Monday, October 22, 2012

"One Day": Poverty, Privilege, and Solidarity

This weekend, my community members and I spent 24 hours on retreat as part of the JVC Magis program through Loyola Chicago. Rooted in the values of spirituality, social justice, community, and simplicity that we all sought to foster as Jesuit Volunteers, our program allows us to continue living out the JVC mission as graduate students and interns at Catholic apostolates throughout Chicago. This program is an amazing gift for which I am extremely grateful. On retreat, we reflected individually and communally on our shared covenant and handbook – our “congregational documents,” if you will. We evaluated our strengths and our opportunities for growth, sharing ideas to further enhance our investment in the core values.

JVC MAGIS ORIENTATION 2012-2013: South House

Only a day removed from this process, I am continuing to unpack a recurring theme highlighted throughout our handbook. “The working poor” are mentioned numerous times: “an opportunity for…a better understanding of the issues associated with the working poor,” “By living among the working poor, members can identify with the economic realities of those they serve,” “…get a glimpse into the day to day lives of the working poor,” and so on. It is a severe understatement to say that the “glimpses” of poverty that I have gotten over the past three years have formed me, have moved me, and have impacted forever the unfolding of my vocation. Relationships with materially poor women and men, and especially youth, have opened my heart. Studying and wrestling with the “issues” surrounding poverty have challenged and motivated me, to be sure. But can I honestly say that I know what it feels like to live among the working poor?

Unsurprisingly, my life’s narrative thus far has been accompanied by a soundtrack of sorts. When I think about my transformative JV year in Houston, for instance, dozens of songs come to mind. From the lyric genius of Ms. Miley Cyrus (“Like, ‘Who’s that chick that’s rockin’ kicks?’”), to the fierceness of Mademoiselle Gaga, to this little-known gem, music was a prominent aspect of our shared communal experience. I think the six of us in Helen Prejean House/Casa Chuck Norris would agree, in all seriousness, that our shared vision was most effectively communicated through Matisyahu’s “One Day,” a song that we played as part of our prayer on fall retreat almost exactly three years ago.


Listening to this song today, I still am filled with hope, inspiration, and a sense of connectedness. Pondering the Magis handbook in conversation with this week’s readings by Ada Maria Isasi-Diaz and Ivone Gebara, however, I recognize more profoundly that my connection to Matisyahu’s vision during JVC was just the beginning of my quest to live out authentic solidarity for the sake of the Reign of God. In “Solidarity: Love of Neighbor in the 21st Century,” Isasi-Diaz, a Hispanic theologian who chose to live and work with the poor in Peru, shares a story about a neighbor who once reminded her, “Remember, you can always leave this place; we can’t.” It is impossible for the privileged, Isasi-Diaz asserts, to be like the poor, and such is the story for me, a white, educated Jesuit Volunteer who, despite college debt, has never wanted for anything in my life (Isasi-Diaz, 87). Similarly, in The Struggle is One, Gebara, another educated Hispanic woman who chooses to live among the poor in Brazil, explains the importance of the words and visions of poor persons in her theological works. Still, she maintains, “It’s very difficult to be in both worlds. I think all we can ultimately do is build bridges. We can’t fully assimilate…I’m never going to feel exactly what the poor feel, but I can draw near in sympathy, trying to feel what they feel” (Gebara, 210).

How, then, can people like me authentically live in solidarity with the poor and the oppressed? Sure, I might be living on a stipend, and yes, I incorporate social justice issues into my work with young people, but I never worry about having my basic needs met. I also enjoy the privileges of a college degree, a safety net of family and friends, and no one else to care for. I have never known what it is like to be truly poor. For many people, the word solidarity simply means sympathy for and agreement with the poor (Isasi-Diaz, 87). For Isasi-Diaz, solidarity cannot be understood simply as a fleeting disposition or as charity; rather, it inevitably calls for liberative praxis (Ibid.). In short, solidarity requires us to do something. And while charitable donations from one’s abundance can be important, they are not the whole story when it comes to loving our neighbors. Isasi-Diaz asserts that our salvation is bound up in this essential call of the Gospel, this love of neighbor. And in today’s world, love of neighbor is synonymous with solidarity. The poor and the oppressed are our neighbors, and in a special way, we must seek solidarity with them (Ibid, 88).

Isasi-Diaz calls to task all of us who applaud solidarity but who, in actuality, can be lukewarm and even complacent about its radical implications. Solidarity is more than being inspired by a cause; it means acknowledging and responding to the ways in which privilege and power are connected to poverty and powerlessness. So while my head nods and butterflies during “One Day” are earnest and true, and while they reflect my concern for people living on the margins, they do not constitute the fullness of solidarity. True change only can come from “common responsibilities and interests,” which lead to shared feelings, relationship, and communal action. The “kin-dom” (Reign) of God is co-created continually through the active participation of each human being, with whom God loves in relationship. In striving for the liberation of “the least of God’s people” as Jesus did, we collaborate with God in the act of salvation (Ibid, 89).

At the end of her interview, Gebara shares her advice to the First World. She proclaims, “I’d like to see us make an alliance of people that want to save the earth through values such as respecting the human person, man and woman. An alliance of life. I’d like us to join hands—not as we in the Third World needing the money and wisdom of the First World, but as human beings, women and men, wanting to create a new face of humanity, a new and different world!” (216). And to that, I say, “Amen.” As I journey through my final year in Magis, I will strive to view my commitments through this lens of solidarity, hoping to bring the “One Day” vision to life.

CASA CHUCK NORRIS/HELEN PREJEAN HOUSE, JVC Fall Retreat 2009
Hazelhurst, Mississippi


© 2012 Katie Davis

Monday, October 8, 2012

Jesuits, Drama, and Foolish Wisdom

Back in April, I had the privilege of serving as a leader on a retreat with Charis Ministries, the Chicago-based Ignatian retreat ministry for young adults. On this retreat, called “Spirit@Work,” I was blessed to work briefly with Charis’ founder, the oh-so-talented Fr. Michael Sparough, SJ. A spiritual director, writer, lecturer, actor and stage director, Fr. Michael has blazed trails in the arts and ministry, using his gifts and passions to help people encounter the power of the Gospel. (There are few priests out there who can incorporate two stage falls and an apple-juggling routine into a talk and THEN offer a profound Reconciliation experience to boot...just saying.) Therefore, I was beyond excited a few weeks back to hear that Fr. Michael would be presenting on the history of Jesuits and drama as part of the Loyola University Museum of Art’s Tea with the Jesuits series. 


Fr. Michael began with a story about the Shakespearean idea of the itinerant fool embodied in former Jesuit Ken Feit. Feit’s storytelling, sound poetry, and “foolish wisdom” creatively eased tensions and conveyed truth during difficult times. In fact, Sparough was able to experience Feit’s tactics firsthand back in the 1970s as Jesuits dealt with the potential closing of a certain (now thriving!) high school that is particularly close to my heart these days.

Sparough said that something had leapt in his soul that day, like John the Baptist in Elizabeth’s womb. “I didn’t know what it was, but I knew I had to know this man and what he was doing.” Foolish wisdom was a different experience of God’s grace than the heady, logical understanding he had known previously, and he yearned to go deeper.

Sparough then brought us back into the life of St. Ignatius himself, a man of his age who valued logic...as well as womanizing, gambling, and dueling, of course. Beyond his intellect, though, and as his life was transformed, Ignatius gained an awareness that in God, all things, all gifts, are good. Ignatius’ view of our giftedness in Christ can be found in John 10:10: “I came that they might have life, and have it abundantly.” He had a mystical knowing that there is unity and harmony in the world.

Without feelings and imagination, art is meaningless. Likewise, Ignatian spirituality calls people to engage both feelings and imagination to come into God’s presence. How can we, for example, encounter Jesus in Scripture? Ignatius challenges us to put ourselves into the stories and write our own scripts. T.S. Eliot writes, “We had the experience, but lost the meaning.” How can we become more aware of the meaning in our daily experiences? How can we know where the Spirit is working throughout our days? We can do an Examen, a way of looking back over the past 24 hours and doing essentially what Sparough asserts is the process of art: sifting and sorting, remembering and savoring, feeding it back and saying, This is what it means to me.

For Sparough, theatre is a vision of the Body of Christ. Unlike many other modes of art, theatre is not something that can be done alone. It is about collaboration and seeking unity. Theatre can be a reflection of the Trinity, divine unity and separation of personality. Yes, God is in all things, but as you come to find God, Sparough cautioned, don’t do it alone!

Sparough also stressed the Jesuit ideal of excellent education. Our education is not just about us, he explained; it’s about the magis. He traced the history of the earliest Jesuit dramas in 1551 and their spreading throughout Rome in 1565. By 1599, Jesuit pedagogy made participation in drama compulsory for students. Plays were performed in Latin, with music and dance and an emphasis on visual and technical sophistication. Through 1773, missionaries used drama to evangelize and teach. Drama and music both provided an accessible framework to help people come to know God.

Sparough shared about his transformative experiences in Rome at the Jesuit Institute of the Arts, which was founded by Jesuit author, historian, musicologist and linguist CJ McNaspy, SJ. McNaspy had a vision to call Jesuits from around the world who are involved in the arts to collaborate during summers. He stressed the importance of making the arts more accessible to “common folk” and prized the development of the human instrument over expensive theatre. During this time, Sparough also was impacted by the musicals Jesus Christ Superstar and Godspell, through which he encountered Jesus as the Holy Fool.

Through the Institute, it was determined that the Jesuits have five primary goals in their work in the arts (paraphrased):
1) To illustrate AMDG (ad majorem Dei gloriam -- for the greater glory of God)
2) To teach/evangelize humanity
3) To lead young people to Christian lives
4) To lead artists to a Christian lives
5) To focus on Christ as the inspiration and goal of all art

At a meeting with the Jesuits in Rome, Pedro Arrupe, SJ proclaimed, “You [Jesuit artists] are the fortunate ones. You speak and all listen, all understand. More than the preacherʼs word, it is the musicianʼs touch that is bringing the youth to God again. More than the politician, it is the folk singer who draws the races hand in hand. Heart speaks to heart in mysterious ways, and it is the artist who holds the key to the mystery. He can touch the wellsprings of the human heart, and release energies of the soul that the rest of the world does not suspect.”

As Sparough shared about the beauty of his years working with high school drama students, I am reminded of ways in which I can and hope to incorporate my love of drama into my ministries with young people. As I think about my own experiences in the arts and in ministry, I know the stir to which he referred -- the leaping in the soul that says “I don’t know exactly what this is yet, but I know there’s something in it for me.” So in this phase of excitement, confusion, and possibility, I will engage the gifts of prayer and discernment that Ignatius left for the fool in me.



Fellow YPTW alum and TONY AWARD NOMINEE JOSH YOUNG

Stay tuned for more on Fr. Michael’s screenplay of the book The The Gift of Peace, which chronicles the life of beloved former Cardinal Archbishop of Chicago, Joseph Bernadin.

© 2012 Katie Davis