Walk into an unassuming church near the intersection of Colfax Avenue and Havana Street, just east of the Denver/Aurora line on any given Sunday. Depending on what time you arrive, you might hear singing in Nepalese, or preaching in Burmese.

The Village Exchange Center, formerly St. Matthew’s Lutheran Church, is home to four congregations that meet there on Sundays for the past decade in the heart of Aurora’s immigrant and refugee community. 

Small communities of Nepalese, African-American, Congolese, and Kachin worshippers gather throughout the day – two in the morning, two in the afternoon – most of them just a few dozen strong. 

And though sometimes only five or 10 people show up for service, those who do animate many church-like moments. Universally recognized words like “Amen,” and “Hallelujah!” are heard throughout the day. Likewise the swaying-while-singing moves, and a little call-and-response. There’s the blissed-out, closed-eyed faces, the restless, playful children – moments that cross the language barrier and feature the same sacred moments of reverence found in worship anywhere. 

And it’s especially needed now, according to Pastor Marcel Narucki, co-founder and director of Multi-Faith Services at the Village Exchange Center. He was pastor of the former church until eight years ago, and is still involved, meeting with pastors of the congregations, from whom he charges a nominal monthly fee.

“The worship time together is very powerful for building their community and cohesion and connection in many ways . . . because as refugee churches, they’re facing so much more to culturally survive,” he said. 

Kevin J. Beaty/Denverite

Living Worship Nepali Church

The first one to unlock the doors on Sundays is Pastor Habil Rasaily, who leads Living Worship Nepali Church starting at about 9 a.m. Although clearly a foreigner based on his accented English, the pastor was enthusiastic to welcome two new faces that looked very different from the usual attendees – who are generally not very tall, with Asian features and straight, dark hair. 

To welcome two visitors, one Black and 5’10,” the other MENASA and at least 6’3”, both with curly hair, he translated introductions. The response of the congregation – through waves, smiles, hands on hearts, and eye contact across the language barrier – said: You are welcome among us.

Eli Imadali for Colorado Public

Eli Imadali for Colorado Public

The pastor had clearly taken on some of the Western flavor in his fashions; he wore a corduroy suit, a purple V-neck sweater and cowboy boots. His session was rich with singing and preaching, with plenty of English words mixed in. 

Of the 30 or so who came out, some were dressed in salwar kameez, others were holding up their hands to show how moved they were by the music and the words. One woman showed up with a white man.

At one point, two men on stage stopped singing and began blowing into musical instruments which are called shofars in some cultures, long twisty horns of rams. Like bugles, they don’t give the opportunity for the person playing it to select notes; instead, playing them added to the overall ambient sound and got a few people on their feet, singing along to music that reminded them, undoubtedly, of home.  

Blow the Trumpet Ministries

A few hours later, Pastor Kevin Rawlins got his sermon going under the banner of Blow the Trumpet Ministries, held in the same room – sparsely decorated with a bit of stained glass behind the stage, where a drum set was set up that could be used by each group.

The sanctuary, with mainly blank walls, also had dozens of chairs in the front, as well as collapsible stadium seating in the back of the room. 

The extra seats weren’t needed for the gathering, which that day topped off at 10 people. Among them were his wife/co-pastor, daughter and niece, all there for the Village Exchange Center’s only English-speaking service. 

Eli Imadali for Colorado Public

That morning, Lynne Rawlins preached a sermon about spiritual understanding, connecting her message to the recent plane crash that resulted in dozens of bodies being found in the Potomac River in Washington, D.C. 

“The Bible written 2,000 years ago is talking about today … and planes fall out the sky – it’s enough to make you go. . .” she said, making a surprised face. “But when you have faith in God it transcends everything else because you go, you know what? I have eternal life with Christ … so even if I come to this end, I know I will be with God.”

Kevin Rawlins said that when not ministering at the center, Blow The Trumpet ministers to people with special needs and learning disabilities, sometimes taking the word to drug infested communities without judgment.  

The on-site session that day wrapped up in the early afternoon, then, like the other congregations, the group left the building, which locked up automatically.

And a few hours later, the space transformed again – without any real physical changes – into another church and its worshippers.

Colorado Kachin Baptist Church

At about 3 pm, Pastor James Naw Bawk unlocked the doors and about a half-dozen people walked in, most of them in jeans and sneakers, one with his hair two-toned, black in the back and golden-orange up front. 

They were there to hear the pastor lead Colorado Kachin Baptist Church for a handful of mainly young people, some refugees, who come from Kachin, the northernmost state in the country of Myanmar, formerly known as Burma; which shares a border with China and has a population of about 55 million.

As the voices and energy took up the room, the common experiences of church could again be felt despite the language barrier. Initially, the pastor, dressed in mainly western clothes with a hat traditional to Myanmar, was officiating. Then, using tablets and other technology, another man then took the lead, ministering to people who, wrapped up in the spiritual moment they were having, seemed not to notice that the space itself was both large and impersonal, given the small size of the group.

Kevin J. Beaty/Denverite

A lack of aesthetic attention in multi-faith spaces is common, according to an article, “Global Phenomenon of Multifaith Worship Spaces,” in the online magazine of the Center for Architecture. It was based on the fieldwork of a student pursuing a master’s in architecture, who received a grant in 2018 to do a deep dive into the architecture of multi-faith spaces, funded in part by the New York City Department of Cultural Affairs.

Among the findings: “Although what exactly imparts a sense of spirituality in a space is subjective to each individual, it is nonetheless clear when no effort has been made by the designer or administrator to nurture an aesthetic of contemplation and solemnity. Sadly, this aesthetic neglect is the case in most multifaith worship spaces. Since many of these sites are created with limited funding by non-designers, aesthetics are often the last thing to be considered. Even well-funded spaces are often left intentionally bland to maintain denominational neutrality.”

Several congregations personalized the space by bringing their own banners to drape over the lectern. They took them down when they left, which kept the space from taking on any particular religion’s style of decor. This is  not unusual, according to the article, which states: “In the majority of multifaith worship spaces, there is no designer involved; they are furnished by a facility administrator, usually as an afterthought.”

Kevin J. Beaty/Denverite

Kevin J. Beaty/Denverite

The article describes multi-faith worship spaces as a global phenomenon that began to crop up in the 1950s, noting their existence in New York, Boston, London, Manchester, Zurich and Berlin.

The article points out two main types: the Multifaith Chamber, which, like the Village Exchange Center, consists of “a central gathering space shared by different faith groups;” it is described as more common, more adaptable and less expensive. The other style is the Multifaith Complex, which “allocates separate prayer rooms for each faith so they need not share spaces with other groups,” according to the report.

The sharing of spaces seemed not to be a problem at the Village Exchange Center, because the schedule allowed ample time before one service ended and the next began – usually about a half hour during which the building was unoccupied very briefly. 

8th CEPAC Pentecostal Church of Colorado

The day capped off at about 5 pm, when the final group filled up the parking lot across the street and filed inside. Senior Pastor Enock Mahangaiko Hawazi heads 8th CEPAC Pentecostal Church of Colorado, which he said was modeled to be similar to the one he pastored in the Democratic Republic of Congo before coming to the US. It lasted from about 5:30 until 8 pm, the longest of the sessions, and had the largest congregation. 

That’s because usually, it’s attended both by relocated DRC nationals, as well as Malawian students from DU, who usually arrive by shuttle and have their own choir, he said. 

Kevin J. Beaty/Denverite

This congregation had about a dozen small children, some better than others at sitting still. Once or twice, as the gathering got underway, a newborn baby could be heard clucking and cooing, being held on the lap of its mother, one of the pastor’s daughters, three of whom attended the service. 

While some women had traditional clothing often worn in the DRC – printed fabric dresses with matching headraps – one woman had a red and white outfit on. She was the only woman drummer of the day, sitting on stage behind a drum set while children and adults sang in unison. That day the sermon was about love and acts of service.

Kevin J. Beaty/Denverite

Kevin J. Beaty/Denverite

Pastor Narucki, who meets with leaders of the congregations quarterly, said he usually doesn’t attend their services so they can have the space and privacy to worship. 

He created the opportunity for the four congregations to meet at the Village Exchange Center a decade ago, while pastoring St. Matthew’s Lutheran Church. Noticing that the church’s membership was dwindling, he came up with a way to maximize usage of the space: he opened it up for use by the congregations. 

After two years, the Lutheran church stopped meeting due to low attendance, but the four small communities of worshippers continued to show up and worship at different times throughout each Sunday.

Pastor Narucki changed the tax status of the church to become the non-profit Village Exchange Center, the subject of a local student’s thesis, which is also home to  other community-oriented services such as a farm and a food bank, in the heart of a part of Aurora where many immigrants and refugees live. 

He mentioned that with the new Trump administration – which called for a raid of some apartment complexes in Aurora in early February – and its aversion to immigrants, the churches ministering to immigrants and refugees are more necessary now than ever. “We don’t know how things are ultimately going to play out, but we’re all kind of being alert and concerned,” he said. 

“The safe expression of being together, that is a source of identity for communities, and of resiliency,” he said. “And I think that’s especially needed and critical for this period we are in.”

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* 1. ‘No Woman, No Cry’ (1974); 2. ‘One Love/People Get Ready’ (1977); 3. ‘Redemption Song’ (1980); 4. ‘Three Little Birds’ (1977); 5. *Buffalo Soldier’ (1983)

* 6. ‘Could You Be Loved’ (1980); 7. ‘Is This Love’ (1978); 8. ‘Jamming’ (1977); 9. ‘Stir It Up’ (1973); 10. ‘I Shot the Sheriff’ (1973)

Maravi Express

Jamaican singer, songwriter and guitarist, Robert Nesta Marley (Order of Merit), born on February, 6 1945 and died on May 11, 1981, was considered one of the pioneers of reggae, of which he fused elements of reggae, ska and rocksteady.

Bob Marley was renowned for his distinctive vocal and songwriting style and he increased the visibility of Jamaican music worldwide and became a global figure in popular culture.

He became known as a Rastafarian icon, who infused his music with a sense of spirituality while also considered a global symbol of Jamaican music, culture and identity.

Marley, who was controversial in his outspoken support for democratic social reforms, also supported Pan-Africanisim, thus his songs resonate well with African liberation right from the 1960s.

Music expert, Samuel Moore, a frequent contributor to Singers Room, the voice of R&B around the world since 2005, contends that few artists have left a legacy as powerful as Bob Marley.

“More than just a musician, he was a revolutionary voice for peace, love, and social change,” he wrote for Singersroom.com; https://singersroom.com/w76/best-bob-marley-songs-of-all-time/ on February 19.

“His songs transcended borders, uniting people with messages of unity, resistance, and hope. With his signature reggae rhythms and soul-stirring lyrics, Marley transformed music forever, making reggae a global force that still resonates today.

“From anthems of freedom like ‘Redemption Song’ to feel-good classics like ‘Three Little Birds’, Marley’s music remains as relevant and inspiring as ever. Whether you’re a lifelong fan or just discovering his genius, these songs capture the very essence of his artistry.

“His ability to blend deep political messages with infectious melodies made him one of the most influential artists of all time.”

He thus highlighted the list of top 10 most popular Bob Marley songs, the celebrate the tracks that have defined generations: “These are the songs that continue to fill the airwaves, inspire movements, and keep Marley’s spirit alive.

1. ‘No Woman, No Cry’ (1974)

One of Bob Marley’s most moving and heartfelt songs, ‘No Woman, No Cry’ is a powerful anthem of resilience, hope, and comfort. Originally released on his 1974 album Natty Dread, the song paints a vivid picture of life in Trenchtown, the impoverished neighborhood in Kingston, Jamaica, where Marley grew up.

Through its soothing melody and deeply emotional lyrics, the song reassures a struggling woman that better days are ahead. While the original studio recording is touching, it was the 1975 live version from Live! — recorded at London’s Lyceum Theatre — that truly immortalised the song.

With its warm organ melodies and Marley’s raw, soulful delivery, it became one of reggae’s most cherished classics.

2. ‘One Love/People Get Ready’ (1977)

A timeless anthem of peace and unity, ‘One Love’ is perhaps Bob Marley’s most recognisable song. Originally recorded with The Wailers in 1965, the version that gained worldwide fame was released on Exodus in 1977.

Infused with spiritual and political messages, the song incorporates elements from Curtis Mayfield’s People Get Ready, blending themes of love, hope, and togetherness.

With its upbeat rhythm, infectious harmonies, and universally uplifting lyrics, ‘One Love’ became an international symbol of social change and a rallying cry for world peace.

3. ‘Redemption Song’ (1980)

Stripping away his signature reggae sound, ‘Redemption Song’ is a deeply introspective acoustic ballad that stands as one of Marley’s most profound works.

Released on Uprising in 1980, the song was written while Marley was battling cancer, giving its lyrics even greater weight. Inspired by a speech from activist Marcus Garvey, the song speaks of liberation from mental and physical oppression, urging listeners to “emancipate yourselves from mental slavery.”

Its raw simplicity and poignant message resonate far beyond reggae, making it one of the most powerful protest songs in history.

4. ‘Three Little Birds’ (1977)

Few songs radiate positivity quite like ‘Three Little Birds’. Featured on Exodus (1977), its cheerful melody and reassuring lyrics — ”Don’t worry about a thing, ’cause every little thing is gonna be alright” — have comforted listeners for generations.

Some believe the title refers to three actual birds Marley saw outside his window, while others speculate it represents his backup singers, ‘The I Threes’.

The I-Threes were the most influential female singing group in the history of Jamaican music, featuring Rita Marley, Marcia Griffiths and Judy Mowatt. They provided the rich harmonies for Bob Marley’s performances and recordings from 1974 until his death 10 years later.

Regardless of its inspiration, the Three Little Birds’ message of optimism and its lighthearted reggae groove continue to bring joy worldwide.

5. ‘Buffalo Soldier’ (1983)

Released posthumously on Confrontation (1983), ‘Buffalo Soldier’ tells the historical story of African American soldiers forced to serve in the US Cavalry after the Civil War.

Through Marley’s lyrics, the song highlights themes of oppression, survival, and resilience, making it both a history lesson and an anthem of empowerment.

The song’s catchy chorus — ”Woy yoy yoy” — and steady reggae beat make it one of Marley’s most recognizable tunes, resonating deeply with themes of black identity and resistance.

6. ‘Could You Be Loved’ (1980)

A perfect fusion of reggae and disco, ‘Could You Be Loved’ stands out as one of Marley’s most danceable tracks. Released on Uprising (1980), the song carries an uplifting message about staying true to oneself in the face of societal pressures.

Its pulsing beat, infectious guitar riffs, and smooth harmonies gave it crossover appeal, making it a global hit. With its universal lyrics and irresistible groove, the song remains a favorite on dance floors and reggae playlists worldwide.

7. ‘Is This Love’ (1978)

Featured on Kaya (1978), ‘Is This Love’ is one of Marley’s most romantic songs, whose smooth, mellow reggae rhythm pairs beautifully with heartfelt lyrics describing deep, unconditional love.

Marley’s warm, soulful vocals make it feel like an intimate confession, while the song’s dreamy melody remains instantly recognisable. Its laid-back yet passionate vibe has made it a beloved favorite for couples and reggae lovers alike.

8. ‘Jamming’ (1977)

A joyous celebration of music and togetherness, ‘Jamming’ is one of Bob Marley’s most energetic tracks. Released on Exodus (1977), the song’s lively groove and carefree lyrics make it an anthem for good times.

The catchy chorus — ”We’re jamming, I hope you like jamming too” — embodies the essence of reggae and its power to bring people together. A staple of Marley’s live performances, the song remains a feel-good classic that continues to electrify audiences worldwide.

9. ‘Stir It Up’ (1973)

Originally written by Marley in 1967 and recorded by Johnny Nash, ‘Stir It Up’ became a global hit when The Wailers released their own version on Catch a Fire (1973).

A sensual, romantic tune, the song’s smooth lyrics and relaxed rhythm create an irresistible groove. With Marley’s velvety vocals and The Wailers’ laid-back instrumentation, ‘Stir It Up’ is one of reggae’s most enchanting love songs, evoking warmth and intimacy.

10. ‘I Shot the Sheriff (1973)

One of Marley’s most famous songs, ‘I Shot the Sheriff’ tells the gripping story of a man accused of murder. First appearing on Burnin’ (1973), the song’s lyrics reveal a man admitting to shooting a corrupt sheriff but denying the killing of a deputy.

The track’s themes of injustice and resistance struck a chord with listeners. While Marley’s version was already a reggae hit, Eric Clapton’s 1974 cover introduced it to rock audiences, further cementing its legendary status.

Born in Nine Mile, Jamaica, Marley began his career in 1963, after forming the group Teenagers with Peter Tosh and Bonney Wailer, which became the Wailers — who released their debut studio album in 1965; The Wailing Wailers, which included the single ‘One Love’, a reworking of ‘People Get Ready’.

It was popular worldwide and established the group as a rising figure in reggae. The Wailers released 11 more studio albums, and after signing to Island Records, changed their name to Bob Marley and the Wailers.

While initially employing louder instrumentation and singing, they began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with Marley’s conversion to Rastafari.

Around this time, Marley relocated to London, and the group embodied their musical shift with the release of the album The Best of The Wailers (1971).

Bob Marley and the Wailers began to gain international attention after signing to Island and touring in support of the albums Catch a Fire and Burnin’ (both 1973).

Following their disbandment a year later, Marley carried on under the band’s name. The album Natty Dread (1974) received positive reviews and in 1975, following the global popularity of Eric Clapton’s version of Marley’s ‘I Shot the Sheriff’, Marley had his international breakthrough with his first hit outside Jamaica, a live version of ‘No Woman, No Cry’ from the Live! album.

This was followed by his breakthrough album in the United States, Rastaman Vibration(1976), which reached the Top 50 of the Billboard Soul Charts.

A few months later, Marley survived an assassination attempt at his home in Jamaica, which was believed to be politically motivated, which forced him to permanently relocate to London, where he recorded the album Exodus, which incorporated elements of blues, soul and British rock — which had commercial and critical success.

In 1977, Marley was diagnosed with acral lentiginous melanoma which he died of in May 1981 and as fans around the world expressed their grief, and he received a state funeral in Jamaica.

The greatest hits album Legend was released in 1984 and became the best-selling reggae album of all time, that also ranked Marley as one of the best-selling reggae music artists of all time, with estimated sales of more than 75 million records worldwide.

He was posthumously honoured by Jamaica soon after his death with a designated Order of Merit (OM) by his nation and in 1994, Marley was posthumously inducted into the Rock and Roll Hall of Fame.

The Rolling Stone ranked him No. 11 on its list of 100 Greatest Artists of All Time and No. 98 on its list of the 200 Greatest Singers of All Time.

His other achievements include a Grammy Lifetime Achievement Award, a star on the Hollywood Walk of Fame and induction into the Black Music & Entertainment Walk of Fames.—Music career content by Wikipedia

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