Theology, Worship and the Arts — Blog 1
Like Gadamer and many other supporting scholars, I struggled with questioning how art can be justified and even the concept that art was required to justify itself at all. However, through religious affiliation and more specifically the design of “Biblia Pauperum”, I am reminded that art became a vehicle for those who were unable to read Latin or read at all; a vehicle that allowed others to reap the benefits of the divine Christian message with complete understanding. Although modern, this piece effectively balances and acknowledges its historical consciousness with the help of religious traditions. This supports Gadamer’s argument that not only can the past and future of artistic expression coexist but also they find themselves dependent on each other in many aspects.
The first time I saw this piece was before I had any meaningful connection to Notre Dame, yet like Gadamaer notes I felt as if the piece addressed me directly; as if it was only shown to me (Gadamer, 11). The piece came to me as an oxymoron; the aggressive, rough and rowdy, Notre Dame football team, meets with the grace of God and prays before Him, exhibiting that despite their commitment to football, there remains greater meaning beyond their sport. Without any understanding or process of conceptualization, I could still recognize the piece’s aesthetic delight, alluding to its “free” or “natural” beauty (Gadamer 20).
Gadamer describes play as a self-movement that is a final end in itself. In other words, it is intended as something even it is not something conceptual, useful, or purposive (Gadamer, 24). Play is known for its ability to break down the distance separating the audience and public from the work of art. Likewise, the art depicts Notre Dame football players praying to you, but it feels as if they are praying with you, as equals. Originally, I was limited in my understanding of play as I remained seeing it as a one-way mirror — the artist as the game maker and the viewer as one who is observing the game. Instead, reception and full experience of the piece is only made possible, if the viewer “plays along” and the participant is “involved in the play”. As such, as a viewer, I can become involved in the play in recognizing that despite the excitement and nervousness of these players for their upcoming game, they are still able to prioritize God in their life. Being involved in the play, we secure its identity betaking the construction of the work upon ourselves (Gadamer, 28). In doing so, participants can “take something as true” (Gadamer, 29).
Professor O’Malley introduces the term symbol is a concept used in the ancient world to recognize another individual. Coins would be cut in halves, thirds, etc. and when reunited the coins would be complete, serving to show your relationship to another. Within art, I understood this to be represented in the same way. The artist becomes half of the coin; they represent their art to the viewer as physically complete, but not yet truly whole. Every viewer thus is a fragment of the other half and requires their contemplation to make the art whole. In the piece in question, viewers are left with making the historical connection to older religious traditions. As I can imagine, these football players are praying to God for the safety and strength of themselves and their friends, a prayer tradition that extends long past the modern period. Through symbol, we also learn how this art piece aids traditions through containment. Religious traditions in football are frozen in time unable to escape from us while also secured and sheltered (Gadamer, 34).
The community aspect of festival helps highlight that art can be made whole with various fragmented halves and pieces. A festival’s universality helps represent that it remains an experience of community — a festival is meant for everyone (Gadamer, 39). Part of festive celebration is distinguished not by separation but by togetherness. I understood this as when analyzing the art piece, you can find more similarities than you do differences. For example, you can relate to the grace and emotion put into prayer before sport or even that you are reminded of Jesus’ sacrifices through these prayers. The artwork represents a certain sense of organic unity in the sense that “nothing can be added and nothing can be taken away” (Gadamer, 43). Football and prayer are seen as together, taking away football or its religious counterpart would leave the artwork unbalanced. Additionally, without this relationship, individuals may be oblivious to seeing the historical connection to previous religious traditions. The artwork screams togetherness as it depicts not only a team of individuals coming together but instead, a school of individuals seen by the background blurs of green, gold, and blue in the stands.
The hard toil and effort put in by Notre Dame football players throughout the season follow Pieper’s leading criteria for flourishing festivity. Pieper notes that only meaningful work will aid in growing festivity and questions whether work and celebration have an inverse relationship. Celebrating the religious cultures of these football players and even Notre Dame as a whole is only made possible because the celebrant community still draws glory and exaltation from the past (Pieper, 24). If the artwork was limited to just football it wouldn’t be able to become a festival because of its lack of the divine. Through this, we are reminded that festivity cannot be forced. However, this piece is made festive because “men receive something that it is not in human power to give” (Pieper, 40). The invisible qualities of festivity, seen as religious traditions, are made physical with the help of the artwork. The more we can dwell on the piece, the more it is made perceptible. Through this, I am reminded of the Emmaus journey in Luke’s Gospel where two disciples encountered Jesus, talk with him, but yet do not see him. Seeing Jesus is only made possible once full faith in Him is given. Likewise, one will be oblivious to truly seeing a work until a divine connection is made by the viewer.
