Advent Devotions

Today’s author is Prince of Peace member, Carol Swanson.

One of the first books I read on process theology was written by Ann Pederson of Augustana University in South Dakota: God, Creation and All That Jazz. Such a catchy title! And a great introduction to a theology that to me and many others makes sense of our modern scientific understanding of the world and how God relates to us and to creation throughout history. Lutherans are known for their musical roots, and we at Prince of Peace love our music––many kinds. And so, Ann Pederson’s musical metaphors may resonate with you. Here are a few quoted passages. 

The Orchestra

Classical music mirrors the theological world of classical theism. …

Some Christians rooted firmly in the traditions of classical theism, describe the event of creation and God’s role in a very similar way.  “In the beginning…” is much like the opening notes of a symphony. God speaks, and the composition is created; each detail is planned ahead in all its infinite variety. Creation is a once-and-for-all act that occurred “back then,” and we are now merely playing our parts that were planned ahead for us. Our role in this picture is to follow the score. God, the creator and source of all, is the one on whom the whole composition hinges. God is both the composer of the score and the conductor of the ensemble….

Historically, the primary metaphor for the relationship between nature and God has been the image of the orchestra and conductor. With the advent of Einsteinian physics and evolutionary biology, the model of jazz and improvisation has come to seem more appropriate. (p 16–18)

The Improvisation

Jazz has been the showcase for modern forms of improvisation. However, improvisation was not born in the twentieth century; it developed in many ways and in many different contexts. Jazz is one expression of improvisation. [John] Gillespie comments on the origins and development of improvisation:

“As we know, improvisation is not new. Two thousand years ago, improvising on established melodies was a common practice among the Greeks. During the Middle Ages, singers improvised countermelodies against a given melody. Renaissance musicians accepted improvisation as a natural part of performance, and by the Baroque era it had become a fundamental part of performance. Thus improvisation has had a long and steady history.”

…The composition of improvisation is a musical dialogue. “Jazz is not jazz until some transformation or improvisation takes place.” The composition takes place within the ensemble—co-created by the performers. …. jazz showcases each individual’s unique talents while the ensemble as a whole offers support. (pp 24-25)

Ann Pederson shares how improvisation can help us understand God. As she does so, she also shares insights from many process thinkers. Here she includes a quote from Catholic theologian, John Haught.

If God’s power is domineering, like that of a monarch or lord, God would be expected to control the whole show. On the contrary, if divine omnipotence is recast as persuasive love, God’s power is more mutual, allowing for the creation’s own composition. John Haught explains the connection:

“A God of love influences the world in a persuasive rather than coercive way, and that is why chance and evolution occur…If God were a magician or a dictator, then we might expect the universe to be finished all at once and remain eternally unchanged…God is not a magician but a creator. And this God is much more interested in promoting freedom and adventure than in preserving the status quo. Since divine creative love has the character of letting things be, we should not be too surprised at evolution’s strange and erratic pathways. The long struggle of the universe to arrive at life, consciousness, and culture is consonant with faith’s conviction that love never forces but always allows for the play of freedom, risk and adventure.” (p 27)

Alfred North Whitehead, the founder of process, would appreciate these metaphors. As Ann writes:

For Whitehead, Christianity was not assent to correct doctrine, but a way of life that evoked meaning and concern. Whitehead feared that Western theology had so aligned God’s power with brute force that the persuasive power of beauty and grace had been eclipsed. For Whitehead, beauty is the creative expression of God’s imaginative power to transform death into life, old into new. God does not fight force with force; “he does not create the world, he saves it; or, more accurately, he is the poet of the world, with tender patience leading it by his vision of truth, beauty, and goodness.” (p42-43)

Gracious and Loving God, thank you for the gifts of music and metaphors that show us in, some way, who you are. May we hear you calling us into your vision of truth, beauty, and goodness. Amen.

This book is in the PoP library.