Art Life Faith Podcast

Roger W. Lowther
  • 4.9 (15)
  • Christianity
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Listen in as we discuss art, life, and the Christian faith

  1. Jul 17

    76. Consolations of a Christian

    This is the Art Life Faith Podcast, and I’m your host, Roger Lowther. I’m excited to announce to you that we just released a new book, Consolations of a Christian by Japanese writer Kanzo Uchimura. Written in 1893, it has never before been translated into English, which is surprising because this is the book that made Uchimura famous, instantly becoming a bestseller and launching his career as a writer. Here’s some backstory for this book. In 1890, the Emperor of Japan issued an Imperial Rescript on Education. Kanzo Uchimura was at that time a teacher in one of the top schools in the country, but he did not bow deeply enough to the Emperor’s signature on the document, for as a Christian, he saw this as a kind of idolatry. However, his fellow faculty members saw this as a huge sign of disrespect, and the press saw it as an act of treason. His name and face were plastered on newspapers across the country. He was fired from his job. His friends distanced themselves from him. He fell into deep poverty. And from all the stress, he got really, really sick, even to the point of death. While his wife was caring for him, she too got very sick, and then she died. This was especially crushing because they were newlyweds, having been married little more than a year. Uchimura hit rock bottom in his life, but rather than giving up, he cried out to God in ink, brush, and paper, capturing the minds and hearts of so many with his uniquely Japanese understanding of the Bible. And his book came out during a time when Christian books were mostly just translated Western authors. This book is fascinating for many reasons, but I can tell you from personal experience that I was greatly encouraged working on this project, and so I know it can be a great consolation and comfort to you as well, and anyone going through a difficult time in their life. Let me say a quick word about the translator. Chris Born is a longtime friend of our Grace City Church community here in Tokyo. First, he came for a year to work on his doctoral thesis on Uchimura, and during that time he and his family poured into the church community, helping with many of the ministries. Then he returned to the States, where he’s the Associate Professor of Japanese and Asian Studies at Belmont University in Nashville, Tennessee. But he recently came back to Japan for post-doctoral research and to write a number of books including this one. Again, he and his family poured into the community, and even his oldest daughter worked with us as an intern, giving piano concerts, leading worship with her playing and singing, and helping out in so many ways. They go back to America this month, and we’re very sorry to see them go. They will be missed. Let me also say a word about the cover designer, created by the immensely talented Emma Grace von Fange, one of the interns who worked with us this summer. She did such a beautiful job getting inspiration from the text and making it appealing while also giving a sense of what we find inside. It’s a very attractive cover and really a work of art. I’m so grateful for her hard work on this project. Recently we had the launch day, and one of the church members threw a dinner party for the event. So I took a few minutes to sit down with a translator just before the party to invite all of you into the celebration. Here’s our conversation. Roger So today is the launch day of Consolations of a Christian by Kanzo Uchimura, translated by Christopher Born, who is sitting right next to me. Thank you so much for being with us tonight. Chris Thanks for having me, Roger. This is awesome. Roger Yeah, so we are meeting in a friend’s home downtown Tokyo. We’re going to have a launch party tonight. Some of us are already here preparing the food, and others are going to be arriving soon. You’re probably going to hear some doorbell ringing… Chris So pull up a chair and hang out with us. Roger I’m just so thankful that it’s finally out in the world as of today, July 13, 2026. Chris Wow. Unbelievable. Roger A lot of time has gone into this, hasn’t it? Chris Yes, from your own kind encouragement for me to follow through and get it done from about 10 years ago when I started it to bringing it to completion just now. It’s been quite a journey, but exciting to be part of it and also be working so closely with an amazing team. Really, you assembled a wonderful cover designer, and you’ve done so much of the editing. Roger She was great. Chris She was fantastic, and you put it together so quickly. I mean, you really have a lot of talent behind this project. You just made it pop and shine. I’m grateful. Roger I really like that about putting out books. It’s not just about the writer writing solo in a solitary room somewhere, but there are a lot of people who are part of the whole project and are excited for it when it comes out. Chris That’s right. It’s a big production team. Roger Yeah. So, how did you get into this project? Why did you translate this book? Chris So that’s a great story for me. I’ve been studying Uchimura since about 2009. When I was working at a seminary, and I was able to take courses while I was working there as like staff. I took a course called Christianity in East Asia because that was always interesting to me. And when I did my master’s in East Asian studies, we covered some tangential aspects about Christianity in the Meiji period and how it influenced social movements, how there was a big missions movement that helped grow women’s education and the YMCA, things like that, but we never focused on Japanese Christian thinkers. So this course was the first time I was exposed to an actual Japanese Christian thinker who not only originated a number of writings but also had his own theological perceptions from a Japanese perspective that he wanted to add to sort of global Christianity. And he really thought that if Japan learned about Jesus and became more Christian, it would be a light to the world. So I thought that was an interesting entryway. Roger Okay, so using Western years, when are we talking about? Chris Uchimura lived from 1861 to 1930. He became a Christian around 1873 when he went off to Sapporo Agricultural College, which is now University of Hokkaido, one of the larger state schools. And when he became a Christian, he realized monotheism was the answer to a lot of his problems because he had such a strong religiosity as a kid and would bow to every shrine and every temple. And as he got older as a student, he really still held on to those beliefs. But when monotheism was presented to him, he really didn’t want to become a Christian. He was sort of pressured into it, but he went along with it primarily because he said, well, there’s only one God I need to worship, then I don’t need to worry about all the other gods. So that I thought was interesting because Japanese are famously known for having 8 million gods or something like that. Roger Okay, so for those who don’t know their Japanese history, this is like the very beginnings of Protestant church planting in Japan. Chris Yes. Roger So he’s one of the first of modern Christians. Chris That’s right. Christianity was banned from about 1609 to 1872. In the interim, in 1859, there was some missions activity but it was kind of underground. Uchimura was a part of the early generation of the different bands. There’s the Sapporo Band and the Yokohama Band and the Kumamoto Band in Kyushu. So these were sort of early Christian groupings. Uchimura was from up north. But yeah, he was active in the 1890s when he came back to Japan. He had studied abroad in America in the 1880s and sort of grew. He was always good at English, but he went to, Amherst College and then went off to Hartford Seminary before realizing— Roger Near Boston. Chris Near Boston, yes. Northeast. In the book, you’ll see a lot of references to northeastern literature and sort of abolitionist thinkers. He loved them. Roger Yeah, actually that was fun for me because I grew up near Boston, so a lot of the things he’s mentioning only people in Boston know. Like Mount Monadnock, a mountain I climbed with my dad. Chris Does it look like Fuji? Roger Well, it stands on its own and it is kind of conical, but it’s really short. It’s not a very tall mountain at all. It’s more like a tall hill. Chris There you go. So even better comparison to how much more grandeur Fuji has, which he keeps referring to. But yeah, he loved the northeast. In his other book that was written in English called How I Became a Christian, or Diary of a Japanese Convert, he talks about his experiences in the northeast. Roger How can you explain why Uchimura is important? Why should we care? That was a long time ago. Chris As one of Japan’s earliest modern Christians—I mean, his collected works are 40 volumes. He was an important thinker for the time period. Not only did he write in a Christian vernacular of the time, he attracted a number of future authors who would become aware of Christianity, at least in terms of their own understanding of the world. Even if they didn’t become Christians, they embraced a partially Christian worldview or romantic worldview. So from a literary perspective, which is what my main focus of my academic work was on how he’s an important literary figure, but I knew that he was an important Christian figure. And for Japanese theologians in general, anybody who’s going to seminary knows who Uchimura is and has read him. Now, the reason this book is important is everyone suffers, right? Everyone has a hard time. We get sick. Our wives get sick. People die. People we love are gone in an instant. We don’t know what tomorrow is going to look like. We can lose our job. We can get canceled because of the things we say and do. Even if we’re speaking the truth, we get punished for it. Roger Mm-hmm. Chris Uchimura

  2. Jun 13

    75. IziBongo Panel Discussion

    Welcome to the Art Life Faith Podcast, and I’m your host, Roger Lowther. We are recording live from the JCAMM conference in downtown Tokyo with the theme of “The Beauty of Japan・The Beauty of Heaven.” It’s a week-long conference from Friday, May 22 to Wednesday, May 27, 2026, where we are talking about the arts of Japan, the beauty of Japan, and how that helps us worship God. We’ve had so many amazing guests this week, and now I have the privilege of sitting down with one of our key presenters, a band like no other I’ve ever seen in the world called IziBongo. They sing not only in the various languages of the world, but they use the various instruments of the world and the various styles and genres of the world so people can see what it looks like for the nations to praise God and how that can lead us all in praise of God. So I wanted to sit down with them and have a conversation. I’ve also asked Akira Mori to sit down with us. He is our MC for the conference, and he’s a longtime friend and partner. We got to know each other very well through the 2011 earthquake, tsunami, and nuclear disaster. He’s the pastor of Global Mission Chapel in Iwaki, Japan, not too far south of the nuclear power plants in Fukushima. And his amazing church was one of the key centers for relief work for all of Tohoku. Through the years, we’ve gotten to know each other better, and I’ve so appreciated not just his encouragement and the way he leads especially movements of prayer in Japan but the way he’s encouraged me personally and for his friendship. And so I invited him to be the MC for this conference and also to be with us for this podcast episode. So thank you, all of you, for being here. Why don’t we start with a quick introduction? Please tell me who are you and where this name IziBongo came from. It’s kind of an interesting name. Cory Sure, Izibongo is a Zulu word which means praises intoned in honor of a person. It’s a kind of praise poetry. This is a second generation of the group itself, originally called the Wycliffe World Music Band, which came from Wycliffe Bible Translators. Roger Not as catchy… Cory Yeah…, which came from Wycliffe Bible Translators. Roger Okay, so what do you do? Why did you form IziBongo? Cory Originally, the Wycliffe World Music Band was meant to be an illustrative form of the music of the world and to promote Bible translation. That was one of the hopes for the people who organized it. We would go to Christian music festivals and perform there to show how the nations would worship or do their songs. Paul I might add that originally it was an ad hoc group of students in a particular class learning about some of these principles of music and worship around the world. The leader of that class was our mentor, Tom Avery. He would gather the students and throw instruments at them and say, “Sing this and let’s play this.” And so it was just to appreciate the worship around the world. This developed out of that educational starting point to more of a worship focus and whatever it is today. Cathy Another point that Tom would make when teaching us these songs was that music is not a universal language, it’s a universal phenomenon. But different peoples have different ways of singing. We think we might understand what they’re singing about. We might make a judgment if we hear another culture’s music and say, “That’s demonic,” or, “You could not praise God with that music.” But he was teaching us that we need to understand when we go into cultures their music systems. We can’t just go in and say, “No, you have to sing it this way.” Mary And to follow up on that is the focus of outsider-insider, an outsider trying to understand from the insiders, “What does this mean to you? What is the content?” because as outsiders, we can really miss it and not understand what’s actually being expressed. So we have terms. We say etic and emic, outsider/insider perspectives, that we talk about in our courses and our learning. Roger Help us to see what this looks like a little bit more concretely. What countries, what groups are you representing, and what kinds of instruments are you playing? Paul Well, I’m playing about 3 or 4 instruments here. One is a charango from Bolivia, which I bought on the River Walk in San Antonio from a real live player. I’m also playing a Moroccan oud, which we use for other instruments as well. We don’t carry 50 instruments, we carry about 10. And I’m playing a Greek bouzouki, but I’m using that to represent music from other parts of the world as well if the instrument sounds similar to the sounds. So again, we’re approximating all these. We’re never being exactly authentic. We are just Americans. We’re not trying to pretend that we’re something else. But we love the sounds of the world and the praises that they lift up. So we want to approximate those sounds so that you will learn to appreciate their music. As for the countries that we actually sing songs from, we could give a list if you’d like. Cory We do some from South America, so there’s Brazil, Venezuela, Bolivia…Ghana, Democratic Republic of Congo… Cathy Nigeria… Cory Egypt… Paul Tunisia, Papua New Guinea, Bhutan, South Korea…We don’t have a Japanese song yet. Roger Okay, well, we’ll have to fix that. Paul Exactly! We’re working on it. Roger So tell me more about why you do this. What is your purpose in singing these different styles—using different instruments, different languages, representing different countries? Paul Well, for myself, and I think for my wife as well, we were worship leaders in a local church and trying to find the most relevant ways to help people worship in our culture. It was mostly not a mixed culture. It was mostly just a normal American church in Texas, but still we had to wrestle with contemporary versus older styles and who was there and what kind of music they liked. In the South it’s a little more Baptist hymnal kind of songs, which I wasn’t that familiar with. So you always have to learn and find out from the congregation that you’re worshiping with, what helps them express their heart, because that’s really what a worship leader is trying to do, just help the people worship from their heart. So that was where we started, and when we ran into Tom and he was doing that in the jungles of Brazil, it sounded radically different, of course. So we learned from him how to approximate that sound so that we could present it. Cathy So the first time we performed this kind of music, we thought we were just going to give people an educational experience and say, this is what your brothers and sisters sound like over in Africa, or this is what they say to God in their songs. The people that heard us in Memphis, Tennessee, on that very first trip were crying. They said, “This is a kind of worship that we’ve never experienced before.” It wasn’t necessarily something they could participate in, but it was like when you look up at the stars and go, “Wow, God, that’s amazing.” And you get a glimpse of the worship that God is preparing for himself across the world. And it does increase your love for your brothers and sisters. So we wanted to give more people that kind of understanding and that kind of love for brothers and sisters that they’ve never met, maybe an experience that would have them want to pray for those brothers and sisters. And so when we go to a mission conference, we hope, too, that it opens people’s eyes to understand that we want to encourage authentic ethnic worship and not just press our Western songs onto others. Mary I was just going to say one word, beauty. Well, I’ll say a few more words than just that. We have a colleague who decades ago said, why would God have created birds that only sing one song? And so we think about the diversity of artistic communication and think about the beauty of how we can all be different and have different artistic expression, but that it can be unified in the worship of our Creator, and to learn to appreciate that, but also know that it’s perfectly great to have those styles and songs and ways that you can sing and worship that come really from a deep place in your heart. So, we want to get into what that is in each culture to lead people to that place of beauty. Paul It makes me think also the necessity that we feel of presenting things with authentic instrumentation as much as possible and with some costuming. It’s not like we’re not trying to appropriate someone else’s culture. We’re trying to represent so that you will have a deeper appreciation of those—the beauty, not just the sound, but the beauty of those cultures in their expression of worship. Roger I’m glad you all are talking about this because that was one of my next questions is like, why is this important? You know, when I first came to Japan, the first thing that people wanted me and my wife to do is, as musicians, help with worship. And there’s basically two choices you can do. Contemporary or you can do traditional. One or the other. If you play organ and piano, well that’s traditional. If you use the guitar, well then that’s going to be contemporary. Those are the only two choices, so choose. If you go back and forth between the two, then that’s blended, a little of both. So to hear what you all do is so far outside people’s expectations of what worship can be. And that message, I feel, is especially needed in Japan. I would love Mori-Sensei to comment on that. Have you heard anything like this in Japan, this group? Mori No. That’s it. Roger And is it important then for Japan? Mori Absolutely. Japanese people like to feel safe, I guess, and don’t want to be criticized. Therefore, they try to conform to whatever is the mainstream, whether it’s a small group of 3, 4, 5 or a bigger group of 50–100. But that’

  3. May 13

    74. Justice x Beauty with Haejin & Makoto Fujimura

    Next week, May 22-27, 2026, is our worship and arts conference “The Beauty of Japan・The Beauty of Heaven”. This five-day event is the biggest we have ever put on. Hundreds will join us here in downtown Tokyo with easy access to all the beautiful art and culture of our city. We will have over 30 presenters with short talks, testimonies, music, films, discussions, networking, prayer walks and activities around the city, an art gallery, and so much more. In this event, we celebrate all the nations being united across different languages and cultures to worship God together, and the taste of that we are receiving even now here in Japan. Even if you can’t be here, please pray for us, that God would do a mighty work here, leading people in worship, growing his kingdom, and building deeper connections between churches and ministries. Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. This episode, I had the honor of sitting down with Haijin and Makoto Fujimura to celebrate the launch of their new book, “Beauty and Justice: Creating A Life of Abundance and Courage”. Haijin is the founder and managing partner of Shim & Associates Law Firm. She is also the founder of Embers International, developing the programs and partnerships to protect, restore, and empower the victims of injustice. Mako is well-known as an artist, writer, and speaker, who has also had a big influence on my life and on the ministries of Community Arts Tokyo. Mako was kind enough to sit down with me after the 2011 earthquake, tsunami, and nuclear disaster here in Japan, and listen to my heart, and suggest that I start this arts organization. So he is not only a long-time friend of this ministry, but one of the people who help it to get started in the first place. In this conversation, Haijin and Mako urge us to not lose sight of the new creation, where the pursuit of beauty is an important part of true restoration, that working for justice is a working toward that perfect shalom that God has promised to bring into the world. After our conversation, they led one of our Art, Life, Faith events. So many people came from outside our usual networks, and all of us there received renewed inspiration to go out into the city and make a difference, to make the vision presented in the talk a reality in our communities. This combination of justice and beauty is so important, and if you want to know more about it you can read their book and watch the event we recorded, which is now on YouTube. Now, here’s our conversation. Roger I’m sitting here with Haejin and Mako Fujimura for an event we’re doing tonight celebrating the release of their new book, Beauty x Justice. Thank you both for being here and being willing to talk with me. Mako Absolutely, excited to be here. Haejin Thank you for having us. Roger So, this topic is really interesting to me. This is the Art, Life, Faith Podcast. We believe that art isn’t just something that’s meant to be decorative or something if you have time to do, but it really affects every part of our lives and can change societies and people. And so to be able to talk about justice and what that looks like, I think is really fascinating. Can you tell us a little bit about this book? Haejin This book is a result of Mako bugging me for months to do something that I wanted to do but was kind of putting aside. So I’m really glad that he encouraged me to write this book together. This book shares with the world what it means to understand beauty in the context of justice and vice versa, because we believe that beauty and justice are essentially two sides of the same coin. Of the Gospel. We need both beauty and justice, not as parallels but as an integrated whole, to have the kind of shalom that God intended us to have from the very beginning that we have lost. Thankfully, God not only gave us beauty, but God is beauty. God not only commanded every single one of us to seek justice, not just to lawyers or advocates, but he himself is also justice, right? So when we think about beauty and justice coming together, we kind of wanted to share a little bit about our life as a married couple, because essentially all my life, even way before I met Mako, or before we wrote this book together. I have been working through justice to pursue beauty, and Mako has all his life, as just an incredibly anointed artist, been pursuing justice. And when we got together, we were able to really name it, and we started to share that message with other people in the context of exhibitions, speaking engagements, team-building occasions. And then we really felt like we needed to share this with a wider public. So that’s when we decided to write this book. Roger Yeah, it’s great. I feel like in some ways justice doesn’t have a very good image right now, just for various reasons. I guess I had forgotten how many times justice comes up in the Old Testament, and it’s always with this good image. God isn’t just just, but through it he gives a picture of shalom and what we are all really yearning for, right? Haejin Yeah, absolutely. Mako Yeah, justice is beautiful when it is fully manifested, and that’s always been God’s vision for the world. And yet we have created this tainted version of, or at least a version that we do not know the definition of what justice is. We talk about it all the time, but if you pursue asking the deeper question of what do you think justice is, not many people can answer it. We all know when something is lacking, you know, when we know justice is needed. But one of the things that I discovered in our journey together is that I have been speaking about beauty for all my life, it seems. I’ve written several books on it and have tried to help people understand why beauty is needed and essential for our lives. As an artist, as you noted, Roger, that many times the reaction that I get, well, that’s a nice thing to do, you know, when you have extra money or space and time. But especially for the church, it’s very hard to have a conversation where it is assumed that beauty is fundamentally not only necessary, but it is the most important characteristic of God’s presence in our lives. So it’s just a constant battle to help people understand that what I call utilitarian pragmatism has taken over all of our lives, not just the church, but our cultures. We tend to reduce the complexity of reality into simple false binaries so we can have a so-called understanding of it and have to take a position on it and create culture war-like rhetoric. And all of that comes out of this very simple premise that if God is beauty, and if God is love, then all things should flow out of that reality, including the church, including what we call the gospel, the good news, has to be filled with the abundance and extravagance of God’s love, has to feel like this is too good to be true. We will experience something that is so out of box, and extraordinary that we don’t have words to explain what that is. It just happens that when you experience true justice, not just restoration, you know, not just somebody who has been jailed wrongly is able to be released — that’s the first step in seeking justice — but when that person who has been trapped in whatever the circumstances because of injustice is able to see themselves as beautiful, that’s when the restoration of the whole person becomes real, not just that person but the whole community. And when you see that at work through Haejin’s work with Embers International, which she co-founded many years ago, we get to see actual examples of somebody who has gone through this very difficult process of restoration, and in their being, they hold this godly presence of beauty and justice together. And that’s when I, as an artist, I point to that reality and say, there is beauty here that I have been longing for as an artist to create, manifest into my work. And I continue to do that, but it really is that radical and that simple. Roger I was thinking about how you’re saying that people realizing what is justice for them, to realize their own beauty and to be able to see it. Mako, I think I’ve heard you say before how beauty can help us, artwork can help us kind of see, not just see, but experience the world in new ways. Like, I was thinking of To Kill a Mockingbird, to be able to go in someone else’s skin and walk around it for a little while. For example, in December I was giving a bunch of organ concerts around Japan. That usually happens at Christmas time, right? One of the pieces I was playing is one of my favorites by Maurice Durufle, a late French Romantic composer, called “Come, Creator Spirit.” And in it, in the middle of the work, there is this incredible dissonance and brokenness that just — it breaks your heart. And yet that isn’t the end. It starts with creation and gets to this breaking, and then he brings us beyond it to a hope, to a life where things can be glorious and rejoicing. And every time I play it — it’s a 20-minute piece, it’s a pretty long piece— to be able to celebrate what God is doing, it’s like I’m experiencing again and again through the artwork this truth. And so in a way, I think that’s like what you’re talking about. Haejin I think we forget to ask the question, what is the essence of all things, right? So what’s the essence of creating arts? What is the essence of justice? What is the essence of humanity? I don’t know about you guys, but I don’t think I was ever asked to think about the essence of things. It’s more of what is the quote-unquote the definition of it, what is going on, what is it, rather than what is the essence behind what we can just comprehend and observe on the surface. Because it’s a really hard question. You have to be willing to slow down to answer this question, right? You have to be willing to admit that we come with a

  4. Apr 25

    73. The Soul of Civility with Alexandra Hudson

    Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. Let me take a moment to invite you to our upcoming conference, May 22-27, 2026, just one month away, here in downtown Tokyo with easy access to all the beautiful art and culture of our city. During our time together, we will offer many short presentations, talks, and performances to lead us in worship through the heart art languages of Japan, all around the theme of “The Beauty of Japan, The Beauty of Heaven.” Every session will include discussion times to get to know the people around you, to encourage networking, and to inspire and encourage one another. We will also have an art gallery with plenty of space to display and distribute materials. We will also host unique activities we are calling “Worship in the City,” enabling people to worship God outside the walls of our building and through the art and culture of Tokyo. This gathering has space for up to 200 people. This is not just a conference, it is an experience. You have to come to know what I’m talking about. I know it’s going to change your life. God has already blessed tremendously through the preparations for this event, and we can’t wait to see what he already has in store. We are hosting this event specifically over Pentecost weekend to celebrate the things to come, when all the nations will be united across their different languages and different cultures and different arts in worshiping God together. Hear me on this. We will not be speaking one language or sharing one culture, but God delights in the diversity of the cultures and calling us to worship together. So, come spend Pentecost weekend with us here in Tokyo! We look forward to having you. Well, this episode I had the privilege of having a conversation with Alexandra Hudson, or Lexi, the author of “The Soul of Civility: Timeless Principles to Heal Society and Ourselves.” A number of weeks ago, she was passing through Tokyo on vacation with her family when she was gracious enough to sit down with me and talk about the various themes in her book and then lead an Art Life Faith event right afterward. One of the things that came up during our conversation was about “porching.” Porch is not usually used as a verb, but Lexi talks about it in her book. She and I share a mutual friend, Joanna Taft, director of the Harrison Center for the Arts in Indianapolis, who invites people onto her porch every week to just share their lives with one another. And through this Art Life Faith event, we realized that that is exactly what these gatherings are. We gather around a table, have a meal together, and get to know each other. This time, three visitors came who I had never met before. And then they came again to gatherings we had in the weeks that followed. This porching was a wonderful opportunity to invite people into our community, and it was wonderful to have Lexi and her family spend that time with us as well. I’m glad I get to share this conversation with all of you. Roger Welcome to the Art Life Faith podcast, and I’m your host, Roger Lowther. Well, tonight we have the privilege of talking with Alexandra Hudson, who was passing through with her family on vacation, and so we got to arrange an Art Life Faith event happening right after our conversation. So I wanted to introduce her to all of you. So thank you, Alexandra, for being on the show. Lexi Thanks for your hospitality. Great to be with you and Abi tonight and excited for the conversation. Roger We just met, so I’m not quite sure how to introduce you. Can you introduce yourself? Lexi Yeah, I am passionate about ideas and storytelling and how they can make our lives richer and better. I love history and philosophy, and I wrote a book called “The Soul of Civility: Timeless Principles to Heal Society and Ourselves.” It’s about how to flourish across deep differences, which is the most urgent question of our day in our era of hyper-partisanship, of extremism, of despair, of loneliness. But it’s also a timeless fundamental human question: How do we peacefully coexist amidst competing visions of the good? That’s what I explore my book. Roger Well, it’s an interesting book title because civility, when I try to translate it into Japanese in my head, I’m not quite sure which word to use. Lexi Oh, interesting. What are the options? Roger Well, the one I want to use is politeness, but it’s not politeness, is it? Lexi No, it is not. It’s interesting that you said that. Roger How is it different? Lexi You’re setting me up really nicely. A core argument of my book is that there is an essential distinction between civility and politeness, and in English we have these two words. We have civility and politeness, but people often today use them interchangeably, whether or not they want more of it or less of it. And in America, in the West, we have two vocal groups right now. One group says, “Oh, we are so divided. We’re so broken. Democracy is in peril. We need more civility and politeness in order to save democracy.” So they use this one phrase, “civility and politeness.” And there’s another contingent as well that says, no, civility and politeness are part of the problem. They’re the tools of the powerful, the patriarchy. They oppress the powerless, and we need to burn it all down, throw the baby out with the bathwater. Less civility and politeness in order to achieve greater justice and equity in the world. But both these contingents use these phrases interchangeably, and I argue that they’re different. I love etymology. I love studying language, and I love the origin of language. I’ve loved learning about Japanese and Japanese characters and the stories. So the etymology of civility and politeness is illuminating, and it’s, it’s actually honoring the original etymology to separate these words. So the etymology of, well, let me tell you what the difference is first, then I’ll go. Roger I’m thinking like civilization… Lexi So politeness, I argue, is manners. It’s etiquette. It’s technique. I know there’s a lot of influence in Japan on Confucius philosophy, but so is this concept of li. I don’t know if that is a concept here at all, but it’s like ritual. It’s propriety. Roger Japan is certainly known for its politeness. Lexi That’s correct. What we do is what we say, whereas civility isn’t external, it’s internal. It’s an inner disposition of the heart. It’s a way of seeing others fundamentally as our moral equals, worthy of respect just by virtue of our shared dignity, our equal moral worth as human beings, by virtue of the imago dei, that we are, we are created with it. We have the divine imprint, and that means that every single one of us without exception bear an irreducible moral worth and are worthy of respect. We owe to others that bare minimum of respect by virtue of imago dei. Roger I think I read on the back of your book that it’s not just about your actions and words but about the attitude of your heart, right? Lexi Right. The disposition of the heart is what civility is, and that sometimes actually respecting someone, actually loving someone, requires being impolite. It requires telling a hard truth, having an uncomfortable conversation, even especially in a democracy, engaging in robust debate. I mean, think of a marriage, you know, sweeping differences under the rug is not sustainable for an authentic true relationship. It’s going to get messy. It’s going to get hard. You have to have uncomfortable conversations. But, and in fact, having difficult conversations can be a tool of strengthening a relationship. It’s not about whether you disagree, it’s how you do it and whether you are… Roger If you’re uncivil, does that mean that you are fighting these? What kind of interaction is uncivil? You guys are being uncivil. You know, something I may say to my boys something, right? Lexi Civility requires action sometimes, but it also takes certain action off the table. I’ll give you an example. In chapter 7 of my book, I talk about civil disobedience. And let me just go to the etymology to illuminate the distinction a little bit more. So politeness, our word in English, comes from the Latin polire, which means to smooth or polish. And that’s what politeness does—it papers over difference, it sweeps it under the rug, as opposed to giving us tools to grapple with difference head-on. The etymology of civility is civitas, which is our etymological root for citizen, citizenship, civilization, city. And that’s what civility is— it’s the, the duty, duties, the conduct, the mores, that the disposition, the habits befitting a citizen in a city, and especially in a democracy that requires truth-telling, that requires honest, robust debate that is the lifeblood of a democracy. Roger Okay, so, you know, living here in Japan, we’re often taught to be polite because that’s such a big part of society. And I have seen a lot of relationships broken when they don’t know how to be polite. They say, well, let’s just not talk to that person, and then I don’t have to be fake. I just won’t see that person. And there doesn’t seem to be a kind of a way through for building community. There’s a lot of brokenness in relationships in Japan. So what you’re talking about is a way through that. Lexi That’s so interesting. I’m not saying don’t be polite. I’m not condemning Japan as a polite society. I’m saying that’s not enough, that the form the words, the rituals, the actions, without the inner disposition that sees you as my fellow human being worthy of respect, that it’s not going to be enough. And in the West as well, we too often settle for politeness. We, we settle for just people doing and saying the perfectly correct thing, but we’re missing civility, that inner disposition of the heart that helps us actually know

  5. Mar 7

    72. 15th Anniversary of 3/11

    Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. This week on March 11, 2026, we remember the 15th anniversary of that terrible earthquake, tsunami, and nuclear disaster that struck the northeast coast of Japan. In memory of that event, last month, we had a big gathering within JEMA, which is the Japan Evangelical Missionary Alliance, the organization that represents every missionary and every mission organization in Japan. We all met in our new church space, Grace City Church Tokyo’s space and spent three days looking at the earthquakes and floods since 2011 and trying to see what we could learn from them and prepare for the next one. Some of the stories that they told were actually quite funny. There was a group that came to mud-out a house. The seawater had gone clear up to the ceiling, and so the walls and the insulation were all soaked and full of mildew. But this group, instead of starting with the ceiling and then the walls, and then the floor, started with the floor. They not only removed the floors but cut through the beams and very foundations of the house. Well, that next team that came in to take out the walls, first had to fix the foundations and then put the floors back before they could work on the rest of the house. And so, at the gathering, they were talking about the need for someone who can lead groups who actually knows what they’re doing. And hopefully, knows a little something about how a house is built. Basically, the problem that kept coming up over and over again during the course of the gathering was that the Church of Japan felt like they had to start from scratch every single time a disaster happened. They needed to try to find new resources: new people, new networks, new money. And so to that end, recently, a new network was formed called Zenkisai, which is the Christian National Disaster Network. And little by little, it’s growing. And also, after this past earthquake, the Noto Earthquake, within Mission to the World, I led a committee to form a disaster relief project account that is for every disaster in Japan, not just for one. When that next disaster comes, we will be ready to receive your help. I’ve put the details for that in the show notes for this episode. So now, through this project account, we can receive funds that will be used to buy food, water, supplies, and also cover costs of sending groups of Japanese people to the disaster area from our churches in Japan. And also very important, we will be able to pay Japanese workers to aid in the relief effort. That next disaster is coming. We know it is, but we’re doing what we can to plan for it. Anyway, before we move on to two conversations I had with people at the gathering, I want to let you all know about a sale coming up. On March 11, on the 15th anniversary of the earthquake, for one day only, all of the ebooks I’ve written about the earthquake will be available for $0.99 on Amazon in the US, and just 100 yen on Amazon in Japan. This includes both children’s books, “The Tsunami Violin” and “Pippy the Piano and the Very Big Wave”, in English and in Japanese. The sale also includes another book I wrote called “Aroma of Beauty”, with a beautiful foreword by Makoto Fujimura. Personally, I think you should get the book just to read what he wrote, his experiences after 9/11. And by the way, we also have an exhibit going on in our church space with “The Tsunami Violin”, showcasing the beautiful artwork by the very talented Holly Rose Wallace, as another way that our church community is remembering the people and towns affected by the disaster. A big thank you to all of you who’ve already bought all three of these books and left reviews. Thank you so much. Okay, now let’s turn to my conversation with Dean Bengston. Roger We are here at the JEMA Gathering (Japan Evangelical Missionary Alliance), spending three days talking about disaster relief and trying to prepare for the next disaster. There’s been quite a few ways that many of us here in this room have been involved over the past. But, Dean, I really wanted to talk with you. You moved into a disaster area soon after the 2011 earthquake. Can you tell us a little bit about who you are? Dean I am with the Lutheran Brotherhood Mission in Japan. We were living in Sendai at the time, and through a number of circumstances, we ended up connecting with Abe-san in Ishinomaki and delivering necessary goods. We soon realized there were a lot more needs and started mudding-out houses. I commuted from Sendai for a year and 10 months before we moved. Roger I have very fond memories of a concert that we gave in that home you started up there. Can you tell us a little bit about how arts played a role in your ministry there? Dean I think early on, we realized that people needed healing in many ways. And we had a friend, Shizu-san, who’s a singer-songwriter, and we invited her to come. She wanted to come to mud-out houses, but we said, Shizu-san, you have to come and sing and minister to people through song, that people need healing, and music brings healing. And so she reluctantly agreed to do a concert in an open space, a lot that we were using for gatherings for takedashi cookouts. Shizu had lived in Ishinomaki in her junior high years, but she explained to people, I don’t know how to really sympathize with you. So she started by singing songs that everybody knew, old Japanese songs. And after several songs and people singing along, she said, Well, I just like to sing a song that I wrote. Singing old Japanese songs or popular songs that people knew drew people in. And then they opened the door for her to sing songs that she’s written and to share a part of her life and her faith in a very natural way. Roger Do you feel like that was surprising to her or to the people in the room that it had the impact that it did? Dean I don’t really know, but all I know is I think for several musicians, it changed their ministry so that even when they were doing concerts in churches, they moved from doing all “Christian” music to actually starting out their concerts with songs that people maybe knew. And Kosaka Chu is really good at this. He could share a testimony and weave it in with that there’s somebody loves you, and he would just sing a song about love, and then he’d share about God and how he loves you. I don’t know, I think it changed people’s lives. An awful lot of musicians volunteered, and they were well received. So we really appreciated it. We’ve had a lot of concerts. Roger Yes, you sure have. What was the name of the house that you were… Dean House of Hope or Kibou no Ie. Roger And how often were you having concerts there? Dean At least once a month. But before House of Hope, we were having them outside in empty lots, empty parking lots that we were using or empty house lots that we were using. Then we moved into the community center and had several concerts in the community center and very varying concerts. Everything from a Hawaiian Luau to gospel choirs to vcontemporary singers, and Roger, you on organ, and also the koto. Roger Right, the koto player, Chieko. Dean Yeah, that was beautiful. And we have a small place, so people were just enamored with being able to be so close to the koto and watch the keys on the organ. And also, wasn’t there a flute? Roger I was trying to remember if it was flute or violin or something. Dean Flute, I think. Roger It was so moving for me to be there and see the people… I mean, it wasn’t like background music. Everybody was so focused on what we were doing and interacting with us. It really was a moving time. Dean I think music has played a big part in bringing healing to people. Roger Tell us a little bit about your son. He’s a visual artist. Dean Yeah, he was actually starting art school, but it got delayed because of the earthquake. And so he volunteered with us at the beginning. And then he was able to, because he speaks English fluently, he was able to not take English and got Fridays off. So he volunteered for the first semester every day, every week on Fridays with us. And through that, he did one project, a byobu folding screen made out of cell phone parts. Roger Cell phone parts? Dean Yeah, the old flip phones. And there was a farmer who’s a small farmer in our neighborhood with a cell phone factory next to it. Now, as the waters came in, it drove all the parts of the cell phones into his ground, and we cleaned out his field. Joshua also did a number of things. He made paint from the muck and did some paintings with that. Roger Wait, I don’t understand. It was out of mud? Dean Yeah, out of the muck, he created paint. Roger No, I didn’t see that work. Dean Yeah. Actually, most of his art shows are interactive. He’s an interesting character because he always wished that he could touch paintings when he was a kid. So he did one show where he had all the paintings hanging at different levels, and you could walk around and touch them because they were all at touching level. So usually, his art shows are interactive. Roger Well, the cell phone project, that wasn’t just him looking for pieces. Wasn’t it collaborative in some way? Asking for people to bring in things? Dean Oh, that was a different project. He’s had a lot of different shows. Roger But just that way, too, of inviting people in, whether it’s volunteers who are there or people in neighborhood, too, is another connection point through the arts. I thought that was such an important message. Thank you so much for sharing. So Dean and his family were one of the many who moved into the disaster area after the earthquake. And every time I visited up there, I loved seeing the trust built with the community and the ways they were accepted. They were not seen as outsiders. And they’re still there now, 15 years later. Okay, so I also want to introduc

  6. Jan 28

    71. Art and Community with Jerrod Partridge

    Welcome to the Art, Life, Faith podcast. And I’m your host, Roger Lowther. Well, Happy New Year everyone! It’s good to be with you in 2026. I hope you’ve had a good year so far. Two of my boys are in college now but were able to be back with us over the winter break, and we got to have some fun in the snowy mountains of Japan, including an overnight snowshoe camping trip up one of the tallest mountains in Japan. It was beautiful, but it was also very, very cold. So cold, in fact, that the water in our water bottles froze almost immediately. And my fingers stuck to any kind of metal I touched. But so many good memories. Anyway, I want to thank you so much for your support of our newest children’s book, The Tsunami Violin, which was released late last year. Many of you have been writing me notes of encouragement, telling me who you’ve gifted the book to or your own experiences with the story. I want to share one of them with you. One woman read the book to her granddaughter’s elementary school class. In her note to me, she wrote, “Every child was wide-eyed and engaged. Students were able to identify how the characters were happy at the beginning, how they were changed by the tsunami, and how at the end of the story they were happy again because they were able to bring others hope through their story and their music. I will always cherish this special time with the students and that it was possible because of your book.” So of course I’m encouraged to receive notes like this and pray that this book will continue to have an ongoing impact in people’s lives. In our last episode, we shared a little bit about the making of The Tsunami Violin and the people involved. I thought you may also like to hear a little bit more about the background of what went into the making of the book. We consciously followed the traditional sonata-allegro form that is so common in much of classical music. In the beginning, we have the exposition, when the main theme is introduced. The main character is introduced as a tree, living in a literal garden of paradise, a forest that was planted 400 years ago and was designated as one of the most beautiful sites in all of Japan. Then everything falls apart. The tsunami comes and physically breaks the tree, tearing her up by the roots. This is the beginning of the development section, when the melodic theme is broken into fragments. Also, the development is usually in the minor key to express sadness. Then in the story the craftsman shows up, has the tree cut into smaller pieces, takes them to Tokyo, and begins to build a violin out of them. So this is the part where the development continues, where melodic fragments are taken through different keys and different ways: backwards, forwards, and upside down. Sometimes they find new relationships with a secondary theme. In other words, the fragments are put back together in new ways. And then the story ends with the main character finding hope and new life as a violin, surrounded by community through her music. And this, of course, is the recapitulation, the opening musical theme but as a new creation. Somehow that theme is deeper and more beautiful for having gone through the trauma of the development, through the breaking, through the minor key, and we hear the melody with new ears. I pray that as you read this book, you will be filled with new wonder as to how God brings hope into broken lives. Okay, today I want to share with you a conversation I had with Jerrod Partridge, a phenomenal artist working in Ocean Springs, Mississippi, on the coast of the Gulf of Mexico. He and his wife Jessie play a central role in the life of the community there, running a studio right on the main strip, and also in the lives of so many artists including, recently, a Japanese intern who came from our community here in Tokyo to spend the summer with that family. I so appreciate them and am happy just to be able to share this conversation with you so that you can get to know them as well. Jerrod Hello Roger. Roger Thank you so much for being on the show. Jerrod Yeah, I’m thrilled to be here. Roger Yeah, I really wanted people to know you, not just because you’re a phenomenal artist, but also because of your story. Jerrod Well, I mean, you’re very integrated into that story. So, it seems appropriate that we’re sitting here talking. Roger Yeah. So let me just try to share with listeners what happened. You came to Japan on a 10-day trip, two weekends with a week in between. And during that time, you did a number of events. For example, there was a church that was just starting in a new location called Double O Cross, and they wanted to introduce their space to the community. And so, in order to do that, they hosted, for the first time, an event. I think it was the first event they ever had in that space. They hosted an art show of your work. It was an amazing event. We had a live musician playing a traditional Japanese instrument, and we had wine and cheese. It was sophisticated. A lot of people came in for the first time, and the pastor was so happy. Jerrod That was a really incredible experience for me to get to experience the church in Japan, to get to experience the culture, meet so many wonderful, gracious people. It was really, honestly, a life-altering experience for me. Roger Also, there’s more about the story of this church. They wanted to plant a second location to have another service, but everyone wanted to be in that one space where the art gallery was because, somehow, I think through events like that, that we were able to do afterwards, people were really drawn into that space. It felt like a place of home. The community really liked being there. It was a space that was a gift to the neighborhood. To introduce that space to the neighborhood through the arts really was a powerful message. Jerrod It was very welcoming. The artwork, how it was displayed, and then having the musician play. I did a drawing while she was playing. So that was a neat collaboration. Then, even one of the guys from the church made some refreshments and snacks that related to the work. Because I do a lot of drawings with walnut ink, he had snacks that were made with walnuts and things. And I thought that connection and relationship was so thoughtful and really made the whole thing have depth and meaning beyond just pictures on the wall. Roger Right, and you should know, too, that some of the relationships made for the first time in that event have continued through that church and through our artist community. I still am talking to those people. Jerrod Yeah, that’s amazing. And likewise, relationships that I’ve made have continued. Roger So cool. Well, then the next day, I think it was, or a day later, we had an event at our church, Grace City Church Tokyo, where we hosted a talk and luncheon before worship and sold some of your works. You were able to talk about it over a sushi lunch, and we also had a Q&A time. Jerrod Yeah, that was really fascinating. It was eye-opening for me, some of the questions that came out, because there are things that we just don’t think about necessarily. We don’t consider how a different culture is going to see your processes and interpretations. One thing that I specifically remember I do a lot of work on handmade paper, and the paper is intentionally really textured. I leave openings and holes. It’s real rough. But I know the Japanese people are used to paper making in such a high form. The paper that they make is so gorgeous and perfectly done. So there was a little confusion of why would you make paper that’s so rough and imperfect. But when I explained the process, there was a really neat connection of understanding why I would choose to do it in that form. So that was a really wonderful memory. Then also the question of why I might have been painting some of the things I was painting. Roger Yeah, I remember that. My church sponsored the event, and we made it clear you were a Christian. It was not necessarily a Christian event, but it was hosted and sponsored by Christians. One of the people asked, “Why do you, as a Christian, why are you painting Shinto Shrines? Why are you painting Buddhist temples?” Jerrod Yeah, that was fascinating. It was an eye-opening question for me because as a foreigner, everything was new and different and visually exciting. I didn’t think too much about why, as a Christian, I might be drawn to these things visually. Roger Do you remember what your answer was to their question? Jerrod Only vaguely. Because I was a little bit surprised by the question. So, you tell me what you remember. Roger I remember you saying, “Because it’s beautiful. I wanted to paint it because it’s beautiful.” But they were a little bit surprised by that because I think there’s a pretty strong message to, especially Christians in Japan, that you should not go to shrines, you should not go to temples, that it is contrary to what the God of the Bible desires. And they try to avoid that side of Japanese culture, which is such a huge part of Japanese culture. It’s a real struggle in the Japanese church, I think. Jerrod Yeah, and I could see that struggle and was glad to be aware of the sensitivity of that. But at the same time, I did feel like the message of the fact that a Christian can see the beauty of what is created by non-Christians, but also the beauty of the fact that everybody are children of God, that whatever understanding we may have of religions, of culture, that there is beauty all around us in God’s creation, but also in man’s creation. And that can be celebrated. That can be celebrated through our approach as Christians without having to limit ourselves to the person making the creations. They have to believe what I believe for me to appreciate what they’re doing. And I just think that that limitation is unnecessary and not helpful. Rog

  7. 11/22/2025

    70. The Tsunami Violin Book Launch

    Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. Today, I’m excited to share with you a project that our team has been working on for quite some time now. Our new children’s book, The Tsunami Violin, comes out on November 24, 2025. Back in 2020, I wrote my first children’s book called “Pippy the Piano and the Very Big Wave”. Based on a true story, it tells how a church finds their beloved piano upside down and covered in mud and debris. But rather than throw it out, they decide to spend the enormous amounts of time and money necessary to fix it, and they give the piano new life. And even today, the church continues to tell this story through the many concerts they host there. Now we are releasing our second children’s book, which this time tells the story about a violin. A young tree protects her town from the cold and harsh ocean winds. But when the tsunami comes, everything is washed away: family, friends, town. She’s lost everything, but then a master craftsman comes, a violin maker from Tokyo, and transforms her into something beautiful. Through her music and through her story, she brings encouragement and healing to all who hear it, a story of hope out of despair, life out of death, and new beginnings. Like Pippy the Piano, this book too is based on a true story. I’m fortunate to know Nakazawa-sensei, the violin maker, and also to have had the privilege of being involved in quite a few concerts with that violin. It’s such a powerful story of redemption that I had to get it out there. This is a story worth telling. In this episode, I have a conversation with some of the members of our team who made this book possible, the beginnings of the book and the process along the way, and especially with the very talented Holly Rose Wallace, whose images and illustrations so powerfully tell this story. So anyway, I know you’re going to love the book, and I hope this conversation into some of the background will help you enjoy it even more. Roger Well, today we are excited to share with all of you about this project we’ve been working on for quite some time now called The Tsunami Violin. And we have a number of us who are key players in getting this project together with us on the podcast. Can you all introduce yourselves one by one? Maybe Diane, you served as the project manager for this. Can you tell us a little bit about yourself? Diane Yes, I’m Diane Bakelaar, and I live in Nagoya, Japan. My husband and I run an arts ministry through an art gallery and meet people through the art gallery. I served as the project manager for this book. Roger Awesome. Now, most importantly, Holly Rose Wallace as the illustrator. Can you introduce yourself? Holly I don’t know about most important, but I’m Holly. I’m from Cleveland, Ohio. I did about a two-year internship in Nagoya, Japan, working with Diane and Peter Bakelaar, and then working on this project with Roger and others. This is my first illustration project, so it was really exciting to get to add this to my resume and work with the team on this project. But I’m a self-taught illustrator, and I’ve always loved the arts, so this is an exciting project for me. Roger Awesome. And, Verity, you’re on this call. Can you tell us your role in this project? Verity Hi, I’m Verity. I’m a London-based illustrator and designer specializing in book design. And I’m also preparing to move to Tokyo next year to work with Community Arts Tokyo as an arts missionary. Roger Very cool. Last but not least, we also have Tsumugu Misugi on the call. Can you introduce yourself? Tsumugu Yeah. Hello. My name is Tsumugu. I’m a violinist and a composer living in Japan. I write music and record for Japanese animation and Korean dramas and things like that. I was happy and so privileged to be able to play on the tsunami violin with Roger a couple of years ago. Roger Now, in the introduction to this episode, I’ve given a little summary of what this book is about. But really to capture the essence of it, I wanted all of us here together because I think there’s something really special about this project, in how it all came together. There were many pieces. It wasn’t like I wrote this story and then passed it on to Holly to illustrate and then published it, but there were so many moving parts. And as each part came in, it made the book all that much more special. So why don’t we just start right at the beginning? So, Tsumugu, why don’t you tell us a little bit about how you were first introduced to the tsunami violin? Tsumugu I served as a volunteer in Ishinomaki from 2012 and went back every summer until 2016. And so I had first-hand experience helping with relief work. And then I went to the States for college, and then I decided to move to Japan after college to pursue my work. And that was when I reconnected with Roger. And within the first, I think, maybe three months of me moving back to Japan, Roger was like, “Hey, there’s this project where we want to give about 10 concerts in Japan, and it would be awesome if you could play on this tsunami violin.” And that was the first time I had heard of the violin, but it’s very famous here in Japan, and I was very honored to be asked to play on the violin. Roger Yeah, I had gotten to know it at previous concerts, and then there was this church, a group of churches actually, up in Iwaki, who asked us to come and give concerts on the violin. And it really wasn’t until that time that it came together. I was like, “this is an amazing story to be told.” I mean, everywhere the violin goes, it doesn’t just give a concert, but its story is an essential part of that concert. Just bringing that hope, bringing that idea that there’s life out of death, that all things can be redeemed, even when you’re in the pit of despair. And to continually bring that violin into any crowd of people, really, it spoke, it said something. And I was like, “How can we tell this to more people, not just those at the concerts. What would that look like?” And that was when the idea came forth about making a children’s book. Now, of course, I am not a visual artist. I don’t have the means to do that, but it just so happened that God provided Holly at just the right time to begin having this conversation. Holly, what do you remember about those early conversations about this book? Holly I remember the first time that I met you, I was showing you some of my work, and you looked really excited. You’re like, I have an idea for my next children’s book, and I’ve been looking for an illustrator. And you asked if I do that. I was like, “Well, I haven’t, but it’s always been a dream of mine.” And so it was this perfect partnership of you needed an illustrator, and I wanted to illustrate. It all came together from there. Roger It started first with the two of us working on this project, but then I think things really got special when we brought in Anna, who isn’t on this call, and Diane to be part of the process as well. Actually, Diane, just before we started recording, you said something about that, just the idea of having more people involved in the project somehow made it better. Diane Yes, I’ve always been fascinated with the idea, the wisdom of the group, and how it’s statistically shown that when people as a group, when they’re working together well, they can make better decisions than an individual, even if that individual is an expert in the area. I certainly saw that with this project. Everybody was bringing their strengths to the table, and everyone in the group was able to listen and not hold on to their parts so tightly that they weren’t able to hear suggestions and improvements. That was really impressive to me how everyone was very humble and very willing to work together, and it just made the project so much better. Roger Yeah, I really enjoyed our times together. Once every two weeks or so, we all had our roles. Mine was officially words. Holly was images. Verity was, I think, everything artistic. Verity Not at first… Roger At first, what was your role? Verity At first, I was thinking when I came in that I’d be taking on a design role of doing stuff with how the text looked and how the cover looked. Then my input grew from there, for sure. Roger Yeah, it sure did. It was fun to see this project be born out of our time together. The idea was, how do we tell this story in the best possible way? What words do we use? What images? Are there things we can do with the text? Maybe we should add a frame here or take one out here. To be talking about that creatively as a group was some of the magic of this project, I think. Verity Yeah, definitely. I think the first ever meeting we had about this project, Diane was there on Zoom, we were sitting on the floor in this apartment which had no furniture, which is why we were sitting on the floor. But we were going through some of the sketches that Holly had done and some of the writing and stuff. For a while, I’d been working in the creative industries. In the creative industries, I definitely feel like your role gets isolated from the rest of the creative process, particularly as a designer, where you do your thing that you’re told to do, but you don’t have any input in how the rest of a creative project, a book, for example, looks like. I was coming from that into this project where we were all like, you were asking my opinion on the text and stuff, and I was a little bit worried about stepping on your toes. That was a really special moment for me. It was, I think, maybe my first week or two in Japan. I was like, Oh, this is something different here. What the team is doing here is different. It was a good moment. Roger Yeah, it was. Anna said you can’t publish a book without a cat in it. And that was just so much better. So we had this cat, and there’s this yellow bird tha

  8. 10/16/2025

    69. Beauty from Brokenness and Death with Vince Black

    Welcome to the Art, Life, Faith podcast. I’m your host, Roger Lowther. I have an exciting announcement to make. Our next book, “The Tsunami Violin,” comes out next month, November 2025. We’ve been working on this project for some time now, and we are so excited to finally be able to share it with all of you. This book is based on real-life events that happened after a tsunami hit the northeast of Japan in 2011 and tells a story about a tree that is completely destroyed, along with a forest she lives in and her town. And then a master craftsman, a woodworker, comes along and redeems her and forms her into a beautiful violin, which now currently travels around Japan and around the world, giving concerts and telling people her story. We’ll have more information about that in our next podcast. For now and along this same theme, I want to share a conversation I had with Vince Black. He is a woodworker and pastor from Fort Collins, Colorado. Every month, we invite an artist to come and share their art with us after a meal and then lead a discussion. “What does their art have to do with our lives? What does that have to do with the Christian faith?” Art, life, faith. When this artist can speak English, I ask them to record one of these podcasts so that we can share the story with you as well. Vince looks for downed trees in the forest, which are badly damaged. Either they’re badly burned or beetle-eaten or something else happened to it. It just looks like trash laying on the ground. And then he redeems them and carves beautiful objects out of them: flower vases, bowls, cups. His whole message is about finding beauty and hope in this world coming from brokenness and death. In the very beginning of the event, Vince shared a little bit about one of his projects sculpting people without any limbs, which led to a fascinating discussion in perfectionist Japan. He talked about Da Vinci’s “Vitruvian Man,” which seeks to show the perfect proportions of the male body. And the question was what happens when a body does not meet those proportions? Does that mean it’s no longer ideal? Does it mean it’s broken? Does it mean it’s not beautiful? The Bible tells us that in heaven our bodies are perfect. Does that mean that everyone has all their limbs in heaven? These are just some of the things that we talked about. Vince also shared about the death of his 18-year-old son. Then my wife, Abi, shared a little about her 18-year-old niece, Lydia, who had a genetic mitochondrial disease. At that time, all the organs of her body were slowly shutting down. She was suffering and in a lot of pain, and there was nothing the doctors could do to heal her. When Vince spoke, it was earlier this year in January, and Lydia died that very next month. Abi went to the funeral and brought one of Vince’s flower vases and gave it to Lydia’s mom and told her the story. This flower vase was particularly damaged by a forest fire and showed its suffering. And yet, it was beautiful. It was the perfect gift for that time of grieving, and to show the incredible beauty we can find in brokenness, and to share that we’re not alone in our grieving, and that God is always present with us, and that suffering is not the end. His art gives just a little peek into what God is doing in this world and the beauty that he will one day bring out of all suffering. There was another person we also gave Vince’s bowl to that was going through a very difficult time. We always keep one of his flower vases in a place of honor in our living room where everyone can see it and be continually reminded of his message. If you ever come to Japan and visit us, you can see it sitting there in the living room. Vince’s time with us was really meaningful, and I’m so glad that I now get to share it with all of you. Roger Vince Black. Thank you so much for being here. Vince It’s good to be here. Thanks for having me. Roger Yeah, I’m really intrigued by you and your art. We’ve talked a little bit before we started recording. Why don’t you introduce yourself? Vince Sure, I am Vince Black. I have a history in art. I’ve always wanted to be involved in art. It’s something I grew up desiring to be in. I went to a small school and studied sculpture, so I have the very useful degree of sculpture that will get you a job in a coffee shop or something like that. I studied classically under one artist. We had a lot of fun and worked on the human form for four years. It was a beautiful time. From that point on, I moved toward ministry, toward being a pastor. People have brought up the corny joke that I am now sculpting hearts instead of sculpting other materials. Roger Oh, nice. Vince But I’ve been a pastor for about 20 years and have always been interested, still interested in art, and have been in art circles, talked to artists, had artist groups at our church, but have just recently, over the last couple of years, gotten back into art again. Physical, tangible, sculpting art. Roger Now, you’ve brought some of these pieces with you. I have them right here on the table, and I’ve been noticing some are heavy, some are light. Why don’t you tell us a little bit about what we have seen in front of us? Vince Yeah. About two years ago, I started turning wood on a lathe. I was given a lathe, an old lathe from a friend. A lathe, if you don’t know what it is, it’s a tool that will turn wood very quickly toward you. It’s spinning at 2,000 RPMs towards you. Roger That’s dangerous. Vince Yeah, so it can be dangerous. This old lathe that was given to me, I had no idea what I was doing, took a spin on it, and threw the wood across the room that I was in. I knew that that was a dangerous thing but was intrigued enough by it. This is something that could really be interesting. Got a newer lathe and started turning wood, and we can talk through all of that. But I’ve got here four pieces that I brought with me to give a sense of what I’m doing. The whole thrust behind the work that I’m doing is taking something, a piece of wood, that has been either gone through fire or death through beetle kill or some other insect that has been downed. That would typically be either thrown in a fire or brush pile or just lay to rot. I’ve taken those pieces and turned them into what I think is a beautiful piece of work. I have a bowl here that’s about 6 inches in diameter. It’s aspen. Aspen you see all over Colorado, but this one has burn marks on it from a fire that it has gone through in a canyon that’s near our house. That’s one piece. You can see the beautiful white or yellow tones of the wood with some scarring on it from the fire. I have another smaller vase that was pine. And pine in Colorado goes through a couple of different destructive things. One is beetle kill. Beetles will infest a pine tree and then begin to go from pine tree to pine tree, and just take out entire forests through the kill. And what happens is it leaves them, leaves the sticks or the stumps of these trees there dry, which makes them very susceptible to fire. So many trees will be killed by beetle kill and then taken out by forest fire. So you can see on the edge of this one, the charred bark around the side of it that’s been taken out by fire, but probably before that beetle kill. Roger Yeah, it’s gnarly, like how it sticks out like that. I really like it. Vince So what I’ve been trying to do over the past couple of months is bring some smooth, beautiful edges out of the harsh, as you said, gnarly pieces of wood to show both the beautiful and the destroyed in one piece. Roger It’s a nice color contrast, too. It has the black against the white with the brown texture of the wood. What about that one? Vince So this one is ash, and you can see the visible marks of the beetles that trace all the way through it, eating away the wood and eventually killing it. So that’s what took this tree out. And again, leaving some of the bark edges on the side of it, trying to pull up some of the beautiful smooth insides of it, but still leaving the remnants of the beetle killer. And then this one is a small juniper vase, probably three or four inches tall. And the juniper, it’s also called redwood. It’s got the red inside of it coming out of some of the white flesh here and then leaving some of the bark that’s been taken down as well. That’s been my desire recently from these turnings is to have some of the remains of what we see in the death of the tree, but from that, carve out some or turn some of the beautiful softer edges of it to show both, to show the contrast, which I think, and my whole desire this is to show the beauty that comes from the brokenness that has been left. So we see the discarded, the destruction that’s there, and the redemption that can come from some of those harshly treated pieces. Roger Why would you want to do that? I think we’re often taught to try to look away from brokenness and from pain, from suffering. For you, too, when people make things, they try to make it usually as perfect as possible, to have no blemish. You’re embracing the brokenness. Why? Tell me more about that. Vince Yeah. There’s a story behind a story, and part of this goes back to two years ago. We have five boys. Two years ago, we lost a son to cancer, 18 years old, fought for a year and a half. Even in the hospital, he began sketching out. He would draw and sketch some things. He began sketching out this image of a skull that had been turned upside down, and he drew flowers coming out of it, even in the hospital, as he was thinking through this. As we talked to him, he said, “One day, there will be some beautiful things that come from death.” This was before he knew his end was near. That really has struck me. From that, my wife and I began talking after we lost our son, Ezra, we began talking about just some healing for

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Listen in as we discuss art, life, and the Christian faith

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  • Creator
    Roger W. Lowther
  • Years Active
    2020 - 2026
  • Episodes
    76
  • Rating
    Clean
  • Copyright
    © 2020 Roger W. Lowther
  • Show Website
    Art Life Faith Podcast