On November 2, Unity Church began a series of four Wellspring Wednesday gatherings called “Four Practices on the Double Helix.” Each session has deepened our exploration and practice of the Double Helix of Faith Formation and Antiracist Multiculturalism. The fourth and last session is November 30.
 
During this first of the series, Angela Wilcox and Laura Park provided an introduction to the Double Helix model and its creation. Angela described how Unity’s ministers and Beloved Community Staff team had, for many years, aimed to develop a way of offering guidance to congregants on deepening both their spiritual practices and their antiracist multiculturalism work. As a congregation long committed to building the Beloved Community, and as a community hurting and angry about the murder of George Floyd in May 2020, many of us have wished to participate in these types of activities, but have struggled to know how to start. We have asked ourselves questions like, “what is distinctive about antiracism efforts in a religious context, compared to such efforts elsewhere in our communities?” and, “why does my participation in a church community and my spiritual development feel so tied to antiracist multicultural work?”
 
To engage with these challenging questions, Unity staff thought about describing faith formation and antiracist multiculturalism in multiple ways: for example, as a path, or as a map. Ultimately, however, the double helix metaphor surfaced as the most apt way to describe how faith formation and antiracist multiculturalism can exist in our lives: the double helix has no end point, no destination. It is a model that represents well how each half depends upon and interacts with the other. It is a model that is built upon practice.
 
Angela and Laura led us in an exercise that demonstrated all of these elements of the double helix. Each person was given a piece of paper on which either a spiritual practice or antiracist practice was written. Examples of spiritual practices included chanting, prayer, breathwork, worship and time in nature. Antiracist practice examples included asking questions without assuming, sharing stories across difference, noticing and naming cultural differences, noticing and naming discomfort without shame, and asking, in any discussion, what impact race is having. 
 
Next, people given a spiritual practice connected with another person who had an antiracist practice on their paper, and the two individuals discussed how those two practices could relate to one another. Participants switched partners several times, giving each person the opportunity to consider and discuss multiple types of practices.
 
In subsequent gatherings in this series, we will continue to explore the double helix model and how it can support our faith formation and antiracist multicultural work.

It’s timely to have this article in December, when our worship theme is wonder. How might we wonder together, with curiosity instead of judgment, about the challenge of reparations? Are we making any progress toward racial justice, as an interviewer wondered in March of 1964, when he asked Malcolm X if progress was being made. 

“No, no,” Malcolm replied. “I will never say that progress is being made. If you stick a knife in my back nine inches and pull it out six inches, there’s no progress. If you pull it all the way out, that’s not progress. The progress is healing the wound that the blow made. And they haven’t even begun to pull the knife out, much less heal the wound.” And when the interviewer attempted to ask another question, Malcolm interjected, “They won’t even admit the knife is there.” 
“Pulling the knife out” is an essential step, but it is only an act of suspending the harm. It does not “heal the wound” because it is not an act of remediation or reparation. Repairing the wound requires those culpable to make amends and restitution for the harm inflicted. The claim for restitution anchors historically on our government’s failure to deliver on the promised 40-acre land grants to the newly emancipated, a failure that lay the foundation for the enormous wealth gap that exists today between Black and white people. 

The case for reparations does not center exclusively on “slavery reparation” but seeks accountability for the atrocities of legal segregation we know as the Jim Crow era and the ongoing atrocities, including mass incarceration, credit/housing/employment discrimination, a criminal justice system and policing that continue to kill unarmed Black people. It includes the immense wealth disparity borne by Black American descendants, the cumulative legacy of our nation’s trajectory of racial injustice. Reparations is about repairing the wound, both acknowledging the moral failing and making restitution for lives robbed. Reparations ultimately aspires to the righting of a wronged relationship and the deep spiritual yearning for reconciliation. 

When asked “Why reparations?” several members of the BCST responded with these statements.

Lia Rivamonte, for the Artist in Residence Team and Beloved Community News

If you get a call from Paul Kruse, you will want to talk to him. It won’t be hard — he is easy to talk to. Friendly, unassuming, some might even say mild-mannered, he laughs easily —after all he’s from La Crosse for gosh sake. In fact, that may be one of the points he is trying to make with his project, “Once Removed,” a series of audio-based performance pieces, the continuation of a previous work of the same name. The happy-go-lucky, lily-white, hetero-normative, binary, nuclear, so-called Christian family once considered the foundation of rural America was always a myth. A fragile construction built of cheap toothpicks easily blown away when you learn the truth. 

And how do you learn that truth? You talk to people, give them the space to tell you their stories, and you listen. What are they telling you? What aren’t they telling you? Paul has become very good at listening, and digging deeper into that silence. 

As Unity’s next Artist in Residence, he has already begun his work, interviewing LGBTQ+ members of the congregation, to learn about their experiences growing up Queer—especially if they were raised away from an urban setting. 

After earning a degree in filmmaking/video production at Northwestern University, Paul lived for a brief time in Chicago where he ended up working for a Jesuit-run organization, and had to be talked out of becoming a priest by a wise Jesuit mentor. Invited by friends to join them in Pittsburgh, PA, Paul discovered that an active arts community and affordable rents allowed him to flourish as an artist. It was there that he began playwriting in earnest, and where he and friends founded the Hatch Art Collective (2012-2022) producing work throughout the city of Pittsburgh. In 2020, Paul completed his MFA in playwriting at UT Austin and his work has received much attention; his plays are produced throughout the country.

Paul’s work typically falls into two distinct categories — fiction and documentary. For example, his play “Chickens in the Yard,” follows a gay couple as they travel from the families who raised them to the family they make together as seen through the eyes of their four chickens. “Once Removed,” is a documentary play, tracing Paul’s own coming-out after piecing together the story of his mother’s gay cousin who died from HIV/AIDS at the age of 31. It was only when he started asking questions and connected the dots by interviewing his mom and later his aunt and other relatives that he learned the truth. 

Drawn to writing for theatre because of its collaborative nature, Paul finds great joy in conversation and in learning about people. His project at Unity is ambitious and will include interviews with people beyond the congregation. He is captivated and moved by the stories of Queer people, how they grew up, and if they came out, how and when. How did the rest of their family relate to them? He has observed that Queer people don’t often hear stories about themselves. He has set out to change that, and he is especially keen to learn about queerness in Midwestern families.

Paul’s mission, as he notes on his website, is to “tell Queer love stories.” Many LGBTQ+ people feel they must leave their families of origin and the small towns that raised them in order to be who they are without judgment, recrimination, and the need to shroud themselves in secrecy. Others have discovered this freedom may actually exist in those places after all. “Love is Love,” as the saying goes. These Queer love stories that Paul wants to tell are not limited to romantic love. The type of love that sustains us can be found or re-discovered in all sorts of places — even in small-town America, and even or especially in the lap of one’s own family. 

During his residency at Unity, Paul will conduct interviews, lead Wellspring Wednesday sessions, and present a listening gathering and celebration in March to culminate his work with us. Not only do we hope all community members will introduce themselves and make him feel welcome, but we invite everyone to engage in Paul’s work on a deeper level. 
While his project, “Once Removed,” focuses on the lives of LGBTQ+ people, there will be opportunities for all of us to participate. Paul’s Wellspring Wednesday sessions will provide a glimpse into his creative process, and he will share some effective approaches to having meaningful and sometimes difficult conversations with family members, others we care about, and even strangers. The culminating listening session will be a chance to celebrate our connection to one another. 
We are not all the same but our differences do not have to separate us. By sharing our stories, we break the silence that isolates. This is work that asks us to further develop our “going deep quickly” practice, one of the personal spiritual practices referred to in Unity’s Double Helix Model of faith formation and antiracist multiculturalism. 

The intention of Unity’s Artist in Residence program is to “activate our imagination, foster relationships among and beyond our church walls, inspire spiritual and emotional growth, and open the church community to larger dimensions in the work of making cultural change.” We believe that Paul’s residency and that of our other artist residencies, helps to advance Unity’s vision of becoming an antiracist multicultural Beloved Community.