Recent writings

Recent writings

s brent plate

  • Images Change Our Views on Race

    Images are not static. They grab our attention, incite desire, alter our relations to others, and tweak our beliefs, as they usher us into new worlds.

    When “Black Panther” was released, Baye McNeil, a former Brooklynite now living in Japan, was thrilled. As he told The Japan Times, he joined“a group of palpably positive brothers and sisters” at a Tokyo theater. Collectively they were transported to the land of Wakanda. As an exile in Japan and a black man in a country with very few people of African descent, he and his friends entered, as he described, “a bountiful realm of invigorating messages and restorative images” that provided him with a sense of connection and belonging.

    [Read the rest at Newsweek]

  • Battling Our Demons, On Screen and Off

    In the midst of one shooting after another of unarmed black men by police officers, one comment keeps sticking in my mind: officer Darren Wilson’s expressed fear of Michael Brown before he shot him six times and killed him. Wilson claimed of Brown, “he looked up at me and had the most intense aggressive face. The only way I can describe it, it looks like a demon.”

    What does it mean to look “like a demon”? How would Wilson know what a demon looks like? Was he implicitly claiming he’s actually seen a demon? Or was Wilson, most likely, projecting an image of a demon from popular media onto the face of a real person? A monstrous, unreal other overlaid on the face of another, real person? And has media so influenced us that we don’t know the real from the fake and we’re ready to pull the trigger regardless?

    [Read the rest at The Revealer]

     

  • The Top Ten (Non-Religious) Religious Films of 2017

     

    Cinema and religion are never far apartboth bring light to darkened places. Sometimes the illumination comes from bright souls gathered together to confront dark forces. Sometimes it’s the light of bonfires lit to root out (perceived) monsters. Sometimes the light beckons to us from outside the window, or at the end of a tunnel, showing us another world beyond, full of possibilities. The lights are at times alluring, and other times frightening, and usually a bit of both.

    It may sound strange to say, but in an era of fake news and truthiness, we might need the lights of fiction now more than ever. Yes, for a kind of escape (though the belief in cinema simply as escapism is a dangerous tale), but also for testing, trying, experimenting, becoming other. In the cinema we are given the point of view of someone else, made to feel what someone else does, prompted to become part of the stories playing out on screen.

    [Read the rest at Religion Dispatches]

     

  • Watering the Roots of Mormonism:

    The Erie Canal's Contribution to the Faith

     

    If you drive into Palmyra, New York, today you’ll come upon a site not unlike what the Mormon founder Joseph Smith saw two hundred years ago: a cluster of four tall steeples rising from four Protestant churches. Presbyterians, Methodists, Baptists, and Episcopalians confront each other at adjacent corners of the town’s crossroads. Though they aren’t the same steeples as in Smith’s day, the inter-denominational face off was already in force, leading Smith to reflect: “There was in the place where we lived an unusual excitement on the subject of religion. . . . Priest contended against priest, and convert against convert so that all their good feelings one for another were entirely lost in a strife of words and a contest about opinions.”

    In a newly settled land rife with new religious movements in direct competition for people’s souls, Smith was able to work within the discord to form something fresh and novel. As is well known through contemporary caricature and acclaim alike, he forged one of the most powerful religious traditions operating in the world today.

    What isn’t so well known is that the origins of Mormonism, like the origins of many American religious practices and beliefs, are deeply bound up with the birth of the Erie Canal, on whose banks the town of Palmyra grew. The early lives of both Joseph Smith and Brigham Young were nourished by canal-based social and economic developments, and ultimately the printing and distribution of the Book of Mormon would not have had an impact without the canalway.

    [Read the rest at Sacred Matters]

     

  • Far from the Museum of the Bible,

    these artists use the Good Book as their medium

    In 2015, Montreal-based artist Guy Laramée placed a large-format Bible from the 19th century upright with the spine open. Then, using a power grinder, he carved a landscape into the pages and painted along the curvatures, evoking the space of a cave whittled into a sheer mountainside.

    It is a beautiful summoning of desert spaces, conjuring the place of the biblical prophets. It is, however, an unusual treatment of the Good Book. 

    Laramée, along with a number of contemporary artists, has been working with books not as muse, but as medium. You could call these artists book lovers, but only in the way that you could call Michelangelo a marble lover or Edward Scissorhands a tree lover. 

    [Read the rest at Religion News Service]

  • Did the Erie Canal help put an end to slavery? 

    Austin Steward was born into slavery in 1793 in Virginia, where he worked as an errand boy on the plantation of a cruel master. Whippings were common, and meager food and clothing were all he was given for his excruciating labor. Yet he was a person of remarkable energy and spirit. He managed to teach himself to read in secret, an act for which he was beaten.

    Steward eventually escaped after his master sold the plantation and moved his household and slaves to New York state. Steward gained his final freedom with legal help from the New York Manumission Society, an abolitionist group, and made his way to Rochester. In short order he opened a butcher shop and then a general store on Main Street, creating a thriving business. He was just 24. He saw his success as a reason to help others and found time to teach Sunday School, host black reform meetings and distribute abolitionist newspapers. Freedom was not simply the release from a former state of being. For Steward it was a call to action and responsibility.

    [Read the rest at America]

     

  • When do moviegoers become pilgrims? 

    Among the millions of travelers heading out for the summer holidays, some are choosing an unlikely destination: a rusted bus on the edge of the Alaskan wilderness.

    Fairbanks Bus 142 (aka the “magic bus”) is where the 24-year old Chris McCandless died in 1992. Well-educated and economically secure, McCandless rejected the materialism he saw in contemporary U.S. society. He set out to explore with only what he could carry, and ended up living off the Alaskan land for a few months before dying of starvation. His story was first told by writer and mountaineer Jon Krakauer in the book “Into the Wild,” and later made into a film directed by Sean Penn.

    Since then, dozens of people every year seek to follow in McCandless’ footsteps. Finding inspiration in his mode of self-sufficiency, many head out to Alaska like secular pilgrims seeking to imitate a great saint from long ago, and to live more simply.

    [Read the rest at The Conversation]

     

  • The Erie Canal and the Birth of American Religion

    The first great social space in the United States was not Boston Common, William Penn’s Philadelphia squares or L’Enfant’s great avenues of Washington, D.C. It was an artificial river, 4 feet deep and 40 feet wide, cutting across New York state.

    Like the Silk Road in Asia, the Erie Canal not only established physical links across geographic regions, it also remade the social and religious lives of everyone it touched. Albany newspapers, Genesee flour, Syracuse salt and Western timber traveled on the canal alongside theater groups, former slaves, tourists, industrialists and religious revivalists.

    [Read the rest at Religion News Service]

     

  • One Day at a Time and the many ways to be Latina

    A few minutes into the third episode of Netflix’s serial comedy One Day at a Time, a heated family discussion takes place on the importance of religion for the three generations of the Alvarez family. The central character, Penelope Alvarez (Justina Machado), wants to go for a hike on Sunday and thinks it would be a good family bonding event. But that would mean skipping church. Her Cuban-born, fervently Catholic mother, Lydia (Rita Moreno), insists they go to church. She underscores the importance of church by telling a story about her Great Uncle Recito, who once skipped church and on the same day was crushed by a runaway tractor.

    Meanwhile, 12-year-old Alex (Marcel Ruiz), the darling of his grandmother’s affections, likes church because there “I see my friends. I eat some donuts.” Fourteen-year-old Elena (Isabella Gomez) intellectually pokes at her grandmother’s faith, asking if she really believes she’s eating the flesh and blood of Jesus during communion. Lydia responds, “Ay! No, it’s a symbol. Don’t be gross!” When Penelope claims that that makes her a Protes­tant, Lydia retorts, “There is no need for name calling!”

    [Read the rest at The Christian Century]

     

  • Getting Religion in the Museum

     

    There are over 850 million visits every year to museums in the United States, a count higher than that for sporting events and amusement parks combined. Hundreds of millions more visit collections online. Museums are go-to spaces for educational field trips, must-see destinations for tourists to new cities, sites for contemplation, for hands-on scientific exploration, and flint stones of socio-political controversy. They are also filled with religious objects.

    Among all the media and means through which a broad swath of the public comes to understand religious lives and traditions, museums have emerged as some of the most prominent social institutions influencing the popular conceptions and imaginaries of religion. From history to natural history, art to archaeology, local to national, museums actively shape how people come to know about beliefs and practices other than their own, just as they challenge conceptions of one’s own cultural, religious, and national histories.

    [Read the rest at Sacred Matters]