July 31, 2016
I went to St. Gregory Church thinking that their style of worship could be emulated and I needed to learn what was done so I could modify and imitate. What I learned is that what St. Gregory’s does is unique to its culture, context, and members. The most important thing I learned is that what makes St. Gregory’s successful is that its members are invested in their liturgy and they work to make liturgy happen. The lesson I take away is that liturgy, the work of the people, needs to be just that—a community working together to make liturgy. According to Paul Fromberg, Rector, much of the liturgical philosophy of St. Gregory is based on Gordon W. Lathrop’s book Holy Things: A Liturgical Theology (Fortress Press, 1998), which I read in preparation for my time at St. Gregory of Nyssa.
The choir sings as the 10:45 service goers enter the rotunda where the service begins. Those coming in off the busy street are greeted with beautiful a cappella music. Two children are sitting on the far end of the building conferring over a cup of juice and chatting away until they run around the sanctuary and outside onto the patio. Most families go to the earlier 8:30 service, which usually has a dozen or so children present, but on this particular morning, several families come to the 10:45 service, and children are making themselves at home. At the 8:30 service this morning, we had two new deacons—Matilda, age 8, and Soren, age 10—who were vested, read parts of the service, and helped distribute communion. They did a great job! I’ve become quite close with Matilda, her sisters Aska and Rumi, and her mom Naomi who all volunteer at the Food Pantry with me on Fridays. When I showed up this morning at 8:00 for Morning Prayer Naomi was there with the girls and Aska sat with me and drew me pictures while Matilda was vesting and preparing. She asked me if I’d watched Rwby yet, a show they want me to see on Netflix and I haven’t watched, but better because they won’t stop bugging me until I do.
Before the 10:45 service, I sat quietly and watched the beautiful dance of liturgy unfold as people entered, greeted one another and settled in for singing, dancing, and sharing a Eucharist feast. A dad shows up with his baby strapped to his chest in a baby carrier and his wife meets him inside. Kerri, the Youth Director greets all the children and pulls them in to perform tasks like ringing the bell, lighting the candles, holding a chalice, or ringing the gong. For the younger kids, she finds play dough and trays for them to play on or books to read. The presider and the lay liturgical leaders are all robed in colorful African-inspired vestments and they stand around greeting people as they enter the rotunda where saints dance above our heads and shower us with blessings of joy, courage, and love.
A child rings the bells to signal the start of the service as we stand around the altar and listen to the initial prayer, which is sung, just like the entire service, which is found in the St. Gregory Music for Liturgy book, compiled by members of the church and contains many compositions by founding member Richard Fabian. Yesterday we celebrated the 101st birthday of Esther K., a composer whose song, …. We sang from St. Gregory Music for Liturgy book. There is also music from all over the world keeping with the overall inclusive nature of the worship space that includes a Japanese shrine, Ethiopian icons and crosses, Russian icons, Persian rugs, African textiles, and Tibetan singing bowls and chimes.
While at St. Gregory I learned a lot about music from Marissa Glynias, a musicology doctorate student from Yale who was studying the world music of St. Gregory’s. My conversations with Marissa raised interesting questions about our role in appropriating music, liturgy, liturgical objects,
After the after which all the vested people greet each one of us and welcome us into the space. One of the founders, Donald Schell told me that his wife Ellen, a nurse, read a study years ago about the influence of touch on helping people feel welcome and satisfied. The study was done at a library where the librarian, while helping patrons check out books, safely and non-invasively brushed her hand against a random sample of people. Those that were touched by the librarian expressed more satisfaction with their visit and felt more welcome in the library. Donald said, “People don’t expect to be affectionate in church but over the years we have increased our level of affection towards one another and people express they appreciate and enjoy the level of intimacy that brings them closer to one another.”
As Sanford, the Music Director, sings the psalm we sing one of the many alleluia chants in the St. Gregory Music for Liturgy book, and move to the seating area where we sing, hear the collect, sing, and listen to an Epistle reading. Readers are plucked out of the seating area as the liturgical leaders head for the lectern. After every reading there is a period of silent reflection ushered in by the ringing of Tibetan singing bowls and gently ended by the ringing of Tibetan meditation chimes. The readings are done on one end of the bema, a long raised platform that separates the seating area into two sections with the chairs facing each other, and the bishop’s seat on the other end of the bema. This design is based on the synagogue structure after the destruction of the second Jerusalem Temple (70 CE) when the diaspora increased and necessitated the need for synagogues. The synagogue structure was originally based on the Temple architecture and this traditional structure is the inspiration for St. Gregory’s seating area. (For further explanation see Liturgy and Architecture by Louis Bouyer, University of Notre Dame Press, 1967.)
Next we sing again as the candle bearer, the gospel book bearer, and the reader approach the lectern for the gospel reading. Due to the design of the space, we face each other as we sing and the choir is conveniently dispersed throughout us singers so they can carry us along and set the tone and pitch for us. I’ve noticed that this encourages me to sing and try to stay in tune and I’ve been less self-conscious of my singing since I’ve been attending all the services—I’ve had lots of practice! There is more silence after the gospel reading followed by a sermon, more silence, and then a short time of sharing by anyone that wants to add a word, story, or insight from the gospel reading.
After the gospel reading and sharing, we all sing another alleluia song and greet the gospel book by touching it or kissing it as it is walked through the room by all the liturgical leaders. This is an Eastern Orthodox custom, and although the elements of an Episcopal service are present, the service is heavily influenced by the Eastern Orthodox Church. Other Orthodox practices include the singing of the liturgy, no instrumentation other than percussion, dancing around the altar to celebrate Eucharist, the prevalence of icons throughout the worship space, and the architectural layout of the church. Founders of St. Gregory of Nyssa Church, Donald Schell and Richard Fabian, were both influenced by Eastern Orthodox theology while seminary students and then later as Chaplains at Yale University they developed the liturgy that is still used at St. Gregory today. It is a living liturgy that changes over time as the church changes and as the members change, but the structure and influence have remained constant.
When I asked why use an ancient tradition as a foundation, Paul Fromberg, Rector of St. Gregory of Nyssa, told me, “In some ways this ancient liturgy is more flexible and tolerant of difference and is more open to change as the church changes. When Christianity became a religion governed by the state, it became more systematized but prior to that it was being formed according to context and local culture and customs.” This is definitely true of St. Gregory’s—it is very much formed based on the culture of San Francisco. One of the things I discovered about the liturgy, the worship space, the art, the vestments, and the Eastern Orthodox influence is that they work because they are so tailored to the culture and context of San Francisco. San Francisco is home to many Buddhist communities and many of St. Gregory’s members have practiced Buddhism and are attracted to St. Gregory’s contemplative practices such as silences throughout the worship and chanting. San Francisco is also home to one of the most diverse populations in the country, which is reflected in the art and décor of the church.
After the gospel reading and veneration of the gospel book, the preacher gave a sermon. On Sundays I would attend all the services and I noticed that over the course of the morning only a random selection of the daily readings were read. After paying attention for several weeks, I couldn’t find a pattern so I asked Paul about it and he responded, “Sometimes less is more. The readings are chosen from the lectionary according to what the preacher wants his/her sermon to be about.” The gospel was always read at the later service along with another reading but only one reading was read at the early service. After each reading and after the sermon there was a period of silence for contemplative reflection.
A unique aspect of St. Gregory’s sermon is a time at the end of the preacher’s sermon for any participant to add his/her own reflection or story or thoughts on the gospel reading. Time was allotted for one or two people to speak. This same ethic of participation was present in the prayers of the people as all spoken prayers were those of the people gathered together in worship. At the early service, the prayers of the people were woven into the Eucharistic prayer and at the later service the prayers of the people were woven into the Lord’s Prayer. After praying together, members sang and moved in step to the altar where they circled it in preparation for the Eucharist. After reaching the altar, the peace was exchanged, the Eucharistic pray was sung and then members along with the liturgical leaders shared communion, which is open to all people present at the liturgy. After a post communion prayer, offertory, blessing, and announcements, the participants sang and danced around the altar ending with a final blessing.
Dancing at St. Gregory consisted of a simple four-step walking sequence leading away from the seating area to the altar and then a simple eight-step grapevine dance for the final choral song. There are no bulletins and no written directions to read and follow as everything that a participant needs to know is explained as part of the service. In other words, instruction is woven into the service, which makes it very approachable to new-comers that only need to follow verbal instructions and don’t feel left out because they don’t know what is going on.
