by David Adams, Sight Magazine, London, 11/4/18.
by Morgan Lee, Christianity Today, 8/10/18.
… Should hymns maintain the theology of their author? Or are they theologically neutral—a gift to the wider church, even—that can be modified at will?
CT asked experts on hymnody to weigh in. Answers are arranged (top to bottom) from those who favor hymns staying constant to those who favor their malleability. And they begin with John Wesley himself.
John Wesley, songwriter and evangelist, from the preface to the 1780 Collection of Hymns for the Use of the People Called Methodists:
Many gentlemen have done my brother and me (though without naming us) the honor to reprint many of our hymns. Now they are perfectly welcome so to do, provided they print them just as they are. But I desire they would not attempt to mend them; for they really are not able. None of them is able to mend either the sense or the verse.
Therefore, I must beg of them one of these two favors: either to let them stand just as they are, to take them for better for worse; or to add the true reading in the margin, or at the bottom of the page; that we may no longer be accountable either for the nonsense or for the doggerel of other men.
Read more from “John Piper Changed ‘Great Is Thy Faithfulness.’ Experts Weigh In” at … https://www.christianitytoday.com/ct/2018/august-web-only/great-is-thy-faithfulness-john-piper-lyrics-hymns-theology.html
by Bob Whitesel D.Min., Ph.D., excerpted from The Healthy Church: Practical Ways to Strengthen a Church’s Heart (2013).
“… the Hebrew word for “worship” implies God-directed, not neighbor-directed reconciliation.(Footnote 1)” p. 64
(Footnote 1) The Hebrew word for “worship” means to come close to God’s majesty and adore Him. It carries the idea of reverence, respect and praise that results from a close encounter with a king, see Francis Brown, S. R. Driver and Charles A. Briggs, A Hebrew and English Lexicon of the Old Testament Based Upon the Lexicon of William Gesenius(Oxford, UK: Clarendon Press, 1974), p. 1005. Thus, worship should not be about fellowship (the New Testament Christians had meals for that), but rather worship was to be about personal communing with God. This reminds us that worship should be about connecting with God and not about creating friendships among people (we have time before and after “worship” for getting to know one another in “fellowship” halls and in common areas). Making worship into a fellowship among humans, robs its place as the supernatural intersection between humans with their heavenly Father. We shall discuss the Multicultural Blended Model shortly, but I have noticed in most blended models I have attended, that supernatural connection is not the focus or their aim, but rather unity is the objective. While the later goal (unity) is needed, it should not be attained at the expense of worship which is primarily intended as a environment in which to connect with God. p. 158
Commentary by Dr. Whitesel: This week I am addressing a group of African and African-American pastors/bishops at their national conference. One of the topics is the influence of hip-hop and how African immigrants and African-Americans disagree on its use. Here’s a helpful interview with an African Methodist Episcopal pastor who leads one of the healthiest congregations in Texas
Article by Leadership Education at Duke Divinity, May 30, 2017
I really believe that hip-hop serves as a vital theological conversation partner for our present-day work. Hip-hop is without peer in terms of its cultural influence.
It is a global phenomenon, and there is an entire canon, an entire text, that the church has yet to explore. It really speaks to me like the narratives in Old Testament history that speak of communities under oppression facing marginalization and trying to identify where God is at work to liberate them in the midst of their struggle.
So when I hear Tupac, I hear St. Paul, and I also hear St. Augustine, as they struggle with issues of soteriology.
Q: Some church leaders may think of hip-hop as a way to connect to youth. But it sounds like you are talking about something deeper than that.
We can no longer talk about hip-hop solely as a youth movement, because hip-hop as a cultural artifact is now coming up on its 44th anniversary, from August of 1973(link is external). Some of the founders of the hip-hop movement themselves are approaching mid-60s or early 70s.
So we’re really talking about something that is far deeper than just young people in high school.
We’re talking about how generations interact with the world. It has articulated their hopes and dreams as well as their pain and despair.
In many ways, the church in the Northern Hemisphere, particularly in the westernmost portions, is dying. But I still believe that there are persons who long for community. They long for deeper faith and spirituality.
I think we have to shift our way, our mode, of connecting with individuals.
I think, biblically, of the apostle Paul in Acts when he goes to Athens and goes to the [Areopagus], and in that space, speaking to Stoics and Epicureans, he speaks to the unknown God. And as he begins to preach in that space, he does not draw his authority from the Torah.
He draws his authority from Athenian poetry, and he uses their conceptions of God as a means of presenting the Christ to them.
I believe we have the same opportunity in terms of engaging hip-hop, using that as a cultural artifact to bridge the gap between the culture and the church.
So we can provide a greater conception of who God is and of who God has called us to be.
Read more at … https://www.faithandleadership.com/michael-w-waters-church-should-embrace-hip-hop?utm_source=NI_newsletter&utm_medium=content&utm_campaign=NI_feature
by Jason Evans [Episcopal Diocese of Washington] 5/8/15.
…Almost every Sunday, I visit a different parish within our Diocese. Most of the time, I meet at least one or two young people who have found their way into the Episcopal tradition. Each time, I make it a point to talk with them about what brought them to their church. Whenever I listen to their stories a sense of hope rises up within me…
In his book, You Lost Me, David Kinnaman writes that there is a “43 percent drop-off between the teen and early adult years in terms of church engagement.” The Pew Research Center reported that more than 25 percent of millennials were unaffiliated with a faith community. This is enough to concern any rector or vestry member. But it isn’t a complete picture of what is happening amongst emerging adults. The National Study of Youth & Religion tracked the religious transitions of young people over a five-year period. Sociologist Christian Smith wrote in his book Souls in Transition that the study found mainline Protestants were “… relatively good at attracting new emerging adults who grew up in other religious traditions–good enough, in fact, to hold their own over these five years in terms of overall ‘market share.’”
Referring to anyone as a “market share” makes my skin crawl a bit. But you get his point–enough emerging adults are finding their way into the Episcopal Church to abate what would otherwise be a steeper decline. So, what are we doing right? In order to answer, I thought we should ask some of those I’ve met in our Diocese.
I met Dongbo Wang, a young scientist, a few months ago. He is a member of Church of the Redeemer in Bethesda, MD. Dongbo did not grow up Episcopalian. But he clearly remembers the first time he walked into an Episcopal parish while in graduate school. “When I walked through those doors, I thought to myself, this is what church is supposed to feel like,” he told me during our conversation. “It was something I couldn’t analyze as a scientist. It was something that felt right–I felt connected. The year before I had visited more than 20 churches and never felt that.”
Like Dongbo, Tiffany Koebel is a young adult who did not grow up Episcopalian. Today, she is a member of All Saints in Chevy Chase, MD. For Tiffany, the Episcopal Church provided a consistent, reliable religious culture that countered what Tiffany referred to as, “a culture constantly fixated on the ‘next big thing.’” She discovered more of a depth of theology in the liturgy during one worship service at All Saints than she had experienced in years attending churches of other traditions. “I was struck by the richness of the liturgy,” she shares, “and the central role of Scripture in the service.”
And for more innovative ways some Episcopal churches are reaching out see this article … Church Has No Walls But Many Doors Accessible to Seekers.
by Robert Stevens, The Conversation US, 3/28/18
The enslaved Africans who first arrived in the British colony of Virginia in 1619 after being forcefully removed from their natural environments left much behind, but their rhythms associated with music-making journeyed with them across the Atlantic.
Many of those Africans came from cultures where the mother tongue was a tonal language. That is, ideas were conveyed as much by the inflection of a word as by the word itself. Melody, as we typically think of it, took a secondary role and rhythm assumed major importance.
For the enslaved Africans, music – rhythm in particular – helped forge a common musical consciousness. In the understanding that organized sound could be an effective tool for communication, they created a world of sound and rhythm to chant, sing and shout about their conditions. Music was not a singular act, but permeated every aspect of daily life.
In time, versions of these rhythms were attached to work songs, field hollers and street cries, many of which were accompanied by dance. The creators of these forms drew from an African cultural inventory that favored communal participation and call and response singing wherein a leader presented a musical call that was answered by a group response.
A cornfield holler.
As my research confirms, eventually, the melding of African rhythmic ideas with Western musical ideas laid the foundation for a genre of African-American music, in particular spirituals and, later, gospel songs.
Spirituals: A journey
John Gibb St. Clair Drake, the noted black anthropologist, points out that during the years of slavery, Christianity in the U.S. introduced many contradictions that were contrary to the religious beliefs of Africans. For most Africans the concepts of sin, guilt and the afterlife, were new.
In Africa, when one sinned, it was a mere annoyance. Often, an animal sacrifice would allow for the sin to be forgiven. In the New Testament, however, Jesus dismissed sacrifice for the absolution of sin. The Christian tenet of sin guided personal behavior. This was primarily the case in northern white churches in the U.S. where the belief was that all people should be treated equally. In the South many believed that slavery was justified in the Bible.
This doctrine of sin, which called for equality, became central to the preaching of the Baptist and Methodist churches.
In 1787, reacting to racial slights at St. George Methodist Episcopal Church in Philadelphia, two clergymen, Absalom Jones and Richard Allen, followed by a number of blacks left and formed the African Methodist Episcopal Church.
The new church provided an important home for the spiritual, a body of songs created over two centuries by enslaved Africans. Richard Allen published a hymnal in 1801 entitled “A Collection of Spirituals, Songs and Hymns,” some of which he wrote himself.
His spirituals were infused with an African approach to music-making, including communal participation and a rhythmic approach to music-making with Christian hymns and doctrines. Stories found in the Old Testament were a source for their lyrics. They focused on heaven as the ultimate escape.
Spread of spirituals
After emancipation in 1863, as African-Americans moved throughout the United States, they carried – and modified – their cultural habits and ideas of religion and songs with them to northern regions.
Later chroniclers of spirituals, like George White, a professor of music at Fisk University, began to codify and share them with audiences who, until then, knew very little about them. On Oct. 6, 1871, White and the Fisk Jubilee Singers launched a fundraising tour for the university that marked the formal emergence of the African-American spiritual into the broader American culture and not restricted to African-American churches.
Their songs became a form of cultural preservation that reflected the changes in the religious and performance practices that would appear in gospel songs in the 1930s. For example, White modified the way the music was performed, using harmonies he constructed, for example, to make sure it would be accepted by those from whom he expected to raise money, primarily from whites who attended their performances.
As with spirituals, the gospel singers’ intimate relationship with God’s living presence remained at the core as reflected in titles like “I Had a Talk with Jesus,” “He’s Holding My Hand” and “He Has Never Left Me Alone.”
Read and watch more at … https://theconversation.com/african-rhythms-ideas-of-sin-and-the-hammond-organ-a-brief-history-of-gospel-musics-evolution-90737
“A key to respecting indigenous art forms is to connect the Good News via the most appropriate communication modality for the people we are reaching…
Biblically speaking, it thus seems best to see a worship gathering as a time of indigenous artistic expressions that draw people from an indigenous background into connection with God. This would suggest the more worship services we can offer, the more opportunities we can offer for people to connect with God.
by Bob Whitesel D.Min., Ph.D., 2/8/18.
I found that all church organizations, regardless of size, grow the quickest by multiplying their sub-congregations. So in other words, they see themselves not as one homogeneous unit but rather as a heterogeneous organization with many indigenous cultural channels to communicate the Good News and through which to celebrate it.
For example, a multiple sub-congregational model blooms when even a small church adds a youth program. The youth program has its own leader, it’s own style, its own music and its own outreach. It is a sub-congregation, of a different culture. Then, as the church grows over 100 attendees it can often begin to reach out to a different culture by offering a different service with a slightly modified culturally aesthetic.
Of course working against this is the concept that people want to be united. And when they say that, they usually mean they want to be united in the worship gathering. However the Hebrew word for worship means to come close to God as if to kiss His feet. It doesn’t mean fellowship.
So biblically speaking, it seems best to see a worship gathering as a time of indigenous artistic expressions that draw people from an indigenous background into connection with God. This would suggest the more worship services we can offer, the more opportunities we can offer for people to connect with God.
If we want to call them “fellowship services” instead of worship services, then we could see unity as an objective. But it’s hard to create unity in a sanctuary.
One young lady I interviewed for a book said it was hard to create fellowship in the sanctuary because, “The seats all face the wrong direction.”
So therefore, I see “sub-congregation multiplication” as a key to respecting indigenous art forms and to connecting the Good News via the most appropriate communication modality for the people we are reaching.
I’ve expanded upon some of the research in this area in an interview by LifeWay. Here is the link to that article: https://factsandtrends.net/2016/03/29/when-big-goes-small-how-large-churches-are-learning-from-those-with-less/#.VxDLWcj3aJJ hey sweetie how you doing