Mindful of the Gaps

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National Public Radio featured a report about why certain popular pieces of music spontaneously set people to dancing.  The occasion was Pharrell Willliams’s “Happy” going viral on the internet as people around the world videotaped themselves dancing to the music, even at risk to themselves, such as in Iran, where six teens were arrested for posting their video.

The neuroscientists interviewed have theorized that it’s the gaps between sounds in certain pieces of music that invite us to move, providing the “space” and motivation for our bodies to respond.  I think something similar happens spiritually in the gaps reciting liturgies or the Lord’s Prayer.

The mantra of the London subway, “Mind the gap,” could become in sacred music and liturgies, “Be mindful of the gap,” the silences out of which spiritual movement comes: the pauses in liturgies and psalms and eloquent scriptures (such as 1 Corinthians 13 or 1 John 4) as well as the intervals between notes and beats and rhythms and vocals in everything from Gregorian chants to Gospel songs. 

In my book, Communion of Life, I named it “the thoughtful pause,” the quiet and the calm required to absorb what has gone before (say, in a poetic or musical phrase) and to respond, anticipating what may come next. I believe prayer, contemplation, retreats, and (I’d like to believe) this blog may serve as “thoughtful pauses” that compel us to dance spiritually.

The lead neuroscientist, Maria Witek of Aarhus University in Denmark, explained during the NPR story that “Gaps in the rhythmic structure, gaps in the sort of underlying beat of the music—that sort of provides us with an opportunity to physically inhabit those gaps and fill in those gaps with our own bodies.”

Surveys found that the most effective drum patterns in getting people off their feet, she says, were “not the ones that have very little complexity and not the ones that had very, very high complexity, but the patterns that had a sort of a balance between predictability and complexity.” That balance of predictability and complexity may be needed in our own liturgies, readings, sacred songs, and sermons.

The anonymous fourteenth century author of the spiritual classic The Cloud of Unknowing could be considered among the world’s first bloggers, given the brevity of its chapters. Written for English monks, this mystic observed, “You only need a tiny scrap of time to move toward God. This brief moment produces the stirring that embodies the greatest work of your soul.” (Contemporary English translation by Bernard Bangley.)

Alongside music, the cadences of many preachers, the “call and response” of some African American worship, and the antiphonal responses of the Daily Office may all provide gaps that invite us to fill them with our spiritual dance—and by that I don’t mean “disembodied,” but one that moves our bodies as well as our souls.

When I was in college, the choir of our church sang a catchy Caribbean song. Our staid congregation stayed in their pews, smiling appreciatively, but resisting an urge to rise and sway and clap. To paraphrase Jesus, “If these Christians remain seated, the pews themselves will dance.” That didn’t happen, but when the choir finished, someone spontaneously cried out, “Do it again!”

And they did!

 

I recommend the current film on Netflix, Sound of Metal, about a heavy metal drummer losing his hearing, for its spiritual subtext. This post originally appeared June 11, 2014.

Tax-deductible donations may be made safely in Chris Glaser’s name to the LGBTQ Religious Archives Network. Personal gifts may be made safely by clicking here.  Thank you!

Copyright © 2014 by Chris R. Glaser. Permission granted for non-profit use with attribution of author and blogsite. Other rights reserved. 

In Praise of Praise

Copyright © 2012 by Chris R. Glaser. All rights reserved.
 

In memory of a friend and colleague in ministry, the Rev. Julie Two Suess.

Attending the Sunday evening praise service of MCC San Francisco, my partner turned to me and said, “For this service, you’re gonna need a lot more rhythm!” I had just moved there to serve as interim pastor, and the clapping and swaying and emotional singing had not been a regular feature of my worship experience.

A visit to the service a year earlier had alienated me. “What if I’m in pain when I come to the service?” I judgmentally thought, “I wouldn’t fit in with all these happy people.” Sharing that thought with the former pastor, the Rev. Jim Mitulski (one of the world’s finest preachers), he corrected, “We started that service to give voice to all of our feelings facing the AIDS crisis in the Castro.” He explained it was the old gospel songs and Taize style chants that expressed the range of their emotions, from lament and longing to hope and faith. One might compare the similar range of the Psalms.

I’ve just finished reading a book by a progressive Christian who expresses many insights I cherish, but who suggests we praise to “flatter” God to get what we want. That may be true for some, but not for me, and not for most, I would say.

Rather, we praise to be uplifted into God’s realm, to feel and to be embraced by something larger than ourselves—spiritual community, planet earth, the cosmos and all that is within it. The expanding universe calls for our own expansion. Spiritual ecstasy, like sexual ecstasy, gets us out of our selves, literally “out of stasis,” out of the status quo.

Just like prayer, praise is the place, not of God’s transformation, but of our own! To paraphrase the spiritual, “It’s not you but me, O Lord, standing in the need of praise.” In her book, Suffering, the late German theologian Dorothee Soelle affirms that collective “lament, petition, expressions of hope” empower those who suffer to address wrongs, comparing workers’ protests to liturgies, particularly the Psalms.

I come from traditions—both Baptist and Presbyterian—suspicious of the charismatic expressions of worship. Even the simple act of lifting our arms and faces upward—ironically, the praying posture of Jews and Christians of biblical times—seemed indecorous in our  somber and earnest worship.

There is “bad” praise music, of course—uninspired, unpoetic, musically dull, and theologically untenable for progressive Christians. But even the theologically questionable ones, if inspired and poetic and musically interesting enough, may be fun to sing. Just don’t take them literally (just like scripture!).

I introduced a new song with just the right theology at the annual Kirkridge men’s retreat I co-lead, but when we faltered at its difficulty, someone started singing “Jesus Loves Me,” and it became the reprise of the weekend.

My preference is for Gregorian chants, songs and chants from Taize, Iona, and John Michael Talbot, as well as spirituals, sambas, salsas, and freedom songs. But I also still hum and sing the old gospel songs and staid hymns as well. Just ask our dog, Hobbes.

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Serendipitously, for those of us in the Atlanta area, I just learned that John Bell from the Iona community will be leading an evening of song at 7:30 p.m. March 20 in Cannon Chapel on the Emory campus as part of the Candler School of Theology’s conference, “The Singing Church: Current Practices and Emerging Trends in Congregational Singing.” Tickets are $20 for the evening.

And, in regard to last week’s post, I have since found and recommend the film version of the book, “Lord, Save Us From Your Followers” on Netflix.

Finally:

I welcome the use of Progressive Christian Reflections with attribution of author and blog site as contemporary readings in worship or other non-profit purposes. 

My hope is that you will also browse the archives (right column) to use previous reflections in your daily or occasional devotions.