MOSAIC Issue 8 - StoneWorks: A Global Arts Initiative
Transcription
MOSAIC Issue 8 - StoneWorks: A Global Arts Initiative
StoneWorks • C o n n e c t A G l o b a l A r t s I n i t ia t i v e b C r e a t e x • I ss u e N u m b e r 8 C e l e b r a t e A God of Variety Pastor Ed Lapiz founded Kaloob Philippine Music and Dance Ministry to research, teach, and promote the use of indigenous arts in Christian worship. In this article, he describes Kaloob’s mission to “redeem” the creative products of Philippine culture. A Maranao royal dance of the prince and princess dancing among clashing bamboos. (Performed by the KALOOB Philippine Music and Dance Ministry) Christianity came to the Philippines together with colonization. Catholicism came with the Spanish Conquest in the 16th century, and Protestantism came with American occupation of the country in 1899. Successful evangelization was often equated with or measured by the destruction of indigenous culture. The God of the Bible was presented as a Western deity who could only be pleased with Western cultural expressions—in architecture, language, or music. Liturgy had to conform to Western aesthetics. Indigenous culture was judged and labeled as demonic. For instance, in Philippine Catholicism images of saints look like Europeans and representations of Satan look like the native. Needless to say, that’s very culturally oppressive. Therefore many Christianized Filipinos have regarded their own heritage as something that has to be forgotten and destroyed, and they have to borrow all kinds of artistic expressions from the West—which of course do not sit perfectly well in the local context and are not very effective vehicles for the expression of indigenous spirituality. Our people have been led to believe that Western Christianity is the only “correct” brand of faith—a misguidance that has been culturally destructive as far as our identity and heritage is concerned. In light of that, Kaloob has begun a work that we call “cultural redemption.” For fifteen years now, we have been researching Philippine arts, especially those that could be used in Christian liturgy, such as music, dance, and ritual. Mining the cultural heritage Filipino society is around 83% Roman Catholic, with the rest belonging to Protestantism, Islam, and indigenous religions. We do not have much pre-colonial StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 2 preservation. We are glad to note that among the secular members of our society we are also known as an outstanding dance company that performs Philippine dances as faithfully as possible in their original format. In this field, we dance on par with the best dance companies in the country. Chants and dances A Spanish-inspired dance of the principalia class. This jota version of Moncada, Tarlac, features Filipinized movements and the use of the native bamboo kalaste instead of the Spanish castanets. (Performed by the KALOOB Philippine Music and Dance Ministry) Like Kaloob, I also straddle two worlds: the pastoral and the artistic realms. So I frame my cultural studies accordingly. As a pastor steeped in a biblical education, I almost always observe that in Philippine indigenous religions there is a kind of equivalent of the Trinity: God the creator, God’s spirit who inspires, and God-manhero who is the savior. So we go a little deeper and postulate that God has revealed himself among indigenous peoples, that the God of the written history as indigenous culture is told in lore, song, dance, and ritual. We therefore believe that the stories and the values and the spirit of our people are enshrined in the performing arts. When the march of evangelization destroys such artistic expressions in the name of God, a great part of our soul gets sacrificed needlessly on the altar of Christianization. Those Filipinos who have been evangelized have to face a choice: to be “good” Christians (which means Westernized) but “bad” Filipinos as they abandon their cultural heritage, or to do what we at Kaloob do and advocate—study elements of indigenous culture, filter them through Scripture, salvage everything that does not directly contradict the spirit of Scripture, and then rededicate and reuse them in Christian liturgy. So far we have collected hundreds of indigenous songs and dances and then have done a process we call redemption—which is like filtration for things that are offensive to biblical sensitivities. In our experience, 85-90% of indigenous artistic expression could be used in Christian worship without offending Christian theology. Filtration includes, for example, foregoing the offering of blood or the sacrificing of animals in our rituals because we believe that Christ is the ulti- Bible must have made visitations and revelations of himself to all the nations, because if you were the God of the universe why would you reveal yourself to only one race, one tribe in one corner of the world? That is the big source of our resolve to redeem culture—we believe that many of those cultural artifacts enshrine our ancestors’ pre-missions experience of God. For instance, one of our most celebrated dance forms that surfaces in nearly every tribal tradition features men and A prayer-dance by the Manobo women of Western Bukidnon, Mindanao. (Performed by the KALOOB Philippine Music and Dance Ministry) mate sacrifice for all time. Everything Kaloob does is founded on solid anthropological research that gives birth to two types of presentations. One we call a “prayformance.” That is when we use indigenous music and dance in the context of Christian worship. They are no longer the authentic original forms because we refashion them for the needs of the liturgy. That’s our main ministry. And the other is a performance for the sake of artistic expression and cultural StoneWorks • A G l o b a l A r t s I n i t ia t i v e women dancing with fire on their heads, in the form of oil lamps, candles, or pieces of burning wood on ceremonial receptacles. We are led to read this as a commemoration of some form of “Pentecostal” experience in our people’s distant past and now preserved in dance and ritual. We study such artistic expressions, interview the informants about their symbolism, and then find parallel meanings in Scripture. For example, we have picked up one chant calling on a spirit. We use the same tune, the same way of thinking, but we use the name of Jesus instead of the god they are calling on. Now if Jesus is the same deity behind the indigenous song, so be it. But if not, we are reclaiming it, rededicating it to the God of Bible. Hence, cultural redemption. We’d like for the church to be the sanctuary, not the cemetery of indigenous culture. And this can happen if the church not only stops rejecting indigenous culture but will actually use indigenous expressions in contemporary Christian worship. On the other hand, we do not wish to bring the church back to the cave. That is why we contemporize, make songs and rituals work within the context of the church today. We are thus able to fashion a Philippine Christianity that is firmly rooted in our traditions, decidedly relevant to our context, and steadfastly biblical. For fifteen years now in our main church, Philippine music and dance have become part of the usual Sunday worship. We have many satellite churches around the country and some around the world that in various degrees are also using similar cultural expressions. But that doesn’t mean we reject modern or Western culture. We also like to make harmonious fusions, where we as Filipinos are rooted in our heritage but are also citizens of the world and part of the global church. We also envision contributing elements of Philippine arts to the global church, so that indigenous churches and peoples can not only be on the receiving end of the global Christian culture but can also contribute to the enrichment of the body of Christ by bringing rituals, songs, and dances that express faith and spirituality in • I ss u e N u m b e r 8 Page 3 An excerpt from the Kalinga epic “Ulallim” chanted during Kalinga festivities such as Vochong. (Performed by the KALOOB Philippine Music and Dance Ministry) Photo courtesy of KALOOB. the context of our culture. Of course, we like to see all the other nations of the world do the same. Pioneers and diplomats In the past, conservative elements of the church were suspicious of us and rejected us. They thought we were being syncretistic, because they were conditioned to think that anything indigenous could only be of the devil, and that sacred culture and arts could only come from the West. Through steadfast commitment and hard work in the last fifteen years, we have made incursions into that monolithic point of view. Major churches in the Philippines have, to varying degrees, embraced our approach. When our main church meets on Sunday mornings, about 6,000 people come. Many Christian missions based in the Philippines bring visitors from abroad to our church so they can see how Philippine instruments and dances are used in worship. Kaloob also gets invited to most major StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 4 “Our God is not a God of sameness but a God of variety,” Monte Ohia of the World Christian Gathering of Indigenous Poeples loved to emphasize. No two noses are alike. No two skin tones are the same. So why should the music of the church only come from the organ? Why should the dance of the church only come from ballet? The human body is so beautifully designed that there are infinite ways to express feelings through movements, so why not a Filipino movement? We want to decolonize Christianity. We want to welcome the Spirit of Christ to each culture and allow all tribes and all nations and all languages to be able to worship God in variety. The arts are very wonderful and powerful tools to set the oppressed peoples of the Photo courtesy of KALOOB. “We’d like for the church to be the sanctuary, not the cemetery of indigenous culture.” Christian events. So some of the churches that used to be suspicious and unkind to us are actually now proud of us. There is only a very tiny pocket of resistance left. Thank God the climate has changed. I cannot prescribe our technique or method to anyone; we have just been doing the best we could in our context and within our limits. But here are few things we have learned that may help others avoid some unnecessary setbacks: Don’t be overzealous. You always need the support of the church leaders. Talk first to the pastors, not to the music and dance leaders, because there could be a wide chasm between their theologies, and if the pastor doesn’t like it, nothing will go. Don’t try to make changes too fast, because many conservative believers think there is only one way to approach God. We have to respect them also. We must not carelessly alienate people. Build on it. Don’t fashion yourself as the enemy of the status quo. Be diplomatic. Artists have to be diplomats, because you need lots of space and support. A Global Church Everything in the earth is the Lord’s. Satan doesn’t own music. Satan doesn’t own dance. Satan doesn’t own art. So to reject the creative input and products of other cultures is to reject the God of creation who made the people of the world different. world free—free to be themselves, free from an inferiority complex. Jesus accepted those who fell through the cracks, those who were rejected by society. It’s time for the church to embrace the cultures of the world, to uphold a global Christian church, where every nation has a contribution. Photo courtesy of KALOOB. StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 5 The Healing Power Of Art God can speak into our pain—and use our pain— in ways we could never imagine. By Dr. Dianne B. Collard I am not an artist, but in the dark days of pain and despair following the murder of our eldest son I found solace and peace within the art museums of Vienna, Austria, where my husband and I worked as missionaries in 1992. I experienced evidences of the Creator—his goodness, beauty, and truth—demonstrated through line, form, and color. I felt God’s love as I gazed on depictions of Christ’s redemption. I resonated with the pain expressed in paintings depicting war, plagues, and death. I reveled in the splashes of color and geometric designs of abstract and non-representational art. I will never be the same, for God spoke to me with “sensations too subtle for words,” as artist Robert Henri expressed. From this profound encounter, I know art can reach into the deepest recesses of the human soul—at times and in ways that ordinary language cannot. I know that God can use beauty and creativity to speak to a suffering person and bring healing. And since that time, I have learned that He can also use someone who has been deeply touched by art to touch others. He can use my brokenness and pain to His glory. Alienated artists My experience with art in Vienna was so foreign to my background that I was hesitant to share it with anyone. When I even mentioned it, I was told that it sounded unbiblical or “New Age”— something to be feared. I knew that I’d had a significant, though unusual, encounter with God through the medium of visual art. Because of this, I was drawn toward artists of faith. I did extensive research on the biblical role of the artist and the power of a multi-sensory worship experience. I accepted my need of artists to lead me into the presence of God in ways I could not express for myself. I questioned the dearth of the arts, especially the visual arts, in our churches. Why was this ignored, denied, or feared? Why did the artists of faith that I met express feelings of rejection and alienation from the evangelical churches? (This concern ultimately led to my doctoral dissertation on the topic.) Early in this journey, I attended the Hope 21 Conference in Budapest, Hungary, sponsored by the European Evangelical Alliance. Because of my growing passion for the arts and my concern for the artists, I asked to sit in on the Artists’ Track that met daily. Here I repeatedly heard their pain over their feelings of rejection by the church. My heart was broken. On the final day of the conference, I asked to speak. I shared my story of healing and worship through the arts. “Please,” I concluded, “as a non-artist believer, I beg you: Do not stop engaging in your art. Don’t stop exercising your creative gifts. Especially don’t abandon the church—no matter how hard it might be. The world needs your gift, the church needs it, but most of all, I—a non-artist sister in Christ—desperately need it.” There was silence in the room. I returned to my seat and internally wept. Doubting a dream In the years following this conference, my passion for the arts and the artists continued to grow. I received my doctoral degree in 2004, and we returned to live in the U.S. But no one seemed to care about all my work and fervor. I often asked God why He gave me this burden yet did nothing with it. It was as if my dream had died. In 2006 I combined my roles as speaker, writer, and intercultural trainer and my passion for worship and the arts into a ministry organization called Montage International. The following year, Montage became a department of Dr. Dianne B. Collard Artists in Christian Testimony International (A.C.T.). I am an Arts Advocate and trainer. Slowly God was making clear how He would combine all the disparate aspects of me into a tool for His Kingdom. In 2008, when I arrived in Nashville, Tennessee, for A.C.T.’s Arts Alive Conference, I was assailed with doubts about my right to attend such a conference. After all, I’m not an artist. My self-doubt screamed, “You are only here because your son was murdered and you had an experience with God through art. You are only capitalizing on Tim’s death.” Horrible accusations that I thought were settled long ago returned. I silently struggled through the entire conference. Then came the last offering of the final evening—an expressive dance production by StillPoint Dance Theatre. Ministering unaware Before the final dance Sharon Perry, the choreographer, began telling a story that she prefaced with the statement, “I’ve told this every time I’ve spoken to artists around the world to encourage them to keep going, even when it seems no one cares.” She then described a woman who had spoken on the last day of a conference in Budapest six years ago. To my amazement, she told my story and quoted my words exactly. She ended by saying that this anonymous woman’s plea StoneWorks • A G l o b a l A r t s I n i t ia t i v e had kept her serving God through her creative gifts and that it had ministered to scores of others as well. A shock went through me. I recognized my testimony immediately, and others who knew me began to realize what was happening. I knew beyond any doubt that God was saying to me, “Dianne, this is my message and my ministry. I’m using it • to my glory. Just be faithful and leave the results to me.” He had used my life story to encourage artists around the world when I thought the dream had died. Amazing. If you are an artist, be encouraged to faithfully use the gifts God has given to you—within and beyond the church walls. Perhaps your dream has died and I ss u e N u m b e r 8 Page 6 you believe that no one, not even God, cares about your gifts, your art, your ministry. I was in God’s “waiting room” for over six years, and yet God was at work in people’s lives through my testimony. Art can bless and heal someone, so that she in turn can bless and heal others. Stone by Stone A New DVD Teaching Series on the Arts by StoneWorks International Director Colin Harbinson Looking for a unique gift? Colin Harbinson’s nine-part DVD teaching series “Stone by Stone,” a joint venture by StoneWorks and InterVarsity 2100 Productions, is an ideal choice to encourage an artist or art student. Harbinson explores some of the stones in the church and in the life of the artist that have prevented us from embracing God’s good gifts of imagination and creativity, and stones that have prevented us from bringing hope and restoration to the brokenness of our surrounding culture. He examines what it means to remove these stumbling blocks and to participate as artists in God’s restoration plan for His creation. The accompanying Study Guide can be used for both personal reflection and small group discussion, and the DVD set includes bonus video material showing Christians engaged in the arts in different contexts, a Leader’s Guide in downloadable PDF format, and a trailer that can be used for promotional purposes. To order the DVD Series and Study Guide, go to www.stoneworks-arts.org/stonebystone.html (international orders accepted) or https://store.intervarsity.org/stone-by-stone-arts-curriculum-dvds-andstudy-guide.html (for U.S. orders only). “Colin Harbinson has done all of us in the artistic world a great service by creating the ‘Stone by Stone’ series. He speaks with great authority for two reasons. First, he knows what Scripture says about God’s intent for the arts better than anyone I know. Second, Colin has lived what he talks about, as a creative artist and as a producer and as a teacher. He has seen God do for artists what the Bible says He wants to do! This discussion series is truly unique and I expect to see the lives of many artists changed through experiencing ‘Stone by Stone.’ ” —Dick Ryan, National Director for the Arts, InterVarsity Christian Fellowship/USA “‘Stone by Stone’ provides an invaluable resource for my undergraduate visual arts majors, introducing them to questions of artistic practice within a Christian worldview. The themes Colin Harbinson addresses in the DVDs and the questions in the Study Guide go right to the heart of the key issues for any Christian student pursuing the arts: questions of identity, individual discipleship, relationship to the church and to the culture, the language of the arts, and much more. ‘Stone by Stone’ is as rewarding in an academic context as it is in a professional, ministry, or church-related setting.” —Dr. Melissa Hause, Associate Professor of Art History, Belhaven University StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 7 Introducing International Arts Movement (IAM) Photo courtesy of IAM. StoneWorks is eager to support organizations or institutions that exemplify some aspect of our vision to (1) teach Christians to understand and embrace the language of the arts in life and faith, (2) mentor and disciple emerging artists within the Christian community, and (3) restore the arts and renew culture through the recovery of the imagination. In each newsletter, one of these organizations will introduce itself to you. This profile was provided by Christy Tennant, IAM Director of Public Relations. Mission: The world is not as it ought to be. We long for meaningful existence and involvement in our culture—to make our world a better place and to be part of a story greater than ourselves. But too often our reality is a broken and fragmented story in which value and dignity are stripped from humanity. Art, as a universal language, can begin to address this dehumanization. The world needs artists and visionaries to lead the way in seeing beyond the trivial to the transcendent, bringing synthesis from fragmentation and hope from despair. IAM gathers aspiring, emerging, and established artists of all disciplines and creative catalysts to wrestle with the deep questions of art, faith, and humanity. We gather locally in many cities throughout the world, as well as virtually through our website. Our hope is that through our lectures, workshops, discussion groups, film screenings, creative collaborations, global community connections, podcasts, fellows program, online magazine, and creative resources, we will inspire the global creative community both to engage with the culture that is and to create the world that ought to be. Our work will serve individuals in both philosophical and pragmatic ways. We welcome all people to join us as we wrestle with these questions. Our approach to this discussion is influenced by 19th-, 20th- and 21st-century artists and thinkers like Leo Tolstoy, Francis Schaeffer, Hans Rookmaaker, Flannery O’Connor, C. S. Lewis, J. R. R. Tolkien, and N. T. Wright. Recent works such as Daniel Seidell’s God in the Gallery and Makoto Fujimura’s Refractions: A Journey of Faith, Art and Culture offer language that is helpful in understanding the importance of the arts for all of humanity to flourish, and we draw heavily from books by all of the above and many others as we create resources to serve our community. In the sea of art, film, television, music, theater, dance, and other creative endeav- Photo courtesy of IAM. StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 8 transform the culture that is and create the world that ought to be. Activities, resources, and events: Photo courtesy of IAM. ors, the good, true, and beautiful work can often be overshadowed by works that are dehumanizing and do not serve humanity at large. We encourage and equip artists to be aspirational, embodying a healthy sense of ambition to help their excellent, rehumanizing work find an audience. While we do not have a formal mentoring program, the IAM community is comprised of aspiring, emerging, and established artists of all disciplines, and we frequently help aspiring artists to connect with established artists for mentoring and professional guidance on varying levels. We have relationships with many churches around the world to which we frequently refer people seeking spiritual direction and input. As Lewis Hyde points out so beautifully in his book The Gift, art is a gift, not merely a commodity. IAM encourages artists and creative catalysts to view their work as such. We encourage the IAM community to look for ways to be radically generous. To that end, we make most of our resources available free of charge, asking only that those who are able to give support the movement through donations. We believe that generosity begets generosity, and our store’s suggested donation policy reflects that ethos. We also foster entrepreneurship within the IAM community. With ongoing advancements in media and distribution opportunities via the Internet, there is more new art available than ever before. It takes an entrepreneurial spirit to think inventively, not only in order to create original work that is excellent, but to get it into the public sphere where it will help How to Get Involved: 1) Join the Movement: Join our mailing list, connect locally where possible, and utilize our free online resources. Our global office is in New York City, but we have groups in over 13 cities (see http://www.internationalartsmovement.org/groups). 2) Support the Movement: Give financially. All donations are tax-deductible. IAM is a 501(c)(3) non-profit arts organization. 1) The Annual IAM Encounter. This three-day event takes place in New York City every year, usually at the end of February or beginning of March. Encounter 10, which takes place March 4-6, 2010, asks 10 questions that will impact our movement and culture throughout the coming decade. 2) IAM Local. Throughout the country, local IAM groups host discussion groups, film screenings, art exhibitions, small works auctions, gallery tours, musical performances, and arts salons. Recently IAM (Oklahoma City) hosted a CD release party, and IAM (Denver) hosted an evening of poetry, music, and lecture. IAM (New York) holds monthly film screenings, weekly discussion groups, monthly Happy Hour, musical performances, lectures, workshops, and more. 3) IAM Live. Periodically, we hold events which are live webcasts so people around the world can participate. On September 24, IAM Live featured a collaboration between Makoto Fujimura and avant garde percussionist Susie Ibarra. Viewers from all over the world watched the performance together, and groups gathered in Chicago and Denver to watch and discuss the event. 4) IAM Global. We provide ways for people to be connected and involved through our online resources, Curator Magazine, IAM Reader’s Guild, IAM Conversations, and more. Donations can be made online at our website (http://internationalartsmovement.com/store/page9.html) or by check to International Arts Movement, 38 W. 39th Street, 3 FL, New York, NY 10018. How to Contact: Christy Tennant, Director of Public Relations Email: [email protected] Phone: (212) 944-0944 Address: 38 W. 39th Street, 3 FL, New York, NY 10018 Website: http://www.internationalartsmovement.org StoneWorks • A G l o b a l A r t s I n i t ia t i v e • I ss u e N u m b e r 8 Page 9 Have you read “Leaf By Niggle,” by J. R. R. Tolkien? Recommended by Christopher Mitchell In September 1944, J. R. R. Tolkien received a request from The Dublin Review for a story that would be “an effective expression of Catholic humanity.” In response, he sent “Leaf By Niggle,” a short story he had written a year or two earlier. Its publication, in January of the following year, went almost unnoticed. Today, relatively few are aware of its existence, and fewer still have actually read it. This is extremely unfortunate, for in this story Tolkien brings together his sense of art and theology with a beauty and economy found nowhere else in his writing. Less than 7500 words from beginning to end, “Leaf By Niggle” exemplifies Tolkien’s ideas of subcreation and eucatastrophe as explained in his essay “On Fairy-Stories.” (Tolkien arranged with his publisher Allen & Unwin to have the story and the essay printed together in one volume in 1964 and suggested the title Tree and Leaf.) In brief, subcreation refers to the art of creating another world with such a degree of “inner consistency of reality” that it creates in the reader the kind of belief we give to the real world. This creative impulse, Tolkien believed, was the mark of the image of God in humanity. “I tried to show allegorically how that might come to be taken up into Creation in some plane in my ‘purgatorial’ story Leaf By Niggle . . . to make visible and physical the effects of Sin or misused Free Will by men.” Eucatastrophe is a moment of deep and abiding grace, or “gift” as the character Niggle calls it. It is the “good catastrophe,” and in its fairy-tale setting, says Tolkien, it is “a sudden and miraculous grace” that in the midst of much sorrow and failure denies “universal final defeat.” As such, it provides an example of evangelium, that is, “a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.” By referring to this “fleeting glimpse of Joy” as evangelium (the Latin word for gospel), Tolkien would have us understand that the true significance of eucatastrophe is ultimately not to be found in its fairy-tale setting but in our world. In the epilogue of “On Fairy-Stories,” Tolkien shared his belief that this idea was at the heart of the Christian gospel: “I would venture to say that approaching the Christian Story from this direction, it has long been my feeling . . . that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect . . . The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels—peculiarly artistic, beautiful, and moving: “mythical” in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy.” In “Leaf By Niggle,” Niggle is a painter—not a very successful one, the story tells us—who has a long journey to make. Niggle makes no preparations for it, and when the time comes for him to go, he is Image courtesy of The Marion E. Wade Center bustled off in a carriage to a train without a thing for the journey and without having finished his picture. What happens next I leave you to discover. But I will say that the journey leads from sorrow and failure to joy and to a redemption that involves far more than Niggle alone—and it is all “gift.” Oh, and I ought to add that Tolkien presents us with two endings: one from the world Niggle leaves behind and the other from the world to which he is taken. And the difference between the two endings also has much to do with theology and the arts. *You can find “Leaf by Niggle” in the new collection of Tolkien’s stories, Tales From The Perilous Realm, published by Houghton Mifflin Harcourt in 2008. Christopher W. Mitchell is the director of the Marion E. Wade Center, a major research collection of materials by and about seven British authors: Owen Barfield, G.K. Chesterton, C.S. Lewis, George MacDonald, Dorothy L. Sayers, J.R.R. Tolkien, and Charles Williams. ....................................................................................................... Copyright © 2010 StoneWorks. All rights reserved. • Contact information: Colin Harbinson, StoneWorks International Director, Belhaven College, 1500 Peachtree St., Box 134, Jackson, MS 39202-1789 • Phone: 601-965-7090 • Fax: 601-965-7092 • Email: [email protected] • Web: www.stoneworks-arts.org MOSAIC is edited by Jennifer Trafton and designed by Steve Tadlock. To subscribe/unsubscribe: email [email protected]. To submit news, upcoming events, art/photographs, or articles for consideration: email [email protected]. You are welcome to forward, print, or distribute this newsletter in its entirety, but please do not reprint any of the material in another format without prior permission from StoneWorks or, in the case of original art and photos, the copyright owner listed in the credit line.