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09 May 2019 | Story Eugene Seegers | Photo Johan Roux
Jan-Albert van den Berg
Prof Rantoa Letšosa, Dean of the Faculty of Theology and Religion; Prof Jan-Albert van den Berg; Prof Kobus Schoeman, Head of the Department of Practical and Missional Theology; and Prof Engela van Staden, Vice-Rector: Academic.

“Have we — have I — thought sufficiently about the deeper and sacred meaning of everyday life?” Intriguingly, this was how Prof Jan-Albert van den Berg concluded his inaugural lecture on 28 March 2019. During this journey, Prof Van den Berg took his listeners via the scenic route, starting with a mere outline of the divine — first a sketch, then a drawing, until a fully-fledged painting emerges — ending with a manifestation of glory as seen by each individual.

Faith in popular culture

“Practical theology,” said Prof Van den Berg, “implies a specific sensitivity and feeling for the description and meaning of practice and praxis. The use of narratives is one possible way of understanding and documenting a specific involvement in praxis.”

As an object lesson from popular culture, Prof Van den Berg cited the now-infamous-yet-ultimately-beneficial amateur restoration of the Ecce Homo by octogenarian Cecilia Giménez in Borja, Spain. The original fresco, ‘Behold the Man’, was painted in 1930 by Spaniard Elías García Martínez. By 2012, the artwork had suffered the ravages of time, until Giménez’s enthusiasm for art restoration happened to it. At first, the historical society and local townsfolk were up in arms. However, since 2012, Borja’s flagging tourist industry has been revived, and the proceeds from the picture’s fame help to fund not only a local museum but a care home for the elderly as well. 

The entire debacle quickly went viral on social media and the internet, leading Prof Van den Berg to comment on the underlying significance of social media as a field of praxis. As a nod to this aspect of modern culture, he specifically used hashtags (#sketching, #drawing, #painting, #tweetingGod, #findingthesacred) for the subtitles of his lecture. He said, “This is how the Twitter world in particular talks about God, in order to express multiple and compound understandings of daily life.” 

Evergreen Bible student

Prof Van den Berg’s love of practical theology dated back to his days as a student, when he said he learnt that “theology was not just a noun but a verb”. He said: “Practical theology’s description of the Divine in everyday life represents, for me, the relevance and topicality with which I associate theology.” He added that the title of his inaugural lecture directly relates to this understanding, as much as it can be strongly associated with his recent doctoral thesis at the University of Queensland, entitled Tweeting God: A practical theological analysis of the communication of Christian motifs on Twitter.

Expressions of faith in the mundane

In answering his question, mentioned at the outset, Prof Van den Berg said: “Perhaps there is more to be seen, heard, and read in everyday-life texts of the Cecilias of the world who take up their ‘paintbrushes’ ”. Stating that formal theological language has, in certain aspects, lost some of its impact and that many people have turned a deaf ear to the articulation of these truths, Prof Van den Berg concluded that “one must envision possible alternative descriptions, in the form of existing practices of #tweetingGod, finding the sacred in everyday life”.



News Archive

Odeion School of Music Camerata to perform in Russia
2013-07-31

 

31 July 2013

OSM CAMERATA "Die Spokewals" by Hendrik Hofmeyr under the baton of Jan Moritz Onken (YouTube)

After a successful audition, the Odeion School of Music Camerata (OSMC) received an invitation to participate in the 13th International Conservatory Festival which will take place in St Petersburg, Russia, from 1 to 9 November 2013. The festival is a yearly highlight on the concert calendar of the prestigious Rimsky Korsakov Conservatoire.

The artistic panel of the festival, under the leadership of Prof Lydia Volchek, annually selects ten international conservatories to gather in St Petersburg for the festival. Some of the participants include the Tchaikovsky Conservatoire: Moscow, Conservatoire de Paris, Eastman School of Music NY and the Sibelius Academy in Helsinki Finland. According to the Rector of the Rimsky Korsakov Conservatoire, Prof Mikhail Gantvarg, it will be the first ever school of music hailing from Africa to participate in the festival.

The OSMC was requested to give two recitals of 40 minutes each during the festival. Maestro Jan Moritz Onken (Chief Conductor of the OSMC for 2013) will lead the ensemble to St Petersburg. OSMC members will have the opportunity to attend all concerts presented by fellow participants as well as masters’ classes presented by the masters of St Petersburg Conservatoire.

The festival is usually opened and closed with a grand concert presented by the St Petersburg Conservatoire Symphony Orchestra (70 plus members). Last year the opening concert was conducted by the celebrated master, Valery Gergiev (artistic director of the Mariinsky Opera and Symphony Orchestra), while the closing ceremony was conducted by Semyon Bychkov – reciting the Leningrad Symphony by Shostakovich. Both Gergiev and Bychkov are alumni of the St Petersburg Conservatoire.

All recitals at the festival will be presented in the Opera and Theatre Hall of the Conservatoire, as well as in the acclaimed Glazunov Concert Hall located within the colossal conservatory building.

The OSMC will recite a programme of mainly South African composers, with two new works commissioned by the OSM New Music Initiative. These were written by the prolific South African composer, Hendrik Hofmeyr: laureate of the Queen Elizabeth International Composition Competition, entitled Spokewals / Phantom Waltz and Notturno Elegiaco. Spokewals / Phantom Waltz is a challenging work where musicians simultaneously play, sing and speak.

A reworked edition for chamber orchestra of the original string quartet for piano and soprano, Liedere op Boesman-verse, by revered South African composer, Stefans Grové, will also be performed. To commemorate the centenary of composer Benjamin Britten this year, Cantus in Memoriam of Benjamin Britten by Arvo Pärt is also included in the programme.

After participating at the festival in St Petersburg, the ensemble will depart for a two-day visit to Moscow where the OSMC will perform an ’All South African’ programme.

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