What Story Will You Tell?
“What Story Will You Tell?” was Urbana 15’s theme, based on the passages in the Gospel of Matthew that were taught and studied at the conference. We wanted the conference’s look and feel to convey the importance of the context in which stories are told, and so we drew upon visual storytelling methods from different parts of the world and throughout history. These five motifs were used to visualize the content of each day’s scripture passage from Matthew, and were chosen to correspond with themes of each specific story. They were also incorporated into the rest of the conference’s designs (signage, stage, etc.) See below for further explanation of these storytelling motifs.
View original client proposal here.
To see more from Urbana 15, go here.
Concept: Laura Li-Barbour; Designers: Laura Li-Barbour - shadow puppets, Courtney Herwicz - stained glass, Gary Nauman - petroglyphs & graffiti, Jonathan Gay - dot painting
Shadow Puppets
Matthew 2:1–18, the Magi visit Jesus
Theme: God leads in the midst of darkness
The tone of this passage is surprisingly dark. The popular Christmas-time version of this story has been romanticized, with images of three kings on camels, a baby in a stable with lots of animals around, and a glittering star. However, there are many points in the biblical story that do not often get told: Herod’s deception, the killing of the babies, and an urgent escape to Egypt.
Shadow puppets from Chinese culture have a theatrical tone, which fits well with the drama of this passage. As we talk about God leading in darkness, it seems fitting to use a combination of shadows and light to portray both despair and hope, lies and truth.
Stained Glass
Matthew 8:1–34, Centurion with great faith, Disciples with little faith
Theme: The authority of Jesus
Stained glass were featured in many churches in midevil Europe due to the many Christians who were illiterate. Without the written Word, they relied on these images to enhance their understanding of Bible stories that were also told to them orally. The combination of color and light produces beautiful images that inspired awe and reverence, just as the intricate and detailed architecutre of those cathedrals and churches.
The imagery of light pouring through these windows to illuminate Bible stories relates to what it means to have faith. Though the centurion was Roman and without direct access to Jesus, he demonstrated “greater faith than anyone in Israel”. Even those without direct access to the Word of God can understand who Jesus is.
Aboriginal Dot Painting
Matthew 20:1–16, Parable of Vineyard Owner; Matthew 25:1–13, Parable of 10 Virgins
Theme: The offense of God’s generosity
Dot paintings originated in aboriginal cultures in Australia. Tribal rituals of recounting dreams or visions would be accompanied by drawings in the sand to illustrate these stories. Sand was an easy medium to wipe away so that there would be no risk of outsiders seeing these dream illustrations. Later on, however, these illustrations were made with paint and canvas, no longer easy to wipe away. So elders and other storytellers would cover over those paintings with patterns of dots to obscure the original artwork. Now the dot paintings have become their own art form, and sometimes portray the often “dotted” landscapes of Australia.
This multilayered storytelling visual resonates with the way Jesus told parables. They were purposely told in a way that was more challenging to understand at first glance. In both of these passages, the true central point of the parable is not quickly distinguishable and takes time to discover.
Petroglyphs
Matthew 25:31–46, Sheep & goats; Matthew 26:1–16, Woman & alabaster jar
Theme: The Value of Jesus & Jesus’ people
The specific purpose of petroglyphs, rock carvings, is not completely clear to archaeologists. However, it is known that they were used as a form of symbolic communication. They are predecessors of the written language.
In the sheep & goats passage, a great amount of symbolism is used to talk about the division of people when the Kingdom of God comes. The sheep and goats are not literal but used to describe what that division would be like. Likewise, symbols in rock carvings were often abstract symbols that represented something more concrete.
Additionally, these carvings have lasted through thousands of years and while we don’t know exactly what the stories or content of these carvings are, we can somewhat grasp the value of their legacy. Through these carvings we have a glimpse into the lives of people who lived so long ago. In the same way, the story of the woman is recorded so that wherever and whenever the Gospel is told, her story will also be told. The enduring nature of her story is powerful and beautiful.
Graffiti
Matt. 27:57–28:20, Jesus’ burial and resurrection
Theme: The Victory of God
Graffiti is the most modern visual storytelling form of these five. It has become an important and widely recognized aspect of urban culture. In some cities, graffiti is used to communicate political ideology amidst oppression and lack of freedom of speech. Graffiti is also used to declare one’s identity and make a name for one’s self (“tagging”).
In Matthew’s account, we see two narratives emerging from different sources: the women who encounter the angel and Jesus himself are told to go and tell everyone that Jesus has risen. Simultaneously, the guards are paid off by chief priests and elders to spread the lie that Jesus’ body was stolen by his disciples. To this day both stories have endured and continue to be at odds with each other.
In the struggle to control communication, graffiti is often see as a violation of property or form of slander and is consequently covered up. This relates to the passage as we see one side attempting to tell the truth and proclaim the true identity of Jesus, with the other side trying to cover up the truth with deception.
