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The placement and
vesture of the ministers of music
As if
there were not more important things to be divided about, there are many
communities in which controversy becomes rampant over where the choir or
ensemble is placed in the church space and what we are to wear. God save
us!
While
I find these fights to be exasperating at times, there are some important
underlying issues that lurk deeper than mere placement and proper dress
code. The primary issue is one of leadership, and in terms of this discussion,
visual leadership. This can be a challenge when considering the architecture
and limitations of many of our worship spaces, both traditional and contemporary.
Parishes with an organ in the back of the worship space and sanctuaries
with little or no space provided for the cantor and other music ministers
are a challenge. But music ministry leadership is most successful when
the leadership is seen as well as heard. Liturgical sung prayer is more
than an auditory experience; rather, it is a relational enterprise. Some
of us remember the days when the priest still had his back to us, and the
prayer was often experienced as a private enterprise between the priest
and God alone. No sense of relationship or dialogue was in place with the
assembly. We were reduced to being observers.
Today,
the majority of us would not accept such a practice. With this understanding,
and with a renewed awareness that the assembly is the primary minister
of music, the leadership of our sung prayer must lead well, helping to
empower those gathered into becoming an active and participative community
of faith. Cantors should be visible, in front, as they are, in a sense,
the musical presider of the liturgy. Though other strategies to bring the
choir and instrumentalists to the front may not be feasible, there is no
excuse to not find a place of visual clarity for the cantor to exercise
this most important role.
While
there is no documentation that officially addresses the issue of robes
or albs for the choir or cantors, I would strongly urge us all to ask some
important ministerial questions in this regard. While usually not intended,
wearing special attire always sets people apart from others, which can
be a sign of elitism and separateness. Choir directors or choir members
often say they like robes because they help everyone in the group look
the same. Why do we want this as a goal? Why should we try to look alike?
The reality is, we are not at all alike, and there is beauty in our diversity.
Our leaders should “look” like the people they serve, which in this case
is the worshiping assembly. The people in the pews are different and diverse
— short, tall, young, old, thin, large, and everything else. Our outward
appearance also proclaims other aspects of our diversity — our tastes,
our beliefs, our political alliances, and other qualities of our personalities.
This
outlook, which might seem “messy,” is exactly that. This is the wonder
of being church, the gift of being the Body of Christ. Think about this:
The choir and the cantor are already set apart because of their distinct
place in the church space, whether that be in the choir loft or in an elevated
place in the sanctuary. Their distinctiveness is already in place — why
do we need to add to that?
If
we look at this from a theological standpoint, we need to remember that
the white alb is a primary symbol and garment of our baptism, our Christian
identity as sons and daughters of God in Christ. If choir members, cantors,
and other ministries wear such garments, then perhaps the assembly should
be invited to wear these garments as well, if we give more than mere lip
service to their being the baptized people of God.
I guess
where we stand and what we wear is important if we ask the questions
about quality of leadership and service in the liturgy and if we
want to witness to and walk with our communities. But if the arguments
are not about these deeper issues, then let us remember the lilies of the
field …. ML
David Haas is director of The Emmaus Center for Music, Prayer and
Ministry and campus minister and artist in residence at Benilde-St. Margaret's
High School in St. Louis Park, Minn. As a composer, he has published and
recorded more than 35 collections of liturgical music. He is an active
author, workshop and retreat leader, pastoral musician and recording artist.
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