Life Issues – Dan Harper

Freddie Green and Spiritual Leadership

For the reading this morning, we heard a poem [“Inward Music” by Everett Hoagland, 2014] that retold a story that happened to a fellow named Tom Stites. Tom Stites is a journalist, now retired, who served on the editorial staffs of the New York Times, the Chicago Tribune, and the Kansas City Times. At the end of his career, Stites served as the president of The Banyan Project, a nonprofit devoted to starting new news outlets in so-called news deserts. Stites has described himself as a journalist who has “a passion for strengthening journalism, democracy and justice.”

Stites started his career editing a small magazine called “Jazz” that was (not surprisingly) devoted to coverage of jazz. So Tom Stites’s career path led from jazz, to strengthening democracy. You might keep that in mind while I talk with you about what Stites thought about Freddie Green, about the leadership style of jazz guitarist Freddie Green, and how Freddie Green might serve as a model for leadership in our currently polarized democracy.

Freddie Green played in Count Basie’s big band for fifty years, from 1937 until Green’s death in 1987. Count Basie’s big band was one of the most important jazz ensembles in the world through the mid-twentieth century. To better tell you about Freddie Green’s leadership style, let me describe what Count Basie’s big band looked like.

Let’s take for a representative example an online video of Basie’s big band performing the tune “Corner Pocket” in Stockholm in 1962. At stage right, Basie himself sat behind his concert grand piano, which was about eight feet long. The bassist, playing an upright bass, stood in curve of the piano, and the drummer sat on an elevated platform behind the bassist and to his left. Then to the drummer’s left sat the horn players: four trumpets in the back, another trumpet and two trombones in the middle rank, and then five saxophones — alto, tenor, and baritone — along the front. When a horn player took a solo, he would step out front and center and stand in the spotlight while he played.

And right in the middle of everything sat Freddie Green — right in front of the drummer and next to the middle rank of horns. He sat there playing his big acoustic archtop guitar, occasionally glancing at Count Basie at the piano. It’s hard to hear Green’s playing on this video, but given where he sat, every other band member would have been able to hear him.

As I sat there watching this online video, I asked myself, who kept this ensemble together? Who kept the rhythm going? Who transmitted the subtle harmonic shifts to everyone else? Count Basie, the ostensible band leader, sat at his piano at stage right. But the speed of sound is relatively slow, so if you’re way over on stage right, the musicians playing way over on stage left would have sounded as though they’re playing about a quarter of a beat behind you; which makes it hard to keep everyone in time. Nor did Basie do what many band leaders do, and conduct with his hands or a baton — his hands were busy on the piano.

Here’s what I think happened: Count Basie was playing the piano, setting the tempo, and sketching out the basic harmony. The drummer echoed Basie’s rhythm, mostly on his high hats (those little double cymbals that drummers operate with a foot pedal). The bass player rooted the most important notes of the harmony. But it was Freddie Green, sitting right there in the middle, who really picked up both the rhythm and harmony from Count Basie and communicates it to the dozen or so horn players. Count Basie was the band leader, but Freddie Green, sitting in the center, was the one who everyone together, was the one whom they called the heartbeat of the band.

Jazz is one of the most democratic of all musical forms. Theoretically, anyone in a jazz band can take a solo; thus there is equal opportunity for everyone in the band, depending solely on their individual abilities and talents. But unlike other guitarists of the swing era — Charlie Christian, for example — Freddie Green almost never took a solo. He found a different role for himself, the musically satisfying role of ensuring that all the other players stayed together. This is the other way in which jazz is one of the most democratic of musical forms — anyone can take a solo, yet at the same time musicians can choose to devote themselves solely to supporting the whole ensemble. Jazz balances individual achievement with the needs of the whole, coming down neither on the side of hyper-individualism nor faceless collectivism. This balance is exactly what we hope for in a democracy.

So far, I’ve mostly been talking about the mechanics of jazz, and by analogy about the mechanics of democracy. Now let me speak with you about the spiritual dimension to all of this.

In this morning’s reading, the poet has his fictional narrator ask himself, “What [or] who guides my riffs on the / arrangements life plays out for me? How do I harmonize with / my own Higher Power?” Part of the poet’s answer lies in the title to the poem, “Inward Music.” You can think of this inward music as a literal phenomenon, or as a metaphor for something else. But it is this inward music, which we may not consciously hear, but which keeps us in time and in tune with a greater purpose. It is this inward music that connects us with something larger and better than our individual selves.

The Transcendentalist philosopher Henry David Thoreau famously wrote: “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.” Thoreau wrote this passage in 1854, a decade before the Civil War, at a time when our democracy was facing perhaps the greatest threat to democracy we have yet faced, when we as a country faced up to the immorality of race-based chattel slavery. Although Thoreau’s image of the different drummer is often interpreted today to support a philosophy of hyper-individualism, in fact Thoreau was saying that in his time too many people did not listen to the inward music that comes from something larger than ourselves. Too many people in Thoreau’s day allowed chattel slavery to continue. By so doing they ignored the call of humanity, of ethics, of a love greater than individual gain. That is, the supporters of slavery listened to their own desire for personal gain, rather than an inward music which demanded an end to slavery.

This brings us back to the problem of leadership. It is dangerous to allow leadership to remain solely in the hands of the soloists who stand in the spotlight. If the only leaders are those soloists, we can get into trouble if they stop listening to the inward music, and instead start playing solely out of a desire for personal achievement, for personal recognition. The soloists may be the most prominent leaders in a big band, but it’s the musicians like Freddie Green who keep the band going through the changes in the soloists.

You can see where I’m going with this. Think about American democracy today as being a little like Count Basie’s big band. American democracy does in fact need the kind of leaders who can serve as soloists, using their unique talents to inspire and move the rest of us. But American democracy also need many more leaders who keep us working in harmony with each other. That is, we need leaders who help remind us of the inward music that holds everything together. Right now, American democracy has plenty of people who want to be soloists. There are many in our current crop of politicians who want to be soloists. They want to be the person who gets out in front of the rest of the band, with the spotlight shining on them, while they show off their chops. It’s not just politicians, it’s also a great many ordinary people who want to be the one who has the spotlight shining on them. We have plenty of soloists; now e need the leaders who will keep us all together.

Freddie Green’s leadership role in Count Basie’s band can serve as an analogy for other human institutions. Groups of humans do seem to need a few people as visible leaders, the people out in the spotlight. Just as important are those people who keep everything going without stepping out into the spotlight. Just so, Freddie Green connected the members of Count Basie’s band together, first by listening to those around him. The first step is always listening. Then based on what he heard, Green helped everyone else stay together by spinning out rhythms and harmonies the others could easily follow. The soloists are important, but it’s the rhythm section that really keeps the band together.

Why is it that in today’s American society we have so many soloists, and so few people in the rhythm section? Perhaps we of the American public are at fault. We, the American public, pay most attention to the handful of leaders, especially the most prominent elected leaders — the U.S. president, Supreme Court justices, congresspeople, and so on. But the president is only person, and as such can only do so much; far more important than the person of the president are cabinet members, aides, researchers, advisors, diplomats, civil servants, bureaucrats, and others who serve in the executive branch. Many of these people continue from one administration to the next, which is actually a good thing. Not only would it be too disruptive to bring in hundreds of new civil servants every four to eight years, but if we did so the rule of law and the stability of the country would be at risk.

Celebrity culture and social media have trained us to see the few people who live in the spotlight. We admire Taylor Swift, but ignore the other musicians she plays with, ignore the fashion designers and producers and technicians who make her performances possible. We forget that the person in the spotlight is merely one miniscule part of a vast interconnected web of humanity.

Yet it seems to have always been like this. The medieval Persian poet Jalal al-Din Muhammad Rumi took notice of this same phenomenon. In ghazal 1195, Rumi wrote about how we humans forget to listen to the inward music. A popular translation of this ghazal puts it this way: “We rarely hear the inward music, / but we’re all dancing to it nevertheless” [Coleman Barks, The Essential Rumi, p. 106] But I prefer a more literal translation, which goes like this: “In every heart there is a different note and rhythm, all stamping feet outwardly, the musicians hidden like a secret.” [trans. A.J. Arberry, Mystical Poems of Rumi, p. 168] We are all individuals, yes. We all have our own notes and rhythms. And it is the “musicians hidden like a secret” who keep us connected. They may be hidden in plain sight, but it is those hidden musicians who tie us all together, we maintain our essential interconnection. Those hidden musicians — whatever Rumi means by that — they are the cosmic version of Freddie Green. Just as Freddie Green was the heartbeat of Count Basie’s band, those cosmic musicians are the heartbeat of humanity. From that musical heartbeat arises the concert of all being.

We have to listen to that which transcends our individual selves; listen to that music which is larger than our limited individual beings. We can hear this universal music inwardly, not through our ears, but through our souls, whatever we might mean by the words “souls.” And whatever we might mean by “universal music.” Perhaps it would be better to say that we hear this vast connective power, not as music, not through our physical ears, but as something we sense with our intuition. We can somehow feel it when we are moving in rhythm with that which is larger than our selves. And then when we are not moving in that cosmic rhythm, life feels discordant and unpleasant.

Like the young Tom Stites in the reading, maybe we could criticize the cosmic band leader for failing to sufficiently amplify the cosmic rhythm guitarist. Because it is actually quite difficult to listen to the cosmic musicians who are supposed to keep us in harmony and in rhythm. We are constantly distracted by the demands of daily life. This is the struggle our leaders face. They are supposed to stay in harmony with the universe, but how can you listen for that inward music when you are distracted by all the day-to-day tasks that simply must get done? This is true of all of us. How can we stay in harmony with the universe, when we are constantly distracted by the demands of our jobs, our families, our volunteer responsibilities, all the endless tasks that somehow seem to fill our days, leaving little time to listen?

Yet we must try. We must remind ourselves constantly that there is something larger than our individual lives. We can remain part of the universal wholeness, if we would but listen: listen to the heartbeat of humanity; listen to one another.

Screen grab from a video showing musicians performing. — Screen grab from a 1965 BBC television show, “Show of the Week,” featuring Count Basie and his orchestra. Freddie Green is seated at left, playing his big archtop guitar.

Dinner Table Conversations

Readings

The first reading is an excerpt from the long poem “Catalog of Unabashed Gratitude” by Ross Gay:

…And thank you to the quick and gentle flocking
of men to the old lady falling down
on the corner of Fairmount and 18th, holding patiently
with the softest parts of their hands
her cane and purple hat,
gathering for her the contents of her purse
and touching her shoulder and elbow;
thank you the cockeyed court
on which in a half-court 3 vs. 3 we oldheads
made of some runny-nosed kids
a shambles, and the 61-year-old
after flipping a reverse layup off a back door cut
from my no-look pass to seal the game
ripped off his shirt and threw punches at the gods
and hollered at the kids to admire the pacemaker’s scar
grinning across his chest; thank you
the glad accordion’s wheeze
in the chest; thank you the bagpipes….

The second reading this morning is from Mourt’s Relation, written in 1622. This reading gives the story of the first Thanksgiving celebration in the words of one of the Pilgrims who was actually there. (The language has been modernized.)

“You shall understand, that in this little time, that a few of us have been here, we have built seven dwelling-houses, and four for the use of the plantation, and have made preparation for divers others. We set the last spring some twenty acres of Indian corn, and sowed some six acres of barley and peas, and according to the manner of the Indians, we manured our ground with herrings or rather shads, which we have in great abundance, and take with great ease at our doors. Our corn did prove well, and God be praised, we had a good increase of Indian corn, and our barley indifferent good, but our peas not worth the gathering, for we feared they were too late sown, they came up very well, and blossomed, but the sun parched them in the blossom.

“Our harvest being gotten in, our governor sent four men on fowling, that so we might after have a special manner rejoice together after we had gathered the fruit of our labors; they four in one day killed as much fowl, as with a little help beside, served the company almost a week, at which time amongst other recreations, we exercised our arms, many of the Indians coming amongst us, and among the rest their greatest King Massasoit, with some ninety men, whom for three days we entertained and feasted, and they went out and killed five deer, which they brought to the plantation and bestowed on our governor, and upon the captain, and others. And although it be not always so plentiful as it was at this time with us, yet by the goodness of God, we are so far from want that we often wish you partakers of our plenty.”

Sermon: “Dinner Table Conversations”

Remember back in 2019, before the pandemic? It’s so easy to put on our rose-colored glasses, and think — those were the good times, the easy times. We sat down together at Thanksgiving, never knowing that the very next year we wouldn’t be able to have Thanksgiving dinner with all our relatives. And in 2019, we didn’t have to worry about the war in Ukraine, or the war in Gaza and Israel. Ah yes, those were the good times.

Except, of course, they weren’t. Maybe there wasn’t a war in Ukraine nor a war in Gaza and Israel. But I remember some of my friends coming back from Thanksgiving with reports of combative dinner table conversations between the opposing sides of the culture wars. And I remember talking to a non-binary teen who felt exhausted at having to accept that their relatives were just going to refuse to use their preferred pronouns. No, we should not look at 2019 through rose-colored glasses and think: Those were the last good times.

Ah, but if I think back to my childhood…. That was a long time ago. Surely those must have been the last good times. Well, no. I remember Thanksgiving dinner conversations that got onto the subject of the Vietnam War. An uncle would say something about Vietnam, that would provoke a cousin into challenging him, and then my grandmother would have to say in a firm voice, “Do you think it will rain this week?” That was her hint for everybody to drop the subject, and talk about something less controversial. Or actually it wasn’t a hint so much as a command to change the subject; my grandmother was a bit of a Tartar. No, I cannot look back at those childhood Thanksgiving dinners through rose-colored glasses and think: those were the good old days.

Well, then, surely we can think back to the very first Thanksgiving, back in 1621…. That was a really long time ago. Surely those must have been the good old days. In the second reading, we heard an excerpt from “Mourt’s Relation,” a contemporary account of the first celebration of what we now call Thanksgiving. It sounds pretty wonderful, doesn’t it? They had had a pretty good harvest that year, then they went hunting and got even more food, enough to have a big celebration. And when King Massaoit and ninety of his warriors stopped by, together they came up with enough food to go around, and they all shared a big meal together.

And in many ways, that first Thanksgiving really was the good old days. But we also have to remember what happened the previous winter. Less than a year before that first Thanksgiving, something like half of the Pilgrims had died of cold and exposure and starvation. Many of the Pilgrims must have felt sad on that first Thanksgiving; I imagine that more than one of the Pilgrims shed a tear or two for the people who didn’t live long enough to see that first Thanksgiving. And then when we remember that as recently as 1619, King Massasoit and his followers had been subject to a plague that killed off as many as ninety percent of their people, they too must have some sadness on that first Thanksgiving.

So when I imagine the dinner table conversations at the first Thanksgiving (not that they were seated at a table, there’s no way the Pilgrims had tables enough to seat a hundred and forty people) — when I imagine the conversations at that first Thanksgiving, it seems to me that there were many things people didn’t want to talk about. On the Pilgrim side, I can imagine that when the conversation started getting too close to the too-many deaths they had experienced in the previous ten months, one of the elders would firmly say whatever the Pilgrim version was of, “Do you think it will rain this week?” Similarly, on the Wampanoag Indian side, I can imagine that when their conversations started heading towards the aftermath of the plague, and the probability that the Naragansett to the west were going to try to invade, one of the elders would say, quite firmly, the Wampanoag version of, “Do you think it will rain?”

More to the point, the story as told in Mourt’s Relation shows that the Pilgrims and the Wampanoags knew the value of doing things together. The Pilgrims, you may remember, “among other recreations, exercised [their] arms” — meaning that the men played games together, winding up with some sort of shooting contest. And when the Wampanoags showed up, they didn’t just hang around talking — they went out hunting so there would be enough food for everyone. As for the Pilgrim women, with only four of them to cook for a hundred and forty people, their focus had to be on working together. Communal events seem to go most smoothly when we’re working together or doing something together.

All this may sound like the usual holiday platitudes that you’d expect from a New Englander: if we all just work together and not talk so much, we’ll be fine. Maybe it’s a platitude, but sometimes platitudes represent wisdom. And I found confirmation for this kind of wisdom from a surprising source: from Seth Kaplan, a professorial lecturer at the Paul H. Nitze School of Advanced International Studies at Johns Hopkins University, and internationally-known expert on fragile states. Fragile states are those countries that have such a weak governmental infrastructure that their citizens are exceptionally vulnerable to a variety of shocks. While the United States is not a fragile state, Seth Kaplan realized that some places within the United States function exactly like fragile states — he calls these “fragile neighborhoods.” He contrasts these fragile American neighborhoods with his own neighborhood, which is the opposite of fragile. Kaplan lives in a tight-knit community where neighbors look out for each other, where nearly everyone belongs to several community organizations, including religious congregations and secular groups. Neighbors also help each other out in informal ways, buying groceries for an elderly neighbor, chaperoning at school events, and volunteering in many small ways to help each other out. Kaplan writes:

“As a result of all this, we know all sorts of details about just about every family for many blocks around us — how many kids they have, which schools and camps their kids attend, and what leisure activities they enjoy. However, we spend surprisingly little time talking about politics, and thus know little about many of our neighbors’ political leanings and preferences.” (Seth Kaplan, Fragile Neighborhoods: Repairing American Society, One ZIP Code at a Time [New York: Little, Brown, 2023], p. 184.)

When we change our perspective and focus on local community, there simply isn’t much time to spend in highly partisan arguments about national politics. This is not to imply that national politics are unimportant. They are important. But in America today, when it comes to national politics, it feels like our highest priority lies in expressing our individual political opinions. As much as I value free speech and free expression, I don’t think we want to be our highest value. Instead, our highest values are, or should be, hope and courage and love. As the Pilgrims knew deep in their hearts, we humans are meant to be together and to work together; we are communal beings before anything else. My grandmother knew the value of conflict avoidance when she would say, “Do you think it’s going to rain?” Then after dinner, she got us all to avoid conflict by playing cards: sometimes a vicious highly competitive game called “Pounce,” other times poker played for matchsticks.

I’d like to propose that at Thanksgiving, there’s no need to talk about national politics or international politics at all. There will always be people who really do want to talk about partisan politics, or international topics, at Thanksgiving dinner; you may be one of those people. If this is something you want to do at Thanksgiving, and if you can find someone else who wants to express their individual opinions, go ahead and find a corner somewhere where you can go at it hammer and tongs. The rest of us will be doing something like helping in the kitchen, or setting the table, or washing the dishes, or playing cards. The rest of us need not get involved in conversational conflict at Thanksgiving. And even if everyone who comes to your Thanksgiving celebration is in complete agreement — even if you agree completely on every aspect of domestic and foreign policy — you still don’t have to talk about anything to do with the culture wars. In fact, that might be a good way to keep everyone’s blood pressure down.

To put this another way: There are many strategies for managing conflict. Conflict avoidance is one valid conflict management strategy. And there are times — Thanksgiving is one of those times — when conflict avoidance is the best conflict management strategy. Now that I say this, I’m sure that you can think of lots of conflict avoidance strategies. In my childhood, we asked if it was going to rain, or we played vicious card games. Watching football games also works, or playing video games, or — well, you get the idea.

May our Thanksgiving dinner conversation avoid the culture wars. Instead, may our Thanksgiving dinner conversation center on what’s really important: the people you love and care about. May our conversations revolve around questions like these: Who is doing well, and who could use some support? Who would benefit from getting a phone call or a handwritten card? How are the young people doing, and how can we support them? Has anyone visited this or that distant relative, and should we reach out?

May your Thanksgiving conversations center on hope. May they center on courage in daily life. May they be filled with love for neighbors and family and friends.

Chant as a Spiritual Practice

Readings

The first reading is titled “Meditative Singing,” instructions on singing, from the website of the Taizé community in France:

“Singing is one of the most essential elements of worship. Short songs, repeated again and again, give it a meditative character. Using just a few words they express a basic reality of faith, quickly grasped by the mind. As the words are sung over many times, this reality gradually penetrates the whole being. Meditative singing thus becomes a way of listening to God. It allows everyone to take part in a time of prayer together and to remain together in attentive waiting on God, without having to fix the length of time too exactly….Nothing can replace the beauty of human voices united in song. This beauty can give us a glimpse of ‘heaven’s joy on earth,’ as Eastern Christians put it. And an inner life begins to blossom within us.

“These songs also sustain personal prayer…. They can continue in the silence of our hearts when we are at work, speaking with others or resting. In this way prayer and daily life are united. They allow us to keep on praying even when we are unaware of it, in the silence of our hearts….”

The second reading is from The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess, a 1979 book by Starhawk:

“Witchcraft has always been a religion of poetry, not theology. The myths, legends, and teachings are recognized as metaphors for “That-Which-Cannot-Be-Told,” the absolute reality our limited minds can never completely know. The mysteries of the absolute can never be explained-only felt or intuited. Symbols and ritual acts are used to trigger altered states of awareness, in which insights that go beyond words are revealed.

“When we speak of ‘the secrets that cannot be told,’ we do not mean merely that rules prevent us from speaking freely. We mean that the inner knowledge literally cannot be expressed in words. It can only be conveyed by experience, and no one can legislate what insight another person may draw from any given experience. For example, after the ritual described at the opening of this chapter, one woman said, ‘As we were chanting, I felt that we blended together and became one voice; I sensed the oneness of everybody.’ Another woman said, ‘I became aware of how different the chant sounded for each of us, of how unique each person is.’ A man said simply, ‘I felt loved.’ To a Witch, all of these statements are equally true and valid….”

Sermon: “Chant as a Spiritual Practice”

One of the most interesting aspects of being a Unitarian Universalist is that we are not told what kind of spiritual practice we are supposed to do. No one tells us that we should read the Bible regularly, as happens for many Protestants. No one suggests that we light the shabbat candles on Friday evening, as is true for many Jews. No one reminds us to pray salat five times a day, which is the case for many Muslims. No one calls on us to do chant the sutras, something which is true for many Buddhists.

We Unitarian Universalists don’t have a prescribed spiritual practice. I believe this is mostly for very pragmatic reasons. We have learned that individuals can be quite different from one another. While we generally feel that having some kind of spiritual practice is a good idea (most of the time), we recognize that what works for one person may not work for another. So we might suggest to one another that we find some kind of spiritual practice, if that’s something we feel the need for. But there are no requirements, no guilt if you don’t need a spiritual practice. (Guilt if you don’t help make the world a better place, maybe, but no guilt around spiritual practices.)

There is one downside to this pragmatic flexibility. If you decide that you’d like to engage in some kind of spiritual practice, sometimes it’s hard to know which one to try. How do we find spiritual practices that work for us?

This is more or less the situation I found myself in back in the 1990s. As a young adult Unitarian Universalist, I had tried and given up on prayer and meditation. I still attended Sunday services when I could, but I had a vague feeling that it would be nice to have something I could do not just on Sundays, but all week long.

It was about this time that I started going to some Unitarian Universalist young adult conferences, and I went to a Unitarian Universalist summer conference for the first time. Back in the 1990s, there were a lot of Unitarian Universalists who were also involved in Neo-paganism and other earth-centered traditions. I met some of these Neo-pagans both at the young adult conferences and at the summer conference, and discovered that they all seemed to repertoire of earth-centered chants and songs. I had never run into chanting before. I liked the simple repetitive feeling of the chants, because they stuck in my memory better. I also liked the meaning of the lyrics — a deep feeling of connection with the non-human world, and with the human world as well. As Starhawk said in the second reading, when I sang these chants with these Neo-pagans, we blended together and became one voice.

Chant lies somewhere between the spoken word and singing, and it has both the power of music and the power of the spoken word. It is deceptively simple, and it can be inspiring and moving. I soon found out that chanting of this type is found in almost every culture around the world. Here, for example, is a chant from Hawai’i…. [At this point, Mike Nakashima sang “Oli Mahalo,” or “Gratitude Chant,” an oli (chant) composed by Kehau Camara]

After listening to, and participating in, various kinds of earth-centered chant, I began to become aware of the existence of other types of chant.

In particular, I kept hearing about something people were calling Taizé. My first direct experience with Taizé song and chant involved one person teaching a simple song, and then leading a group of us as we sang it over and over again. The melodies were a bit more complex than the earth-centered chants I already knew, but it didn’t seem all that interesting. It turns out that Taizé chant is more than just simple melodies that are sung over and over. Most Taizé chants are meant to be sung as rounds, or with four-part harmony. If people can’t sing all the harmony parts, there might be someone like Mary Beth to play those other parts on a piano or other instrument.

I found that, for me, Taizé chants were not as elemental and ecstatic as the earth-centered chants I had heard and sung. But they were deeply meditative. Because they were repeated over and over, it was easier for me to learn one of the harmony parts. And even though it was far more structured than the earth-centered chant, Taizé chant also gave me that same feeling of connection to the people I was singing with.

There are other aspects of Taizé chant that I especially valued. First, while Taizé chants are distinctly Christian, there is a real effort to make them non-sectarian. The Taizé community in France, home of the chants, is a monastic community that welcomes anyone from any Christian denomination. Second, in an era when most Western religious groups seem to ignore young adults, the Taizé community makes a point to especially welcome young adults. Finally, the Taizé community has a distinctly internationalist perspective: an individual Taizé chant might be translated into twenty or more languages. “Nada Te Turbe,” a Taizé chant that we’ve been learning here at First Parish, and that we’ll sing in just a moment, has been translated into twenty-one languages. Thus, Taizé chant is meant to bind together a world that has become divided by religion, by age, and by language. Let’s sing together a Taizé chant that we’ve been singing a lot recently, “Nada Te Turbe.”

The third type of chant that I’d like to introduce to you comes from the Threshold Choir. The Threshold Choir was started by a woman named Kate Munger, who felt a need for a kind of healing music that could be sung to people who were dying. She began teaching others her singing techniques and her repertoire of songs, until now there are many Threshold Choirs. This past July, Kate Munger and the original Threshold Choir honored for their work by being invited to sing in the Smithsonian Folklife Festival in Washington, D.C.

About fifteen years ago, I took a workshop with Kate Munger, and learned some of her techniques for singing to people who are dying. She has singers sit around the person who is dying. The singers sing gently and quietly, but with power. Thus the person in the middle of the circle of singers is surrounding with gentle song. When her Threshold Choir groups are practicing, they take turns sitting in the center of the circle so they can experience what it feels like to be sung to. This helps all the singers listen better to one another, and it helps the singers to have great empathy with the people for whom they sing.

Some people have expanded the Threshold Choir concept to include singing to people who are ill or unwell, but not actually dying. My home congregation has such a choir, which they call the By Your Side Singers. My family had direct experience of the By Your Side Signers: in the last year and a half of my father’s life, they would go to his residential facility and sing to him. He was no longer able to talk so I don’t really know what he thought about it, but I liked the fact that someone would come and pay that kind of attention to my dad.

Even though I took a workshop with Kate Munger, I’ve never actually participated in a Threshold Choir myself, nor in one of the healing choirs like the one that sang to my father. But some of the Threshold Choir songs have stuck with me all these years, and I find myself singing them to myself. In the past couple of weeks, with all the turmoil in the world, I find myself singing one of these songs called “In These Times,” a short song I learned from my exposure to the Threshold Choir.

Chant begins as a communal activity: it’s something we do together; it’s something that is done in cultures around the world; it’s something that can bind us to people who are quite unlike ourselves. At the same time, chant can also be an individual practice as well, a kind of meditative singing that — to use the words of the Taizé community — “can continue in the silence of our hearts when we are at work, speaking with others, or resting.”

This means that chant is one of those spiritual practices that helps build community. Even when you practice it on your own, it is at heart a communal activity. Actually, this is true of any kind of singing — as you probably know, singing in community leads to all kinds of benefits, including relieving stress, boosting your immune response, develops a sense of wellbeing and meaningful connection to others, enhances memory including enhancing memory in dementia patients, helps with grief, calms your heart rate, improves sleep, and on and on.

This, by the way, is the pragmatic reason behind singing hymns in our Sunday services — singing is good for us. But honestly, some of our hymns are difficult to sing. By contrast, because many chants are relatively simple songs they can be learned more easily, even someone with little or no musical ability. At the same time, chant can provide interesting possibilities for skilled musicians: a more skilled singer might be able to sing a harmony part, or add accompaniment with a musical instrument that doesn’t overwhelm the simplicity of the chant.

Whether you’re a skilled musician or someone with no musical ability, the key to participating in chant is learning how to listen. Whether it’s chanting or singing, listen to the people with whom you’re singing or chanting. It is by listening while chanting in a group that the chants stick in your heart and mind; and in that way they can become a part of your everyday spiritual practice. This reveals to us a great religious truth. We can’t just follow a song leader or some other authority figure. We have to actually participate. Participating requires us to listen to those around us. So it is we give voice to what’s in our hearts and minds, and at the same time listening to what others are voicing is in their hearts and minds. This is how community is built: by listening, and by putting yourself out there, both at the same time.