Making Scents of the Tomb: An Interview with Nina Naficy Dyrhsen and Magda McSparran

On April 22, eighteen diverse artists created fourteen stations based on the ‘Way of the Cross.’ Tribe of Los Angeles produced this stations event called “Via Crucis” in the Smash Labs space at Big Art Labs.

The last station, #14 “Jesus Is Laid in the Tomb and Covered in Incense,” was curated by two Tribe of Los Angeles members, Nina and Maggie. Their curation primarily engaged the olfactory sense, using scents to evoke an experience of the tomb that was poignant and memorable. I recently spent just a few moments asking them to describe their approach to using smell as a primary point of worship engagement…


Curator: You two were charged with curating station #14, “Jesus Is Laid in the Tomb and Covered in Incense.” What was your general approach to creating this space?

Maggie: The station was created for people to accept loss in a comforting space. Death has become so sterile and removed from our life experience that it is no longer seen as part of our human transition. It is often seen as something foreign and untouchable. I wanted the space to feel safe, a place to grieve, a place to accept loss.

Nina: I agree. Overall, I think we wanted to create a space where people felt comfortable to mourn. Most of the scents [we] used are known for their calming effects, but I’m not sure we were completely certain that the layering of the scents would work, we just imagined they would. I think our sense of smell is a great vehicle for bringing us closer to ourselves, it’s subliminal, it can be so telling and honest. Strangely for me there’s a vulnerability attached to it.

Curator: Can you talk more about what you mean by “vulnerability” as it relates to smell?

Nina: I’m not sure how to explain the vulnerability. I guess my sense of smell resonates with me on a deeper level. I know immediately how it makes me feel. There’s something primal, honest and immediate about it, so there’s very little analysis. It’s simple. I either like it, or I don’t.

Curator: What about you, Maggie? What is the significance of smell for you?

Maggie: My memories are always associated with scents. The memory of my mother smelling of Nivea Cold Cream when I was little, my memories of summers in Guatemala filled with the scent of burning firewood, and my memory of falling in love with my husband who smelled of Old Spice shaving lotion (before it was cool).

Curator: What were the materials that made up the centerpiece, on the floor in the middle of the room?

Nina: The centerpiece was fresh potting soil, planted flowers, fresh herbs, and a raw lamb shank on top. It was important for me to remind people why they were in the space to begin with. Having the lamb shank was meant as a reminder of death, decay, loss, life, and whatever other personal associations it may have conjured up in people. It was funny to hear people’s responses to the lamb, some forgot there was lamb, some asked if it was real, some didn’t realize it was there, and it made some people cry. (I didn’t mean it, or want it to be an exact metaphor for [Jesus as] the sacrificial lamb.)

Curator: What were the specific herbs you used in the centerpiece?

Nina: Chamomile, lavender, sage, rosemary, and bay leaf.

Curator: Any other particular scents used in the space?

Maggie: We also had a pot of various herbs boiling in water. These included rosemary, basil, rue, geranium, and rose petals, all of which are considered to have medicinal properties to promote healing and wellness.

Nina: The potpouri we used to infuse the room the night before (which I ended up rolling in cheese cloth and laying on the lamb) is called Santa Maria Novella. I learned about the potpourri through the [art] gallery I worked at and thought it created an ancient, comforting scent. It smelled of time. I felt it would be a good base scent for the room. In fact, our storage room at Tribe [where station #14 was set up] still smells of it. The product description from the website reads like this:

Santa Maria Novella now seals each bag in Florence to assure perfect freshness and a longer lasting scent. Once you’ve been enveloped by the magic scent of Santa Maria Novella’s potpourri, you’ll understand why generations of captivated followers flock to Florence to stock up. Scrupulously handmade using ancient methods, this incredibly long-lasting, beautifully fragrant potpourri is a full-bodied blend of herbs and flowers (a secret formula), all grown without pesticides in the Florentine hills exclusively for Santa Maria Novella. Each batch is collected by hand, soaked in essence in enormous, centuries-old earthenware jars, sealed with wax, then aged for several months, and carefully packaged as it has been for centuries. No synthetic fragrances. All ingredients 100% organic and pesticide free.

Curator: In addition to appealing to peoples’ olfactory sense, you also engaged the sense of taste. Would you describe the way you did this?

Nina: I found the recipe for a drink called Sekanjabin, on this blog. I was inspired to make it for the station after reading of its medicinal, soothing and cooling properties. Since we were working with temperature (a boiling pot of herbs in a small enclosed space) offering a cool soothing drink seemed appropriate.

Curator: Which other senses did you intentionally engage in this station?

Maggie: Sight. The entire small space was draped with pure white sheets and white scent-less candles, providing some minimal lighting for the space. We hoped these simple visual aspects would add to the calm while not distracting from the scents we had blended.

Image © Paynie


Nina Naficy Dyhrsen is a member of Tribe of Los Angeles. She and her husband, Eric, are also part of the Tribe leadership team.

Magda McSparran won’t admit she’s an artist, but her husband Nolan will tell you she is. She will, however, admit to engaging in creative pursuits when inspiration strikes. Maggie is a member of Tribe of Los Angeles and is currently serving as Chairman of the Board. And, she loves bikes!

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LOL*

The card was from her mother. Its outside cover read: “To my daughter on her birthday.” Standard, but nice. On the inside: “Dear X, I couldn’t be any more joyful than when I think of how God has blessed me with a daughter such as you.” It continues, “And, I couldn’t be more serious when saying how thankful I am that He did.”

At the bottom was the mother’s signature, followed by a couple x’s and o’s and decorated with a few little hearts. Preceding all of this – the signature, the hearts, the kisses and the hugs – in large, upper-case letters, was the acronym: LOL.

Laughing Out Loud! Was it all a joke? What kind of cruel mom says such deeply meaningful things to her child and then, WHAM! with stealthy short-hand, takes it all back as quickly as she put it out there. Pure maternal evil. Or, could something else be going on?

In defense of a possible ignorance plea, it is likely that the potentially faux-doting mother was not an internet geek and early bulletin board user in the 1980’s where the LOL acronym supposedly originated. On the other hand, today, LOL is so common on Facebook, Twitter, and in texting that it is hard to imagine she hadn’t yet discovered the true and full meaning of these three letters.

I mean, what else could she have meant? Lots Of Luck? That sounds like a ‘farewell for good’ card not one for the anniversary of someone’s birth. Loaded On Licorice? Explaining a sugar-high that caused neurological malfunction during greeting card content composition? Left Out Limping? Possibly describing the mother’s melancholy at realizing that as another year passes for both daughter and mother, her body is quickening its decay until finally it will betray her, costing mother-daughter walks in the park, strolls through the mall, and back-packing trips to Europe.

Wait a minute. What if she meant, Lots Of Love? This certainly would explain away the incongruence between note and signature. Lots of Love. Strange how two very different understandings of LOL could so alter the perceived intention of a message.

When one stops to think about it, LOL (Laughing Out Loud) and LOL (Lots Of Love) may not be as different as they seem from each other. Surely, where there is love (and lots of it) there is laughter. This doesn’t mean that tears and sadness are absent entirely. But, it certainly would be strange to find true love minus smiles and giggles. In fact, I suggest it’d be impossible.

And, where there is laughter – true and full, butt-gusting hysterics – there has to be love! Where hate exists, the only laughter allowed (by human nature) is witchy cackling, and evil sniggering. True love, love that is pure, faithful, and self-less, always finds the silent, heavenly smile giving way to sore-stomach, ROTFL*.

As this is true for human to human relationships, it must also be true between humans and Creator. If we’ve met God and s/he is only solemn, bleak, and sad, we’ve not met God. It could not be God because we are made in imago dei and we are occasionally full of joy, laughter, and happiness. Unless, these attributes of our humanity are sinful aberrations – which I have no doubt some sad-sack theologians have tried to argue in the past. I’ll bet our joy is evidence of God’s joy. And the reality of ours (and God’s) joy is all the more potent when found in the unlikeliest of places. Joy springs up because it must. God made it and us that way.

Because of these truths, it is fitting that our worship be filled with Laughing Out Loud. We should have at least as much laughter as we do lament. I am tempted to say that we ought to have more. Why more, you might ask?

Jesus said, “I am making everything new!” (Rev. 21:5). His renewal began the moment he said, “The kingdom of God is at hand!” (Mk. 1:15) and it continues through each consecutive moment until the promise of “no more death or mourning or crying or pain” (Rev. 21:4) is completely fulfilled. What will replace our lament in the future? I suppose it could be cool, robotic countenances, that neither cry, nor belly-laugh. More likely, there will be LOL (Lots Of Laughing).

I say, if our gathered worship is to reflect the always growing and future kingdom reality, it ought to contain more than just a sprinkling of chuckles. There ought to be more than just a handful of accidental tee-hee’s and modicum of incidental tittering. Even today, in these mournful times, our worship designs should aspire to prompt LMHO, LAWL, ROTFL, and LMAO* from time to time. Maybe even time and time and time again.

Image © Ryan Christopher VanWillliams


*LOL = Lauding Our Lord (in this case only)
*ROTFL = Rolling On the Floor Laughing
*LMHO = Laughing My Head Off, LAWL = Laughing A Whole Lot, ROTFL = you know this one, and LMAO = Laughing My Ass Off.

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Answers of the Week: What Makes You Weep?

This week’s Q was: What makes you weep?

We received three great responses. Each was appreciating the need for us to lament in our communities of worship. Each also expressed this from a different angle.

Debra Avery “lamented” about our failure as leaders to give opportunity and permission for our congregations to weep. She also shared some opportunities for weeping that her church has embraced this Lenten season.

God at Play shared a powerful vision experienced during worship – one with potential for becoming an “interactive visual worship experience.”

Red Livingstone told us about a photography exhibit that inspired a number of lament-related “worships.”

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Leading Lament

As worship curators we usually envision our main function as modeling and facilitating the praises of the people. The praise of God is certainly important and is modeled for us in the Psalms and throughout Scripture. But, there is another type of response to God also found in the Psalms that we tend to avoid like the plague. In fact, even in the midst of a plague, most of us would still avoid it.

I am speaking of lament.

A lament is a sorrowful outpouring of emotion for some kind of distress, whether physical, mental, or spiritual. Psalm 88 is a good – and particularly bleak – example. The psalmist starts with a very brief affirmation that God can save. Following this, the pray-er lays out his “troubles”, which include: being near-death (v.3), the loss of strength (v.4), and the loss of friends (v.8). Beyond all of this, God’s presence and actions are called into question. The writer claims to be “set apart with the dead,” and “cut off from [God's] care” (v.5). In verse 8 and in verse 18, he says that God is the one who has taken away his closest friends. Though this oppressed one cries out to God for help, the LORD remains hidden and has rejected his cries (v.14).

Does anyone wonder why Psalm 88 is not often listed among peoples’ favorite Psalms? And yet, God has chosen to include this type of prayer in the Book. In addition to this psalm, scripture contains other psalms of complaint, as well as the often-neglected book of Lamentations, and the often-misunderstood book of Job. Why did God figure we need such expressions of sorrow and what does this have to do with curating worship?

Renowned Psalms scholar Walter Brueggemann says that without lament our worship is reduced to “uncritical history-stifling praise.” He means that to neglect the acknowledgment of our painful situations before God leaves us only with shallow thanksgiving that denies an authentic relationship between worshipers and Yahweh. A failure to speak to God of our hurt is a failure to acknowledge that our world has gone bad. It is also a failure to present an opportunity for God to act on our behalf. In short, lacking lament, our relationship with God becomes similar to our shallow relationships with human acquaintances to whom we only expose our “brave face.” How can we as leaders bring the vital practice of lament back into our faith communities? Below, I suggest three of many possibilities.

First, we can become students of the parts of Scripture that model lament. Study psalms like 88, 89, 109, and others to see how praise and lament interact. Psalm 89 is an interesting example since it is full of pure praise until verse 38 after which point God is suddenly accused of having “renounced the covenant with [his] servant” (v.39). It seems that the psalmist is calling God to live up to the character and actions listed in verses 1-37. Notice that in this particular case, the psalm does not end with resolution or even praise. Immersing ourselves in scriptural laments will help us better understand the way God invites us to authentically express our struggles. As we learn, we can help those we lead to understand.

Second, we can compose prayers of lament on behalf of those individuals in our midst that are in pain. Practice by writing a lament from your own experience.

1) Start by acknowledging God’s past faithfulness.

2) Then, move to reflecting on a time when things were going fine and then went bad.

3) Express in metaphorical language how you cried out to God and the way God answered you – or didn’t.

4) Finish with some words of thanksgiving for God’s provision, or alternatively, words of hope toward God’s not-yet-realized act of salvation.

The above lament-writing exercise can be used for any particular life-situation in your community. Write a psalm of lament for someone who is hurting, share it with them, and then tell them how you are praying with them. Here’s a lament I wrote from my wife’s perspective when we were trying unsuccessfully to have a child.

Thirdly, we can give our congregations creative opportunities to express their anguish to God. Perhaps the final fruit of our growing familiarity with laments in the Bible, and of our practice writing our own pleas to God will be new songs or litanies that can be used in the congregation. There are many times throughout the year that laments are appropriate for worship. During Lent, confessional laments can be tremendously powerful when spoken together in the midst of worship. When your local body experiences the sudden death of a member, the community can express its grief through songs or readings that portray feelings of sadness and mourning. This practice should replace the way we typically avoid sorrow in worship and head straight to hope and peace. During Holy Week, your team might create an interactive Good Friday experience that embraces the horror of Christ’s crucifixion, allowing for contemplative space before simply rushing to the joy of resurrection. During seasons of personal, church-wide, or national crisis, reading aloud portions of laments from Scripture can result in hope for the future and jubilant thanksgiving as God eventually brings resolution to these situations.

In today’s culture, we much prefer hidden despair to open lament. We use consumerism, addictions, escapism, and even violence as mechanisms to help us deny the pain we truly experience in life. These methods of denial sometimes work so well that we even fool ourselves into thinking our lives are pain-free. As curators of worship, we can combat this cultural failure by learning about, practicing, and encouraging honest lament.

Brueggeman claims that without properly acknowledging God’s salvation from troubled times we have no real context to appropriately praise him. If we believe this to be true, we would be better leaders to embrace lament as one of our key methods toward prompting the praises of the people.

For more info try reading:
Walter Bruggeman’s article The Costly Loss of Lament and
Kathleen, O’Conner’s book Lamentations and the Tears of the World.

This post first appeared on Creative Worship Tour, April 15, 2010.

image © iStockphoto

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Someone Said

Where the lament is absent, the normal mode of the theodicy question is forfeited. When the lament form is censured, justice questions cannot be asked and eventually become invisible and illegitimate. Instead, we learn to settle for questions of “meaning,” and we reduce the issues to resolutions of love. But the categories of meaning and love do not touch the public systemic questions about which biblical faith is relentlessly concerned. A community of faith that negates laments soon concludes that the hard issues of justice are improper questions to pose at the throne, because the throne seems to be only a place of praise. I believe it thus follows that if justice questions are improper questions at the throne (which is a conclusion drawn through liturgic use), they soon appear to be improper questions in public places, in schools, in hospitals, with thegovernment, and eventually even in the courts. Justice questions disappear into civility and docility. The order of the day comes to seem absolute, beyond question, and we are left with only grim obedience and eventually despair. The point of access for serious change has been forfeited when the propriety of this speech form is denied.

Walter Brueggemann considers what happens when appreciation of the lament as a form of speech and faith is lost, as it has been largely in our time. The Psalms and the Life of Faith, ”The Costly Loss of Lament,” p 107.

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