From the beginning of this weblog, your GetReligionistas have urged mainstream newsrooms to do a better job of covering liberal religious believers — as RELIGIOUS believers.
Far too often, believers in liberal institutions are covered as if there is nothing to their lives and beliefs but politics.
The same thing tends to happen to African-American churches, even if — doctrinally speaking — these churches are quite conservative. Far too often, it seems that journalists simply assume that these believers are basing their lives on political and cultural motivations, period.
Well, the newspaper that lands in my front yard just served up a story that I kept thinking was going to avoid this syndrome. Why? Because this story focused on a Baltimore project that focused on cooperation linked to religion and art, as opposed to being exclusively about religion and politics.
Trust me, I know that the high arts have become just as politicized in our culture as the popular arts. In fact, because of their connections to government funding and academia, the high arts are even more politicized.
However, this Baltimore Sun story still had the potential to ask some spiritual questions linked to progressive religious institutions and an arts institution, with the added benefit of the involvement of some more traditional African-American churches. Here is the overture:
The old arched red wooden door to the Seventh Metro Church is less that two blocks from the modern glass-and-steel panel that floats in front of the Maryland Institute College of Art’s newest exhibition space. They bring to mind two different eras and seem designed to be used by two dissimilar groups of people: spiky-haired artists and church ladies wearing fancy hats.
But when a white art student in her 20s met a middle-aged African-American pastor, they discovered that both doors opened into sacred spaces where people look for answers to the same big questions.
Caitlin Tucker and Ryan Preston Palmer became acquainted through an innovative program that brings together two of the seminal institutions that have helped transform the Station North neighborhood — the Maryland Institute College of Art and a group of local churches.
“This program has been a catalyst for bringing together the whole neighborhood,” Palmer says. He admits that until recently, he had never set foot in MICA, though he himself is an artist. For her part, neither Tucker nor Bashi Rose, an artist assigned to the Seventh Metro project, had previously crossed the church threshold.
First, let me make a picky comment about Associated Press style. Why does the Sun continue its strange practice, when dealing with the black church, of ignoring AP style for the titles of ministers? In this case, we are talking about “the Rev. Ryan Preston Palmer,” on first reference. Yes, the story calls him a pastor in the previous sentence — but that does not cancel out the guidelines of AP style. I do not think I have ever seen the Sun them ignore this rule with a white clergy person.
Moving on. It’s clear, from the list of participating churches, that this project combines the work of modern artists with the culture of liberal white churches and the style and folk art of more traditional black churches. Here’s the participants list, in urban Station North: Seventh Metro Church, St. Mark’s Evangelical Lutheran Church, the New Second Missionary Baptist Church, St. Michael & All Angels Episcopal Church and the Spiritual Empowerment Center.
Tucker states the thesis of the story:
“There’s sometimes an assumption that there’s a divide between artists and communities of faith,” Tucker says. “Not a lot of members of our class identify as religious. The students at MICA who practice a faith have said in campus surveys that they feel discriminated against. But historically, there’s a strong connection between art and religion.”
Now, that is a promising statement, one that I truly hoped would be fleshed out in this story.