wild goose
Wild Goose Festival participants, photo courtesy Tripp Hudgins
This summer I had the distinct privilege of being asked to serve as the Liturgical Coordinator for the Wild Goose Festival held in Hot Springs, N.C. The festival is a time and place of celebrating the “intersection of Spirit, Justice, Music, and the Arts” that began a few years ago. As such, liturgies abound. Some of them were rather traditional. The Episcopal tent, for example, held Compline services every night. They also broke out of the mold and hosted a songwriter circle and an agape feast. The Goose is like that. Ask the Methodists about the beer tent. Oh, and the Baptists had a coffee shop.
People break from the mold a little. There was a Eucharistic liturgy where a blacksmith literally hammered a rifle into a farm implement. It was an unusual Eucharist, to be sure, but beautiful.
Fireflies in the night. Image courtesy Fer Gregory/shutterstock.com.
From hosting electronic dance revivals and nightly “beer and hymns” to featuring the hijinks of Christian carnies, the Goose sure knows how to let loose. Yet, this holy mischief is often missing in our life and work together. In our resistance to empire and the systems of domination that pervade our life and being, we tend to take ourselves too seriously. For many, Christianity has become staid and void of imagination. But it doesn’t have to be this way. What if we risked it all like holy fools?
via Wild Goose on Facebook
We’re headed home from Wild Goose Festival, a gathering of artists, activists, musicians, and theologians, in Hot Springs, N.C. It was hot, rainy, and messy. My suitcase smells like my fifth grade gym locker.
I can’t wait to go back next year.
The speakers are remarkable; many of them are walking the talk they’re offering, which is an unfortunately rare phenomenon. The music is fresh and exciting, the art is created before your eyes, and there is an energy of hopeful expectation that renews your soul, flushing out the broken-down-ness of daily life.
But the most important part of the whole four-day event lies in the unexpected moments. Sometimes I would walk along the main dirt road in the middle of the grounds, lined with tables, tents, and makeshift gathering spaces, until I saw something interesting going on and just joined in.
In one moment you’re debating the theological implications of the American food-industrial complex. Half an hour later, you’re laughing with new friends in the beer tent. And then, just when the sun sets and you’re sure you lack the fortitude to go one any more, the music on the main stage cranks up and the very earth beneath you vibrates.
Artist Ted Lyddon Hatten’s work reflects the spiritual stories of birds in “Ornitheology.” RNS photo courtesy Ted Lyddon Hatten.
Words and music are the stock-in-trade at most Christian festivals, but the Wild Goose Festival is adding another component: the visual arts.
Run River North and Jars of Clay will headline the musical offerings.
But as with last year, the festival is making an intentional shift to include more visual art; more than 13 artists and arts groups will present their work.
This year’s theme of “Living Liberation” will attempt to challenge conventional Christian art with liturgical painting, a collaborative mural project, experiential storytelling, and an exhibit called Faithmarks that explores spirituality and tattoos.
Troy Bronsink, photo via Andrew William Smith
Troy Bronsink’s meditative live album Songs to Pray By stretches its sonic arms to embrace every listener with expansive words of spirited awe and awesome humility, with ecstatic waves of audio grace and rhythmic gravity.
Bronsink and his band bring to church what we’ve seen out on the festival circuit for years: a shimmery and psychedelic use of sound and language to elevate listeners who choose to inhabit a song as if it were wings, the place where the spirit soars and the heart sings. We don’t often associate noodly guitars and trippy percussion with the worship sound, which is exactly why this album is such a perfect addition to the praise genre.
A solo Bronsink will be presenting his musical work tomorrow at the Wild Goose Festival. We both took a break from packing and planning our journeys to North Carolina for this email interview.
Dear Sojourners friends,
I have some news to share with you that is difficult (for me at least) but wanted you to hear it from the horse’s (or mama bear’s) mouth: Today is my last day as Sojourners' Web Editor and Director of New Media.
Change is hard. There is always a certain lamenting that comes with it, even when the change is, on many levels, a good thing. This was a difficult decision but one I felt I had to make in order to follow the lead of the Spirit. Our CEO Jim Wallis received the news of my impending departure with great grace, love and support. For Jim's friendship, I am ever blessed and thankful.
See the thing is, as many of you know, I didn’t become a mother until about four years ago when my husband, Maury, and I welcomed home our boy, Vasco, whom we adopted from Malawi. Vasco, is now 13 and, as any parent of teenagers will tell you, they need their mamas during these transitional boy-to-man/girl-to-woman years perhaps more than ever before, even as they are sprouting their independent wings and pulling away from their parental units.
Wild Goose 2012 weekend, Photo by Cathleen Falsani / Sojourners
Chris is an atheist and a humanist chaplain at Harvard University. He is the only explicitly nonreligious speaker invited to the 2012 Wild Goose Festival in Shakori Hills, N.C.—a festival that is generally (and with exception) aimed at the liberal, often-invisible fringe members of the Christian community. Being that I theoretically fall into this group, Chris offered me his plus-one free ticket.
While it generally takes an act of God (or, “a series of convergences” Chris might say) for me to make a decision, I told him I’d go. After all, I’d been experiencing my own dark night of the soul where almost every conversation I’ve had about religion/ Christianity over the last year has been doubt-ridden and cynical. In my best mood, I hoped my attendance would put me in touch with some other cynics, believing it might relieve my cosmic guilt. What I secretly feared, however, was that I was going to Wild Goose to break up with the Christian faith I’d grown up under.
A few weeks ago I (an ordained minster who has gone to church my whole life) walked away from church — for three months. It is what I've decided to do with my sabbatical. You can read about my initial thoughts on my blog or on The Huffington Post. As the journey unfolds, I will be blogging about it in this series entitled, “Church No More.” I hope you will not only follow along, but add your voice to the reflection by commenting or joining the discussion on my FB page.
It might be that the thing which concerned me the most about leaving the church was losing my spiritual community. It's not that I thought the spiritual-but-not-religious folk were helplessly lonely people wandering around seeking a spiritual community. Not at all. I just assumed that it might be immensely difficult to find and plug into a community like that in the course of three months. I also couldn't help but think it would be just a bit — well, fake to seek out a community for the sake of observing them and then leaving a few months latter. Not just fake but somewhat mean spirited and completely missing the point of community.
Here's the thing, I am a minister. I understand myself to be a person who ministers by following the lead and teachings of Jesus. (I also happen to follow the teachings of many other spiritual and/or thought leaders from Buddha to Neil deGrasse Tyson, but that's for another post some other time). Because of that, the idea of life without a spiritual community gives me the heebie-jeebies. (I apologize for using such a technical term, but a duck is a duck is a duck).
Wild Goose 2011, via Christian Piatt
How do you know when someone has a Prius?
Don’t worry; they’ll tell you.
We got a Prius about four years ago, and immediately we bought into the hype about milking every gallon of gas for another tenth of a mile. We read the hyper-miler blogs about how to employ the gas and brake pedals most efficiently. We competed against each other for the best MPG. It was nerdy but fun, and we felt like we were doing something at least a little bit socially redeeming.
I haven’t seen the research, but I’m convinced that a significant chunk of the Prius’ reputation as a gas miser stems from the way its users are trained to drive it.
Rise of the Planet of the Apes is a surprising addition to the typical summer blockbuster canon -- for one thing, it manages to entertain and challenge, without resorting to gratuitous violence to make its point. But there's a deeper subtext that is even more unexpected -- for this is a story in which we start to lose.
It was fashionable in the late 1960s and early '70s for science fiction films to attempt to out-dystopia each other -- see for example the notion in Soylent Green that post-industrial humanity snacks on itself to survive, the suggestion that only robots can be trusted to look after creation in Silent Running, and the climactic revelation in the original Planet of the Apes that a few generations from now, the nuclear arms race will end in mutually assured destruction. All these point to a simple philosophical idea: that humans cannot be trusted to care for ourselves or the planet we steward.
It's been a fabulous few weeks for movies -- at theaters and at home. There are images in the great Russian director Andrei Tarkovsky's Solaris, recently released on Blu-ray and DVD, that are so beautiful they can evoke an aching longing for transcendent experience. This is entirely the point, for the film is about the search for meaning in a God-breathed universe. A man goes to space to investigate a mystery, discovers himself in the face of his loved ones, and ends in an embrace with the divine -- love itself. It's an astonishing work of art that repays multiple viewings, and serves as nothing less than an icon for worship. This summer's The Tree of Life, the fifth film in 40 years from the Christian humanist artist Terrence Malick, becomes something similar, and in the process makes excellent cinematic use of Brad Pitt and Sean Penn as avatars of contemporary masculinity. It's the most moving film I've seen this year.
I was not one of the 1,500 who attended the inaugural Wild Goose Festival in Shakori Hills, North Carolina last month, but I did grow up going to Christian summer camp. What’s the connection, you ask, between a festival and summer camp? Summer camp -- like festivals and extended retreats -- is often deeply formative because it gives kids (and adult counselors, for that matter) a glimpse at a kingdom lifestyle.
At the Wild Goose Festival in North Carolina last weekend, I was able to speak with Anna Clark, author of Green, American Style, president and founder of EarthPeople, a green consulting firm, and a contributor to Taking Flight: Reclaiming the Female Half of God's Image Through Advocacy and Renewal. Anna has a heart for equipping churches to make small and big changes for the sake of creation care and stewardship of the earth's resources. How can Christians do this, you ask? Read our conversation to find out.