MULTIPLICATION & The Problematic ‘Creative Class’: When a Generation of Church Planters Only Reach White People

Commentary by Dr. Whitesel: In my book “The Healthy Church” I describe five models of multicultural churches and show how two of the models are better than all others at breaking down racial walls and creating physical, as well as spiritual reconciliation. Readers often ask me if this is really necessary. And, I believe it is based upon the reasons cited in this important article.

The Problematic ‘Creative Class’: When a Generation of Church Planters Only Reach White People

Written by Doug Paul, Missio Alliance, on January 26, 2016

So I have tried to make it clear that it is wrong to use immoral means to attain moral ends. But now I must affirm that it is just as wrong, or even more so, to use moral means to preserve immoral ends. —Martin Luther King, Jr.

Scholar Stephen Hayes has long noted that Sunday mornings are the most segregated time in America. There are many reasons for this, most of which I will not delve into in this post. Instead, I want to explore one, perhaps hidden force that may be perpetuating this trend.

Closing in on 10 years ago, my wife and I, along with some close friends and a few pie-in-the-sky ideas, started the process of planting a church.

Around this time, a book came out of nowhere, capturing the imagination of America and finding a spot on the New York Times best seller list: The Rise of the Creative Class (by Richard Florida).

In a nutshell:

This book quickly achieved classic status for its identification of forces then only beginning to reshape our economy, geography, and workplace. Weaving story-telling with original research, Richard Florida identified a fundamental shift linking a host of seemingly unrelated changes in American society: the growing importance of creativity in people’s work lives and the emergence of a class of people unified by their engagement in creative work. Millions of us were beginning to work and live much as creative types like artists and scientists always had, Florida observed, and this Creative Class was determining how the workplace was organized, what companies would prosper or go bankrupt, and even which cities would thrive. –Description of the newly revised and expanded The Rise of the Creative Class

Not only was this book a best seller, but it changed the way people started talking about vocational desire. This was injected straight into church planting conversations in ways that went something like this: “What if we had churches that reached the creative class? After all, these will be the people who are shaping culture!”

The missiological question that came to dominate these conversations was essentially, “What if church (in structure, in practice and in ethos), was built to reach this cooler-than-thou group of culture makers that so many suburbanites aspirational?”

Seemingly overnight, church plant after church plant after church plant popped up…all looking somewhat similar taking their cues from the concept of reaching the”creative class.” It would be difficult to describe the impact of this book on church planting in the last decade. Not just the church planting world…but our country as a whole.

In fact…it’s gone mainstream. Today, the core principles planted with these concepts have born the fruit that is lovingly, ironically, and sardonically called Hipster Church (a purposeful over-generalization). And Hipster Church? Well…it’s everywhere in church plants. If you’re reading this post, chances are you’ve visited such a church. You might even be part of one.

But there was one thing that always seemed to be missing in the description of this creative class. Yes, they want to be part of something bigger than themselves. Yes, they like flexibility in workspace and dress. Yes, they want to tap into and blend all of the various creative avenues in their life. (I could go on with these descriptions.)

But the one unspoken?

The creative class is disproportionately WHITE.

Because of the racialization of America, the vast majority of people who have access to the experiences one would need to become a part of this class means that most of these people are:

Disproportionately affluent
-1 in 3 earn over $100,000 per year, 9% earn over $150,000
-48% are members of what is called “the Investor Class”

Disproportionately educated
-Over half have college degrees (compared to 30% nationally)

And disproportionately white
-65%, according to Forbes, but I think this is significantly off (but is still 2/3rds!)

Just so I am 100% clear, I’m not saying that there aren’t loads of creative voices who are minority voices. Rather – and this is how race and class come together in a subtle way – the sociological distinction known as the “creative class” means things that include economic realities and educational realities. And study after study shows that white people have more access to these opportunities than anyone else.

So it’s not, “Who is creative?” It’s about who fits the sociological description of “creative class.”

Now, I’m not going to spend lots of time proving the point above. Chances are, if you don’t believe the creative class is mostly white, and the ability to access the creative class is far easier if you’re white, even if I try to prove the point, I doubt you’ll agree with what I’m saying. So no need to take up any more space. 😉

So herein lies the problem: What happens when a generation of church planters buy into a core concept that, almost by nature, is seeking to reach one group of people? White people.

If you’re not white and you walk into one of these churches, even though they are trying to reach the “creative class,” my sneaking suspicion is that it still feels distinctly white. And if you’re a minority voice in America, something that feels white doesn’t tend to feel safe.

Read more at … http://www.missioalliance.org/the-problematic-creative-class-when-a-generation-of-church-planters-only-reached-white-people/