history – By Another Road

Notes on a Dance: A Sermon

I preached this sermon on Sunday, March 3, 2024 at St. Anne Episcopal Church, West Chester, OH. The lectionary texts cited are Exodus 20:1-17 and John 2:13-22.

I am a big fan of the ballet—some of you know that I worked for the Nevada Ballet for a number of years before seminary. Behind the scenes, though—I was never a graceful dancer!

Working there, I saw a lot of ballets over the years. And one of those, in 2013, was a touring centennial performance of The Rite of Spring, an infamous ballet first performed in Paris in 1913.

Now if the thought of ballet makes you feel bored or sleepy, stay with me—because The Rite of Spring was not (and still is not) what anyone thinks of when they think of ballet. There is no dancing on pointe, no tutus. The music is not pretty. The whole work—the score by Stravinsky and the choreography by Vaslav Nijinsky, is harsh and unsettling. The ballet portrays a fictional ritual dance done by pre-Christian Russian peasants, where a Spring Maiden is selected and ultimately dances herself to death as a sort of sacrificial offering. Cinderella it is not.

When I saw in on tour, I felt a little overwhelmed and disturbed by the whole thing. But back in 1913, when it premiered, the audience lost it. It touched some strange nerve deep within them. People started screaming at the stage and throwing things at the orchestra, and then they started shouting at one another and starting fights, and the police had to be called in, even as the dancers and the music kept going.

Critics called the performance “barbaric” and “in complete opposition to the traditions of classical ballet,” without realizing that this was, in fact, the entire point. The Rite of Spring was meant to be challenging, to point to something wild and uncontrollable that lay pulsating beneath the benignly oppressive surface of our social and political structures. It was an artistic premonition of sorts for a society that was, in 1913, already on the precipice of its own tumble into war-torn barbarity.

The Rite of Spring was only performed a few times, and after World War I, the music survived but the ballet was considered lost. The choreographer had suffered a mental breakdown, and nobody else seemed to have preserved the dance notations. Perhaps some felt it was best left forgotten anyway. Too raw, this dance, too zealous, too much a reminder of things that people would rather forget.

It wasn’t until the 1980s, when a copy of the those dance notes was found tucked away in the cupboard, that the ballet was brought back to life, to shock and unsettle and invigorate new audiences, including me.

We rely so much on the notes we take down. Notes of information, notes of music, notes on a dance—they are what help us perpetuate ephemeral, fleeting encounters with truth, including the unsettling truth, so that future generations can know what it felt like to see what we have seen, to feel what we have felt, and in so doing, to rediscover something about themselves.

It’s the same reason, here, that we sing the old hymns, pray the old prayers, and, above all, hear the old readings, year after year, even the ones that challenge us—for they, too, are something like notes on a dance—a very old dance, indeed, one even more elemental and uncontrolled than The Rite of Spring. A dance that, in today’s readings, begins like this:

Then God spoke all these words: I am the Lord your God, who brought you out of the land of Egypt, out of the house of slavery. You shall have no other gods before me.

I know, we don’t tend to think of the Ten Commandments as a series of dance steps. Maybe that sounds a bit absurd. The Ten Commandments are weighty things in our cultural imagination—words carved into stone tablets, all the “thou shalt nots,” words of stony solemnity, words thrown like stones at the unworthy: immovable, fixed, and cold.

But what if the Ten Commandments were not meant to be rigid and heavy at all? What if these notes, given to Moses from amidst the wild, dancing, fire-lit darkness atop Mt. Sinai, are in fact something quite different, quite dynamic?

Because we must remember that God gives the Ten Commandments to Israel while they are in the middle of their wilderness journey—out where there are no courts or palaces or temples. They are notes given to a group of lean, hungry dreamers, the salt of the Red Sea still clinging to their skin, the impassive judgments of Pharaoh weighing on their memories.

But God speaks to them and says, I am the Lord your God, who brought you out of the land of Egypt. I am not Pharaoh. I have brought you out not so that you might be crushed under the heaviness of another oppressive system, but so that you might LIVE with me. So that you might DANCE with me.

I, the Lord your God, I am the artist and you are my beloved work! Understand: I have guided you through the raging, dancing waters of the sea, under the pirouetting pillars of cloud and fire and now, my children, I am giving you notes on this dance. I am teaching you, in ten steps, how to keep dancing.

These commandments I give you are not a stone around your neck, they are the choreography of your liberation, so that you and your descendants might never again be bound by the forces that oppress and constrain. I give you these commandments, these notes, so that the dance will never be lost, so that it will keep going, so that you will teach it to the rest of the world.

It’s funny, though. Even with the best notes, the interpretation can get a bit muddled after a while. And maybe the the power of those ten commandments, the wilderness intimacy upon which they were founded, became dulled by the passage of the years, such that people began to forget it was ever a dance at all.

Which makes Jesus’ entry into the Temple, his big show of flipping of tables and driving out the livestock so very interesting. What was his purpose in doing this? Was he staging a protest against the system? Was he simply angry in the moment?

We could interpret it in many ways, and people do, of course, but to me there has always been something of the artist about Jesus in this moment—something visionary and deliberate and creative in his action, his all-consuming zeal. It is performative, not in the hollow sense, but in the sense that he is showing those around him how to perform—how move in a way that is expressive of a deep and fundamental truth. Sort of like…a dance.

And I imagine that some of Jesus’ critics said that he was being barbaric, that he was in complete opposition to the traditions of classical temple procedure—and they were right. But that was, perhaps, the point. Perhaps it was was meant to be challenging, meant to point to something wild and uncontrollable that lay pulsating beneath the benign surface of the Temple’s social and political structures. Perhaps it was the rite of a new spring about to blossom, and a new sacrifice, too.

The Son has returned to his Father’s house, and in the turning of the tables and the whip of cords he is saying: I, the Lord your God, I am the artist and you are my beloved work! Have you forgotten the steps? Have you forgotten that I long to be close to you, close as two partners dancing under the stars, close like we were in the wilderness, when I first taught you the choreography of liberation?

And now I am here, in the flesh, for a revival, to turn these tables over like I once made chariots somersault into the sea, and I do this to save you from forgetfulness, because ultimately this is what you were made for: Not to be the bearers of oppressive regulations as cold and heavy as stone, but to be dancers of a dance as alive and free as the God who made you.

What would our faith look like, what would our church look like, what would our world look like, if we realized that this is what God desired of us? That all of the Commandments and the codes and the practices and the liturgies we follow were designed to help us respond to the deep, elemental music of the earth, and to move in harmony with it? What does it look like for us to respond to that music here at St. Anne?

What steps would we make together? What small gods would we relinquish? What tables might we overturn?

Because here’s the thing: just as it was on Sinai, just as it was in the Temple, just as it was when the audience came undone during The Rite of Spring: there is something deep and fierce and strange and beautiful pulsating just under the surface of things, and it is true, and it is alive, and it is God, and he will never be content to let us forget. He is always emerging, the artist with his notes, to remind us who he is, and who we are, and what we are supposed to do.

Our decision is simply this:

Shall we dance?

Jesus & Johnny Appleseed: A Sermon

I preached this sermon on the First Sunday in Lent, February 18, 2024, at St. Anne Episcopal Church, West Chester, OH. The lectionary text cited is Mark 1:9-15.

I love quirky historical sites and stories and figures. So you won’t be too surprised to learn that back in 2019, when I was getting ready to move to Fort Wayne, Indiana to serve at my former parish, I was deeply excited to learn that the city is the final resting place of John Chapman, better known to the world as Johnny Appleseed.

Many of you know probably know who Johnny Appleseed is, but just in case you don’t recall, he was a real person in American history who has taken on a somewhat legendary status. He roamed the countryside in the early 1800s, starting in his native New England and moving westward, introducing and cultivating apple orchards in regions where apples were previously unknown, including much of the Midwest.

And after a lifetime spent wandering about with his bag of seeds, in 1845, while visiting Fort Wayne, he died unexpectedly. So you can visit his gravesite there, and there is also a Johnny Appleseed Park & campground and a Johnny Appleseed Festival and the local baseball team is the Tincaps, in honor of the tin pot that Johnny supposedly wore as a hat.

And I recently discovered that there are a number of towns in Ohio, too, associated with Johnny: the Johnny Appleseed Museum is up in Urbana, and the last surviving tree planted by him still grows on a farm in northern Ohio. So there are a couple more road trips my partner, Matt, doesn’t know he’s signed up for yet!

But hopefully he’ll be fine with it, because the very first picture that Matt and I ever took together, the first documentation of our relationship, right after we met, is a selfie of us sitting on a bench with a statue of Johnny Appleseed. So he has a very special place in our personal history, too!

And if you’re wondering why on earth I am going on about Johnny Appleseed on the First Sunday in Lent, well, one of the reasons I find him such fascinating figure–one worthy of our consideration here today–is that John Chapman, while unusual, was not just an eccentric driven purely by some strange obsession with apples.

No, it so happens that he was a missionary, too, and by most accounts a kind and gentle one. He was a member of the Swedenborgian Church, a small Christian denomination that still exists, and as he traveled, planting and raising up small nurseries of apple seedlings, Johnny also distributed information about his Church, which was, especially for his time, a remarkably progressive and inclusive expression of Christianity.

And these two things—his love of the land, his desire to carpet it with fruitful plantings; and his love of humanity, his desire to offer people a fruitful and life-giving message: these were all bound up together in his years of roaming the hills and valleys we now call home, and the sweet fragrance of his mission lingers even today.

But you know, long, long before John Chapman ever set out with his pamphlets and his seed bag, there was another man who set out on a similar sort of mission, out beyond his familiar homeland, out into the world, out into the wilderness, for purposes deemed strange by some at the time and yet which have left their own lingering sweetness.

Of course, I am talking about Jesus of Nazareth, whom we encounter in today’s Gospel, driven by the Spirit, driven by the mysterious designs of God, out from the river’s edge an into an unknown, untamed place. He did not wear a tin cap, but we can be assured that people still didn’t know what to make of this man on a mission, propelled by his unconventional, radical form of love, his vision of a harvest that nobody else could quite imagine.

But we might wonder—if Jesus was the Son of God, if he was already God in the flesh, why did he first go on this journey into temptation we hear about today? What was the point of these 40 days in the wild?

We could interpret it a number of ways, but it has not been lost on some observers that, especially in Mark’s version of Jesus’ trip into the wilderness, where he is tempted by Satan and is in the company of both wild beasts and ministering angels, that Jesus is, in some sense, not going somewhere new but going back somewhere that God knows very well. He is returning back to the Garden of Eden, where humanity first met the beasts and the angels and Satan, the one who tempts us away from our God-given place in creation.

Let’s do a little imagining together. In this unnamed wilderness we hear about today, a tangle of wild plants and harsh sunlight, we might imagine Jesus stepping back through the rusted, broken gate of that original garden, now long abandoned. We might imagine the cherubim guarding the lost portals of Eden, lowering their flaming swords in deference to the Son of God passing through.

We might imagine him walking amongst the derelict seed beds and the withered trees, meeting the wild beasts who no longer remember the names once given them by Adam.

And perhaps we might imagine, too, Jesus encountering that ripe fruit of the tree of knowledge on an old gnarled branch—the fruit once bitten by the children of God, when they did not know the price of their hunger.

And if this is so, if Jesus is, somehow, in the wilderness, also standing in the ruins of Eden and holding the fruit, bright and beguiling as a ripe apple, considering what to do with temptation,

perhaps this is the purpose of his journey: to discover what Adam and Eve did not—that the fruit of the sacred tree, the fruit of the mind of God, wasn’t meant to be consumed for ourselves—it was meant to be shared. It was meant to be broken open and given away. It was meant to be spread throughout the world. Its seeds were meant to be planted far and wide.

And so:

Jesus came to Galilee, proclaiming (we might say sowing) the good news of God… “The time is fulfilled, and the kingdom of God has come near; repent, and believe in the good news.”

Jesus is what John Chapman would become and what we are invited to be as well: planters of the seeds of God’s Kingdom. Our journey through Lent, our journey through life, isn’t meant to be one where we stay indoors and gorge ourselves on private spiritual insights, as if heaven were an apple pie baked for us to eat all by ourselves.

No, we, too, are participants in the planting of a future harvest. Following in Jesus’ footsteps, we are the propagators of the seeds of Eden, the seeds of a paradise that is no longer lost to us. We, too, are a people called to carpet the land with the fruitful plantings of love and truth and mercy and knowledge and care—day by day, step by step, seed by seed.

Now, I don’t imagine that most of us will take this Lent as an opportunity to put a tin cap on our heads and head out to roam the world as missionaries and seed-planters—though maybe the world would look a whole lot different if more of us did so in our own community.

But what Jesus and Johnny Appleseed can teach us today is that small, faithful choices have transformative impacts. So maybe this Lent you will volunteer at our burgeoning neighborhood Laundry Ministry. Or maybe you will attend a Thursday Eucharist or a Bible study.

Maybe you will write to your representatives and tell them to advocate for the poor, the hungry, the war-torn, the forgotten. Maybe you will call someone who is lonely or invite someone to church with you. Maybe you will simply tell someone that you love them, that you forgive them, that you see how hard they are trying, how far they have come. Maybe you will tell yourself these things.

Maybe you will prune the overgrown bushes of paradise.

Maybe you will teach the wild beasts their long-forgotten names.

Maybe you will remember your own long-forgotten name: beloved Child, disciple, seed-bearer of the Kingdom of God.

And maybe, come Easter, we will already see the green shoots of something new growing up from the earth, from our hearts and our souls. If so, it will have been a good and holy Lent.

…

You know, there is one more memorial to Johnny Appleseed, just down the road in Spring Grove Cemetery in Cincinnati. There is a statue of him, holding an apple sprig up to the sky, as if seeking a blessing upon it from heaven. And carved into the stone, there is a fitting summary of all that he was. It says:

SAINTLY IN HIS DAILY LIFE. HE LOVED LIFE IN ALL ITS FORMS AND HAD A JOYOUS WILL TO HELP THE EARTH YIELD ITS FRUITS.

The same could be said about the seed-planter from Nazareth.

And someday, we pray, it might be said of us, too.