If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away---Henry David Thoreau

Sunday, August 11, 2013

Lydia: Formed by Communities- Acts 16:13-15, 40


 
* This dialogue sermon was presented this morning at Albany Mennonite Church, Albany, Oregon, where Meghan Good is pastor. The congregation sat around table and discussed the questions during the sermon. See my book "Interpretation and Preaching as Communal and Dialogical Practices: An Anabaptist Perspective" (Edwin Mellen Press, 2006) for my theory on communal and dialogical preaching.

Introduction

Most often we think of heroes or heroines as persons who singularly stand out and apart from others in their community through their courage or moral example. And there is a place for recognizing the singularity of exemplary lives. Hebrews 11 is such a list of biblical “heroes of the faith.” This summer your faith community has been looking at such heroes of faith. But, the truth is, we can only understand heroes or heroines in connection with their communities. No hero or heroine stands alone and apart from their community. We cannot fully understand Dorothy Day apart from her Roman Catholic community and particularly the Catholic Worker movement. We cannot fully understand Martin Luther King Jr. without also understanding the black community of which he was a part; its traditions, practices, music, style, struggles, hopes, dreams, and religious expression. The story of a hero or heroine is also the story of a particular community or communities.

The story of “Lydia” in the book of Acts is not only a story about a unique individual, although “Lydia” is not a personal name. In reality her name is a province of Thyatira, possibly indicating she was a former slave without a given Roman name.  Her story is also a story about her own communities. In only a few verses of chapter 16 in the Acts of the Apostles, we learn something about Lydia and the communities of which she was a part. First, we will examine three of her communities to better understand Lydia as a distinctive person. With each identified community we will dialogue around one reflective question to connect her story with our own story and that of our own communities.

The Synagogue

The first community we encounter in the story of Lydia is the synagogue. According to Acts, the missionary practice of Paul was to find a synagogue in the cities to which he travelled as the first place to preach and teach the message of Jesus as Messiah. I don’t think his travels to Philippi were any exception, though it has been disputed. On the Sabbath Paul and his missionary companions went outside the city gate to a river, where they supposed there was a “place of prayer.” If their custom was to look for a synagogue on the Sabbath, then it would seem that what they were expecting to find alongside the river was a synagogue. The word translated “place of prayer” (προσευχη) is a synonym for “synagogue.” The reason it has not been translated as “synagogue”? First and foremost, because it was an assembly of women! How can you have formal worship when it’s just a bunch of women? Also, there must not have been any Jewish males in Philippi, goes the reasoning, to form a synagogue. It must simply have been a cozy women’s prayer group meeting in a bucolic setting down by the riverside.

 All evidence points to this being a synagogue community located by the river; 1) the fact that this whole scene was parallel to Paul’s other city encounters; 2) the language of “gathering,” “sitting” and “speaking” indicating teaching and preaching; 3) that 10 men were not required to form a synagogue, and 3) the preponderance of evidence that the word for “place of prayer” refers to a synagogue. That being the case, Lydia was involved in a Jewish synagogue in Philippi composed primarily of women!

What do we learn about Lydia from this community?  Lydia is described as a “worshipper of God” or “god-fearer,” a term for a Gentile proselyte to Jewish faith. Gentile women were particularly attracted to the Jewish faith. There must have been something in the faith that affirmed their identity as women. There were in the ancient world women who were even heads of synagogues. In Philippi, we have what was probably an exceptional case of a synagogue primarily made up of women. Imagine how this unique community shaped and formed Lydia as a person of faith and as a woman! 

Reflective Question:

What might someone learn about you as a person and a Christian from understanding your community of faith?

The Household

The second community we encounter in Lydia’s story is the household. Lydia listened eagerly and her heart was open to hear the good news of Jesus proclaimed to the women of the synagogue. This led to the baptism of her whole household. This ancient Mediterranean household was not the same as a modern household, understood as a nuclear family, although ancient and modern households have both been typically understood as ruled and owned by the paterfamilias, or father of the family, until most recently. This ancient household was the basic economic unit of society, economia (literally “household management”) being derived from the word for household (οικοσ). As well, the household was a place of worship. The household was not based solely on blood kinship, but also included slaves and freed persons, who assisted in the family work.

No “partriarchal family” structure is mentioned in the text, no male head of the household. It appears that Lydia was the head of her own household, which does not necessarily mean she was a widow. It does mean she was the leader of her household; its work, economics, and worship life. Although untypical, there were households ruled by mater familias, or mother of the family. It is possible that Lydia’s household was composed primarily of women. The production of cloth was the work of women. She must have transferred her business to Phillipi from Thyatira, which was known for the manufacture of dyed cloth. Some of the women gathered at the synagogue may have been part of Lydia’s household and business.  

It is not necessary to conceive of Lydia as an “independently wealthy business woman” or “rich cloth merchant,” as has been the traditional interpretation. Production and sale of purple dyed cloth was not necessarily a lucrative business for all persons in the industry. It’s production was a rather disgusting, smelly process. It’s possible that Lydia and those who worked with her together made a subsistence living. In this picture Lydia must have relied upon the communal work of her household to maintain economic sustainability. Only through shared work was the household community economically sustainable in a peasant society with very small elite upper class and no middle class.   

Reflective Questions:

How might households in the church work together collectively to address the economic sustainability of persons within the household of faith (the church) and in the larger household (economy) of our communities?

The Church

The third and final community we encounter in the story of Lydia is the church. Upon the baptism of her household Lydia urged Paul and his companions to come and stay at her home. Her invitation is a sign of hospitality. Not only was hospitality a customary and expected practice in the ancient world, it was the means by which the early church was established and grew. Churches were not buildings, but the people who assembled together (ekklesia=called out, a political term). And their first meeting places were in the household of converts, such as Lydia, the first European convert to Christianity. By the time we get to verse 40 of Acts 16, Lydia’s home appears to have become a house church, the center of Christian life in Philippi. Directly out of prison Paul and Silas come to Lydia’s household and encouraged the brothers and sisters, familial titles given to members of the Christian community. Lydia is the patron, and even possibly the leader, of the Philippian house church.

Lydia’s initial invitation to Paul was prefaced with these words:  if you have judged me to be faithful to the Lord, come to my home. And she prevailed upon us.” The indication is that she has indeed been accounted faithful in her baptism. Her baptism and fidelity to “the Lord Jesus Christ” places her and the other converts in a new community, in an alternative society that stands over against the society and those faithful to Lord Caesar and the Roman imperial order. There is a hint of danger in Lydia’s compelling appeal “prevailing” upon Paul to come to her home. The possible danger is narrated in the story of the imprisonment of Paul and Silas. Lydia practices risky hospitality. A person entered this new community at Philippi at some risk and danger.

Reflective Question:

Describe what the church today would look like as an "alternative community" or "contrast society" (e.g., living in faithfulness to Jesus as Lord) to our surrounding communities and society.

Conclusion

Lydia’s three communities---synagogue, household, and church---help us understand what made her a distinctive person. Here was a unique woman who was shaped by these three different communities. A Gentile worshipper of the Jewish God among a community of strong women forming a synagogue, the head of her own household, leader of a business which was sustained economically by a solidarity in work, the first European convert to Christianity, a patron and possibly leader of the Christian house church in Philippi, a community that shaped a new people together resisting the empire of another Lord. Here was a woman formed by her distinctive communities. As we have listened eagerly to Lydia’s story may these words be the call of her life to radical faithfulness for each of us and our communities …and she prevailed upon us.   

Sunday, June 23, 2013

Celtic Designs on Frame Drums

Recently I painted Celtic designs on the heads of a number of my frame drums.

Rock and Roll Icons

Over the past few months I have been painting a series of Rock and Roll Icons, mostly from my era of music. These are musicians I have greatly admired for their creativity, musicianship, and for being counter to the wider culture. I hope to paint more of these portraits in the near fuure.
 
 

Sunday, May 19, 2013

Johnny Ace and Kali Verra: In the spirit of Ed "Big Daddy" Roth

 
 
During my pre-adolescent and adolescent years (early 60s) in the surf-drenched, Kustom Kulture of Southern California, my counter-cultural hero was Ed "Big Daddy" Roth. I had a fever for monsters and hot cars and  Roth was the cure. I sent for his free catalogs, order several of his shirts and prints, assembled his Outlaw car and Mr. Gasser by Revell, wore a Rat Fink "crash helmet" and even spray painted my own monster t-shirts in high school. Roth faded from the scene and I moved on to the hippie and psychedlelic culture of the late 60s.
 
In the succeeding decades not much was heard of Roth and his Kustom Kulture, until it all re-emerged in the public eye in the 80s (The first Rat Fink Reunion was in December 1977). Roth returned to my personal vision in the 90s and beyond through the whole re-emergence of Kustom Culture and Roth influenced artists. I could see Roth in such artists as the Pizz, Todd Schorr, Dirty Donny, and Jim Phillips. The Roth influence, and the further development of the Roth-image, was obvious in artists like Ed Newton and Robert Williams, who worked for Roth. Some artists took the Roth influence into a new time. Not many kept the look and feel of those early Roth years of custom airbrushed t-shirts.
 
Another artist who worked for Roth, Johnny Ace, has produced, along with his partner Kali Verra, the classic look of the Roth I remember from my adolescent years. Other artists have done Roth-style work, but not like the work of Johnny Ace and Kali Verra. The airbrush work, bright colors, and traditional Roth images of monster and rods of Ace and Verra reflect the spirit of Ed "Big Daddy" Roth like no other. Their work evokes images and feelings of the early emergence of my counter-cultural sentiments.
 

 


Thursday, April 18, 2013

These are not photos: The Pencil Photorealism of Paul Cadden


Paul Caden, Scotland born, is a hyperrealist artist who works primarily in  pencil, but sometimes in charcoal. Each drawing takes 3-6 weeks each. His detail is amazing!
 
 
 
 
 
 
 
 
 
 

Thursday, February 21, 2013

Dirk Dzimirsky: Photorealist Graphite Artist

I have appreciated the tehnical skills of photorealist (or hyperrealist) artists going back to the beginnings of the movement in the 60s. I stood amazed before the large paintings of Chuck Close at a gallery on La Cienega in LA in 1968. My appreciation has grown over the years as photorealist artists have continued to exhibit techical skills that are almost unimaginable.
 
Artists are producing mind blowing pieces simply using graphite as a medium.The detail goes down to reproducing the very pores on human skin! Sometimes it sems like they use subjects that are an even greater challenge than a simple portrait, such as people covered with water! 
 
I would like to feature a number of these artists in some upcoming posts. One such artist is Dirk Dzimirsky, a German freelance illustrator. Of his work he says: "I work in a style that most people refer to as photorealism or hyperrealism. I use photos as references for my hyperrealistic drawings and paintings but I am not after a perfect reproduction at all. I use a photo very loosely once the proportions are established. I usually work as if I were drawing from a live model actually. I work with movement and expression, working fast on larger, more unimportant areas, and slowing down on parts that need more attention. I am actually improvising a lot. My main concern is to capture the essence and substance of forms in order to get close to a perceptible presence of the subject."
 


 

Tuesday, January 29, 2013

Barry Moser: Book Illustrator



Barry Moser is an illustrator known for his print work. His prints are recognizable for their technical detail.  He illustrated Alice's Adventures in Wonderland and Through the Looking-Glass and over 300 other titles! Moser was awarded the Doctor of Fine Arts degree by Westfield State College, Westfield, Massachusetts (1999), the Doctor of Humanities degree by Anna Maria College, Paxton, Massachusetts (2001), and the Doctor of Fine Arts degree from Massachusetts College of Art, Boston, Massachusetts (2003). His most exquisite work are his illustrations of The Holy Bible, the first illustrator to do so, solo, since Gustave Dore in 1865. His magnum opus, THE PENNYROYAL CAXTON BIBLE. was published in October 1999.