched by a quality of attentiveness in audiences and spectators alike. Personally, there were two highlights: firstly, the presentation of Beholding the Glory - an absorbing, moving and inspiring evening. Although a great deal was demanded of audience (intellectually, emtionally, aesthetically), we were seduced by the dedication of the various performers and the constantly changing media of presentation. Secondly, Parthenogenesis - a work of endlessly provocative scope, at times tender, at times appalling.
Some recurring reflections:
- the commitment, openness and generosity of spirit of all the artists and theologians involved.
- the vulnerability of artists when away from their usual medium, especially evident during the painters' presentations on Monday morning. An artist goes out on a limb, and takes a risk that others will, on some level, understand and welcome her work. (The habits of explaining or describing are much more familiar to the theologian.)
- the inevitable gains from collaboration - when artists and theologians collaborate (e.g., in the pod groups), no one is the loser. This demonstration of communion is a challenge to the culture of competition, and an encouragement to others.
- an initial complexity - the process of collaboration can make everyone involved a little self-conscious as working methods are established; there's a lot to get in. This, I suspect, is an inevitable stage in the process of discovering new ways of working creatively. The future for TTA looks very bright indeed. It is an exciting initiative which is uniquely well-equipped to deal with real themes for theology and society (e.g., the body, the senses, beauty and truth, truth and community).
Professor William Dyrness, Dean, School of Theology, Fuller Theological Seminary, member of the Advisory Board
All of us at 'Sounding the Depths' had the feeling that we were watching something that was of truly international significance. It was an ecumenical celebration in the best sense of the word that was wonderfully enriching to all who came. Networks and friendships were established that will continue to bear fruit in the years ahead. All of this was the produce of enormous amounts of work by the planning team, especially Jeremy Begbie and Ally Barrett and we are all deeply in their debt.
Perhaps the most important element was the agenda that emerged during the week event (and the planning) of what now needs to be done by Christians to build on the advances that were represented by the week. Much remains to be done at the parish level and in training at all levels. But these challenges are now matched by an equal sense of enthusiasm for what can be done.
Dr Colin Greene, Bible Society
A dazzling array of talent and flair, extroardinarily stimulating interaction of different art forms and a superbly well organised festival. The recent Cambridge festival was not only a significant and fitting milestone for the first phase of TTA - it opened up a whole new range of possibilities for the future. Bible Society has greatly enjoyed the opportunity to be part of this highly entrepreneurial venture.
Dr Jolyon Mitchell, Lecturer in Communication, Theology and Ethics and Director of Media and Theology Project, University of Edinburgh
A rich feast of the arts. There was much to taste, to savour and to relish. A day of 'Reel Spirituality' offered a banquet of cinematic cuisine. The mixed company of film producers, directors, film academics, theologians and biblical scholars ensured memorable conversations, lively debates and much laughter. A good day in a week not to be forgotten.
The Revd Dr Jo Bailey Wells, Dean, Clare College, Cambridge
The festival brought together a diverse bunch of people - people who might never otherwise meet each other. We held a faith in common, and sometimes (it felt!) not much else, but the effect of coming together - whether at seminars, over coffee, in worship and after opera - was stretching and exhilarating.
Personally I found it a thrill to engage with lively minds and creative spirits beyond the usual bounds of university 'types'. In Britain especially it is rare to overcome such barriers in serious and constructive conversation - conversation between individuals or between disciplines.The experience reinforced my convictions about the multi-disciplinary nature of the best theology. Alas, such experience is so rare. Why is this? In academia it feels like progress when systematicians and biblical scholars meet in the same common room.
This festival conceived a new common room, one which includes film-makers, musicians, artists, retreat leaders, chefs, writers, preachers, actors, engineers, counsellors, film-watchers... all who are made in the image of God and reflect our Creator's gifts. Thank you, TTA!
Professor Roger Lundin, Clyde S. Kilby Professor of English, Wheaton College, Illinois
The festival demonstrated in fresh and illuminating ways the wisdom of exploring theology through the arts. By putting painting, dance, poetry, and music front and center, it let us see how works of contemporary culture can draw out the startling promises and power of the Christian faith. 'Theology Through the Arts' is a bold and creative venture, and this initial Festival made clear that the project's future is a bright one indeed.
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