On the occasion of the 104th anniversary of St. Giles United Church in Hamilton Ontario, the Right Reverend Gary Paterson gave the sermon to the congregation of St. Giles and the visiting members of First-Pilgrim and Centenary, at a joint service on Sunday November 18, 2012.
Category: News
Re-Firing the Vision
On his November 29 (2012) blog posting, UCC Moderator Gary Paterson wrote about his worship participation and leadership at the St. Giles anniversary service on Nov 18. He talks about Centenary and First-Pilgrim and St. Giles— encourages us to plant something new!
Here is a link to his post: re-firing-the-vision. There are some interesting comments. The text of his post is reproduced below:
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As Moderator, I receive dozens of invitations to preach at church anniversary services all over the country, and I would like to be able to say “Yes!” to all of them, but can’t.
Anniversaries are important, a hinge moment in time, when we are invited to look backwards into our past, affirm, be thankful, learn—and then to look forward, leaning into a new future that will be shaped by what we bring from the past but that will also be completely different, and to do so with a mixture, perhaps, of excitement, apprehension, and faithfulness.
On Nov. 18, I preached at the 104th anniversary of St. Giles United, a downtown church in Hamilton, Ontario. I was told that it might well be the last anniversary they celebrated—numbers down, membership aging…you know, what’s happening in so many places across the country for the United Church. This congregation is in conversation, however, with two other downtown congregations, Centenary and First-Pilgrim.
They are wondering about the possibility of joining together, and have even developed a vision statement for a new “Main Street United”: to be an inclusive, affirming congregation, offering radical hospitality, drawing upon the wisdom of history but moving into a new future, where money would be spent on ministry and mission and not buildings, so that the new community of faith could meet the spiritual needs of all generations and engage in a seven-days-a-week ministry of outreach in the community.
Both Centenary and First Pilgrim cancelled their Sunday service, and everyone gathered at St. Giles. My preaching task was to inspire the community, to help re-fire the vision, which was in danger of fading away. A bit of a challenge for any sermon, but there was some help in the last sentence of the gospel reading, “What I say to you I say to all: KEEP AWAKE!”
You might remember that the lectionary scripture readings for the day start with the story of a barren Hannah who gives birth to Samuel (was she, like St. Giles, 104 years old?), but only when she promises that the child (the new church?) will be dedicated to God (and new ministry?). Then the gospel reading launches into the mini-apocalypse from Mark, where Jesus predicts that “not one stone will be left standing on another”—which sounds frightening to any number of our big downtown churches, although these dire predictions come with a promise of the Spirit’s presence in our midst, with the possibility of something new emerging. Jesus then offers a warning: be attentive to the “fig tree sprouts of new life” (is that something like “the emerging church”?)!
Be alert, be awake—you do not know when the opportunity for transformation will arrive. Maybe this 104th anniversary is the moment. And what will any of us say when the Master returns, when we recognize that we are simply stewards, good or bad, of Christ’s church, not our church?
Amalgamations are hard, I know. We are often wedded to a spirituality of place, church buildings rich with memories, where we truly were encountered by the Spirit. But we also know that the Spirit keeps moving and transforming, and we need to do the same. I wonder if these three Hamilton churches might all be willing to sell their buildings and bring the wisdom of their history and the power of their vision…and with God’s help, create a new church, a new mission.
Advent Recitals
Plan to arrive early (~ 10:40 a.m.) on Sundays in December for Centenary’s advent recitals:
December 2: Emma Rush – classical guitar
December 9: Arthur Sloan – violin
December 16 Neeraj Prem – sitar
December 23: The Musicians of Centenary
Reminder: New Office Hours
Just a quick reminder that my office hours have changed a bit. Starting October 23, my hours on Tuesdays are from 1:00 to 4:00 p.m.
– Bev
FAQ: Attempts to Discredit the “A Child’s View of Gaza” Exhibition
The following is the CJPME’s updated response to recent unsubstantiated allegations about the art exhibit. In particular, this responds to letters to the editor in the Hamilton Spectator, op-ed pieces in “The Times of Israel”, and posts on a faculty forum at McMaster University.
Where can I find information about the origins of “A Child’s View from Gaza” (ACVG), or the impact of war on the children of Gaza?
CJPME has published a factsheet on each of these topics. Please refer to the documents at the links below:
- The origins of the exhibition “A Child’s View from Gaza” link to page on CJPME web site
- The Psychological Impact of War on the Children of Gaza link to page on CJPME web site
Are the attacks on the authenticity of the Exhibition credible?
No. As of the writing of this FAQ (October, 2012), not a single named academic expert had issued a statement questioning the authenticity of the drawings. A vicious blogosphere article published in “The Israel Times” on October 10, 2012 cited a “unanimous opinion of experts” (with hyperlink) that the drawings were too sophisticated to be by children. Yet when one clicks on the hyperlink, one finds an article on the FresnoZionism.org (Website) – a site that claims to be “A pro-Israel voice from California’s Central Valley” – which cites only the opinion of “a professor of Art at a local university.” Yet curiously, this professor is unnamed. Thus, a “unanimous opinion of experts” is reduced to a single unnamed source.
What’s your response when people say some of the drawings are too sophisticated to be by children?
Children ages 5-14 submitted drawings for consideration for the exhibition. Of the over 100 which made it to the exhibition’s producer in North America, CJPME procured prints of the 27 best works. As a result, many of the most sophisticated submissions figure in the exhibition which is currently touring Canada.
The children had more than just a single session to complete the drawings. Thus, they had time to reflect and rework the drawings over the course of several days. (Because of this, they certainly aren’t the kind of hastily-executed drawings that a child might dash off five minutes before recess.)
Many particularly talented older children (11-14) draw at quite a sophisticated level—similar to adults—as many Canadian parents can attest.
All of the Gaza community centres involved with the exhibition project were sent copies of the exhibition project mission statement, an explanation of the vision for the exhibit, the expectations of the centres and an invitation to join the project. Thus, the children and their instructors knew they were drawing specifically for their works to be exhibited overseas, and over half the drawings are marked with a stamp from the centres from which the drawings came.
What is your response when people say that the drawings are too violent to be by children?
The children were given a choice of topics: daily life in Gaza; their hopes for the future; and the impact of the 22-day Israeli assault initiated just after Christmas in 2008. Most chose to focus on the assault, since that was such a life-altering event in their lives, one which they are still processing.
Children in Gaza witness on an almost daily basis Israeli military helicopters, planes, drones, etc., which not infrequently strike civilian targets in Gaza. It would be naïve of Canadians to presume that the children do not notice and question the extraordinary circumstances of their existence— and the political forces behind them. It is normal and healthy that they depict the scenes they or their neighbours and relatives have witnessed. They have few other tools to draw attention to the most dramatic and destructive experiences of their community.
The drawings do indeed include depictions of the guns, bombings, fires, etc., because that is literally what children witnessed during Israel’s aerial bombardment and ground invasion. Civilian casualties were extremely high— 1400 killed, and thousands more wounded— with apartment buildings, schools, homes and other civilian infrastructure repeatedly targeted by Israel. To have a sense of the breadth of the destruction witnessed by the children, one should read the following reports:
- Amnesty International. Israel’s Operation “Cast Lead” – 22 Days of Death and Destruction:opens pdf document in new tab
- Human Rights Watch Report on White Flag Deaths: www.hrw.org
- Human Rights Watch Report on Israel’s unlawful use of white phosphorus: www.hrw.org
What is your response to allegations that drawings by adults may have been inserted among those by children?
First, it’s important to note that many of the drawings did have the names of the child artist on the back. Second, over half of the drawings bear the stamp of a well-recognized cultural, developmental and social organization at work in Gaza that participated in contributing drawings: the Afaq Jadeeda Association. Afaq Jadeeda is financed and monitored by eminently reputable organizations including the UN Relief Works Agency, CARE, The Global Fund for Women, the Belgian Development Cooperation Agency, the Mediterranean Women’s Fund, and the UN Development Program, among others. A glance at the “gallery” tab on the home page of this organization makes it clear that art, art therapy, and encouraging artistic talent among children are key programs at this centre. link to Afaq Jadeeda web site
The fact that some of the children did not sign their drawings is hardly proof that children did not draw them. As any parent knows, children seldom sign their drawings outside of a classroom setting.
There is no evidence of any falsification of the drawings. Nobody has claimed to have gone to Gaza since the exhibition was launched in 2010, or to have interviewed participants from Gaza, or to have found individuals who admitted falsifications.
The producer of the exhibition was inspired by the powerfulness of the children’s drawings during the art therapy classes she witnessed while visiting Gaza after the assault. Thus, it was knowledge of the potential for very impactful art which was the inspiration for the exhibition. Although drawings produced during the art therapy classes are not included in the exhibition, many of the children drawing for the exhibition were no doubt also involved in the art therapy programs. Since the children knew that their drawings were to be considered for the exhibition, they no doubt tried to do their best work.
Is it possible that people with malicious intent are seeking to discredit the exhibition for their own political purposes?:
Yes. CJPME has noticed a trend whereby exhibition hosts receive forceful and angry messages once the details of each exhibition site are announced on CJPME’s web site. Such messages seek to discredit the exhibition in a number of ways, often with a surprising (and revealing) viciousness and forcefulness. Such allegations have been circulating on the pro-Israel blogosphere since mid-2011, and are nothing but hearsay. The detractors of the exhibition are attempting to cast doubt on its authenticity in order to deflect attention from the devastation, deaths and injuries inflicted during the assault.
CJPME questions the intent of such attacks… Are the attackers implying that there are no children in Gaza? Or that the children have not been negatively affected by the misery of their circumstances? Or that the children are unable to draw? CJPME suspects that the intent is to intimidate anyone who seeks to openly draw attention to the realities of the Israeli-Palestinian conflict— to effectively eliminate any rational public reflection on the conflict. CJPME would encourage Canadians to ignore such attempts at intimidation, and instead to view the exhibition with their minds open to the children’s perspective.
An open letter in response to the UCC boycott of settlement products
This letter from the Canadian Friends of Sabeel (CFOS) offers more reasons for economic action against the Israeli settlements beyond those Reverend Ian gave in my sermon on Sunday. Please read and share.
Link to letter on CFOS web site
Canadian Friends of Sabeel (CFOS) is a national support network for Sabeel, Ecumenical Center for Liberation Theology in Jerusalem. Sabeel strives to promote a more accurate international awareness regarding the identity, presence, and witness of Palestinian Christians and the wider Palestinian community, as well as their contemporary concerns. It encourages individuals and groups from around the world to work for a just, comprehensive, and enduring peace informed by truth and empowered by prayer and action.
Loss of Part-Time Prison Chaplains Not Just, Not Right, says United Church Moderator
For Immediate Release
Monday, October 15, 2012
Loss of Part-Time Prison Chaplains Not Just, Not Right, says United Church Moderator
Toronto: In a letter to the Minister of Public Safety, Vic Toews, the Moderator of The United Church of Canada has asked the minister to rescind the decision to eliminate part-time chaplaincy positions in Canada’s prisons.
“Your decision to not renew part-time contracts with faith communities for the provision of chaplaincy services with Correctional Service Canada (CSC) will essentially eliminate chaplaincy services for non-Christians,” writes the Right Rev. Gary Paterson in his letter to Toews. “This is not just; this is not right.”
Paterson’s letter notes that while it is true that volunteers are an essential part of chaplaincy services in CSC, the spiritual care and guidance provided by trained and dedicated chaplains is work that cannot simply be handed over to “volunteers.” He explains that chaplains’ activities include providing a “visible presence” to those within the institution, including times of crisis intervention; leading worship services and officiating at sacraments; offering religious education and pastoral care; developing community involvement; and facilitating the activities offered by volunteers.
“Spiritual care is a basic human need and can be an important part of the healing and rehabilitation process for offenders-this is true for Christians, and for those of other faiths,” writes Paterson.
The full text of the Moderator’s letter is available on The United Church of Canada’s website:
< href="http://www.united-church.ca/files/communications/news/releases/121015_letter.pdf" target="display">News Release re: Prison Chaplains
For further information:
Mary-Frances Denis
The United Church of Canada
416-231-7680 ext. 2016
1-800-268-3781 ext. 2016
mdenis@unitedchurch.ca
NGen Youth Centre Special Event
The NGen Youth Centre at Centenary is hosting a special tour of A Child’s View from Gaza exhibit of children’s artwork.
Date: Thursday October 11, 2012
Time: 4 – 6 p.m., discussion to follow
Place: meet in the church h
all

What is It About?
The exhibition offers the perspective of Palestinian children in Gaza. It includes 21 pieces, combining over 12 drawings by young people from Gaza, ages 5 to 14, with photos taken by professional journalists. Born out of a project “Let the Children Play and Heal” the drawings were designed to help young people cope with the trauma they experienced. The exhibit hosted by Canadians for Justice and Peace in the Middle East and Centenary United Church.
Who are the child and youth artists?
All drawings in the exhibit were created by children and youth. The artists in the project come from all different backgrounds and locales including refugee camps, neighbourhoods that were destroyed, and areas that remained untouched by the devastation of the 2008-2009 assault on Gaza ‘Operation Cast Lead’.
What Will You See in the Children’s Artwork?
Each drawing reflects each child’s perspective of life in Gaza and the effect of Israel’s siege on his/her daily life. The exhibit tells a story about children who are forced to witness horrors and how they process their experiences through art. Aside from the death and destruction depicted in most images, other common themes include: crying trees and suns, schools and mosques, exposed children and parents, and war machines.
Come share these stories through art, and connect with others on the topic of youth living with war and violence. For more information, ask at the NGen front desk or inbox Jen.
Living With Grace in a Time of Unrest
Moderator Gary Paterson’s pastoral letter, “Living with Grace in a Time of Unrest”, addresses members’ concerns about our ongoing relationship with Jewish brothers and sisters.


