AA Flashcards
Cathcart, Rochelle L. 2013. “Chapter 140: Integrating Arts and Preaching.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook.
CLAT 1, 3
Themes: variety of forms; memory; emotions; SE
Telling messages in different ways [Collard 2013; Nicholls 1977] can connect and stick with people better (e.g. through arts). We may have trouble remembering what we walked into the grocery store to get, but we can remember the lyrics to endless amounts of songs. Children and adults alike enjoy listening to stories. It engages people in wanting to know what happens next. Dramas not only help the people participating engage in a deeper way through using their bodies and actions, but also the audience and other people involved through watching something happen versus just reading or hearing about it.
o [Dye 2002 condition 3 – accessible forms]
Storytelling engages emotion of a person and helps the listener to feel like they are a part of the event and witnessing the experience. A story takes a person to that place. All the arts have their own unique ways and connecting deeply inside a person’s heart in a new way that will stick with them better than just reading or hearing.
Preachers can use olfactory arts, such as incense or bread baking, to drive home their points as well. These artistic preaching methods can often speak to and be remembered by a wider variety of people’s hearts than mere words can.
o [Rowe 2004 12 signals – olfactory]
Collard, Dianne B. 2013. “Chapter 117: Promoting Arts Awareness and Education in the Church.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook.
CLAT 1, 3, 4D
Themes: history; don’t reject; creativity; variety of forms; symbols
1500’s is when arts started being removed from churches – people had a lack of understanding of the Biblical importance of the arts
Artists not having a place in the church. Churches often don’t see the need for arts and can have negative connotations about it. Churches may see artists in themselves as outcasts and people that are “problematic.” [Chenoweth 1984]
Previous missionaries came in and banished a lot of the local arts making it difficult for churches to want to go back and redeem them for God’s Kingdom.
Arts are powerful and have many benefits, not to mention the way God created us to be creative and wants us to use the gifts and things He created for His glory. Arts can help in the education of the church in helping people connect in more than one way [Cathcart 2013 and Nicholls 1977].
Studies show if people can engage in multiple ways like by hearing, seeing, participating, and other forms than a person will remember the experience better. Arts can be used for church visual literacy, and how different symbols can be connected to the church and represent things. People can use their art to share with another of their walks with God and can be used to evangelize and encourage others. Arts are great for church events and during church services.
Duvall, Scott J. and J. Daniel Hays. 2005. Grasping God’s Word. Grand Rapids: Zondervan.
CLAT 1, 2, 5
Themes: contextualization; applying Scripture
The Interpretive Journey (EMPA)
1) exegesis (meaning to original audience)
2) measure width of river (culture, covenant, language, situation)
3) principle (–> timeless); bridge, finding similarities (comparing to rest of Scripture)
4) application; contextualize
Who Controls the Meaning
o Wizard of Oz – book took place during debate of whether gold or silver should be used for money. “Follow the yellow brick road” led to a fraud and her hope was in her silver shoes (ruby for showing up better on film)
Political story
o Scarecrow = farmers; Tinman = factory workers; lion = political leaders
o Who determines meaning? Author or reader?
o When viewing as communication from author to you then you want to understand what they’re trying to say to you
o We want to find what the author’s intent was when reading the Bible
Reading Gospels
o What does the small story say about Jesus?
o What is it trying to say by putting the stories together? (looking at connections of stories)
o Maybe a connection of similarities between stories next to each other
o Look for literary forms
Application
o “Whoever has my commands and obeys them, he is the one who loves me” (John 14:21a)
- “Have + obey = love”
o Knowledge → action
- Otherwise we aren’t truly grasping God’s Word
- God communicates to us biblical principles → So he can transform our thinking and acting to conform us to the image of His Son
o Application - reader’s response to the text
- Varies from person to person, situation to situation
- “‘What does this passage mean and how do I apply this meaning to my life’?
o How to apply meaning:
A. Observe how the principles in the text address the original situation
B. Discover a parallel situation in a contemporary context
C. Make your application specific.
Dye, Wayne. 2002. “The Eight Conditions of Scripture Engagement: Social and Cultural Factors Necessary for Vernacular Bible Translation to Achieve Maximum Effect.” IJFM, 26(2): 89-98.
(Also ABF)
CLAT 2 mainly
Themes: SE
- Approp. Lang, Translation, Dialect, Orthography
- Acceptable translation
- Accessible Forms
- Background Knowledge
- Availability / Distribution
- Spiritual Hunger
- Freedom to Commit to Christ
- Partnerships
Haaland, Anne. 1984. Pretesting Communication Materials. Rangoon: UNICEF.
CLAT 6
Team/Self, Consultant, Community
1) Content
E.g. What do you see?
2) Meaning
E.g. What do you think the artist wanted to communicate? / What did you learn? / what is your takeaway?
3) What do you like?
4) What can be improved? Is there anything that might offend someone?
Harris, Robin. 2007. “Contextualization: Understanding the Intersections of Form and Meaning.” Ethnodoxology, 3(4): 14-17.
CLAT 3, 4C
Themes: contextualization
Explains chart of Kraft’s original model of form and meaning and labeling each as either local or foreign. Addressing cultural forms in the church – Romans 14 – what God declares clean only becomes unclean by the condition of the heart of the worshipper.
o [Hiebert 1985] talks about how form and meaning can be closely tied and sometimes can’t be distinguished between which leads to Harris’ point of what can worshippers do with clear conscience of heart.
o [Priest 1994 – elenctics = how conscience impacts what we do]
For the Sakha people, their local religion is animism. - - - Local religion (H Form L Meaning)= Feeding the fire (putting food in a fire to feed spirits) and they have songs that go along with this ritual;
- Christopagan Syncretism (L form L Meaning)= around the world wearing crosses for good luck;
- Domination Syncretism (L Form H Meaning)= all foreign (Sakha songs were initially rejected when translated Christian songs came);
- Appropriate Church (H Form H Meaning)= the Sakha having Christian songs in their own styles
When incorporating arts into a culture, finding the overlap of meaning and form where the art has the feeling of the culture but expresses Christian meanings is the goal when using arts in a culture in missions. There are times when non-Christian arts may be wanted, such as in literacy of learning how to do a task and writing a song about it. Or times when you may want to bring in forms from another culture, like a neighboring community, in times when the needed art is not present or the community doesn’t feel comfortable using some of their arts with a clear conscious or in some trauma healing circumstances.
We want the outcome of heart felt worship and finding the balance to help them get there.
Harris, Robin. 2013. “Chapter 16: The Great Misconception: Why Music Is Not a Universal Language.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook. Pasadena: William Carey Library.
CLAT 1
Themes: music not universal; culture meanings; don’t reject; ethnodoxology
Music is culturally conditioned. People can make wrong cultural calls. Example in a Russian church one pastor forbid songs in minor keys for a while but minor keys hold so much emotion for their culture. The same words and same sounds can have completely different meanings in different cultures.
The view of cultures as “primitive” and needing to be helped can lead to us taking our culture there including our hearts to teach them without valuing their arts.
Ethnodoxoloy =words to glorify or worship God or “the study of the worship of God among diverse cultures”. ICE/GEN was created and the CLAT method.
Key Ethnodoxology Principles:
1. Arts are not a universal language—our responses to music are learned, not intrinsic.
This can have dangerous outcome thinking it means the same thing to everyone or that you know what good/bad music is or what people prefer
2. must be understood in their historical and cultural contexts to be interpreted correctly.
3. All peoples should have the opportunity to worship God in their own heart languages, heart musics, and other arts.
4. Churches that value and encourage heart music and arts in worship, reflecting the various and multiple cultures in their communities, are demonstrating the love of Christ to the world.
Ask questions to learn about the culture and arts, don’t make any assumptions
Hasselbring, Sue. 2010. “Participatory Approaches for Engaging Communities: A mindset for language development work.”
CLAT 1
Themes: participatory tools
[similar to Hasselbring 2012 and Petersen 2019]
Theory/mindset, history, and examples of using participatory methods (plus a summary of each participatory method tool
Using participatory approaches requires a solid grasp of both a mindset and a set of tools that help groups of people think and talk together about issues that are important to them. Participatory approaches have a long history of use in community development and organizational planning.
Participatory methods help communities to think and talk together in order to describe and analyze their situation, decide what to do, plan how to do it and evaluate what has been done. Participatory methods help those who will be influenced by activities to have a primary role in those activities. [i.e. LOCAL people should make decisions, not us foreigners! We want to EMPOWER and encourage them, not boss or control them!]
Those who use participatory methods affirm that the local community members are key assessors, planners, deciders and implementers of development. Those who use participatory methods encourage people to describe their situation and take steps to solve their own problems.
Participatory Methods blur the boundaries between data gathering, analysis, decision making, planning, and action. Participatory methods keep all of these in the hands of the local community.
Tools for deciding and planning
o Appreciative Inquiry
o Stakeholder Analysis
o Force Field Analysis
Hasselbring, Sue. 2012. “Nine Participatory Tools for use with Partners.”
CLAT 1
Themes: participatory tools
[similar to Hasselbring 2010; Petersen 2019]
Participatory Tools
o Appreciative Inquiry: things they like and hope and dreams
o Stakeholder Analysis: influencers and influenced
o Cause and Effect Tree: topic in trunk, roots of the causes, and good and bad fruits/leaves -compare
o Force Field Analysis Tool: what things have been helpful and what things hinder goal?
Hiebert, Paul, Daniel Shaw, and Tite Tiénou. 1999. Understanding Folk Religion. Grand Rapids: Baker Book House.
CLAT 1
Themes: contextualization; don’t reject
Split level Christianity = Christian at church but in daily lives still visit shaman and turn to other non-Christian spiritual solutions for their problems.
o Do they believe God can meet their needs?
Westerners thought they were superior because of the Enlightenment era, where science and civilization were emphasized. Missionaries thought they needed to bring their civilization to other cultures and that they were primitive.
There was distinction between natural and spiritual world and missionaries left no room for the spirits and superstitions other cultures believed, so they were continued without letting the missionaries know. They added Christian practices on top of their traditional ones.
Missionaries brought science and gospel at same time – science accepted and gospel in a lot of places was rejected.
Must learn the culture and views of the culture first.
God –> Humans; Message –> languages; Messenger –> Other cultures
Test old ways and compare them to Scripture truths.
Answer is critical contextualization [similar to Malone 2018, West 2013, Moon 2009]
Hiebert’s 4 steps of Critical Contextualization
- Gather Info: from with locals about the forms and their current meanings and their functions in local culture
- Study biblical teachings: and principles with local people that relate to the forms in question
- Evaluate: with local people the meanings of local forms in light of the related biblical teaching
- Encourage local people: to make own decision to accept, alter, or reject forms (create contextualized form)
Hill, Harriet and Margaret Hill. 2008. Translating the Bible into Action. Carlisle, UK: Piquant Editions.
CLAT 1, 2, 3, 4
Themes: workshops; contextualization; redemption; applying Scripture; emotions; SE; arts profile
CLAT 1: CHPT 3 This lesson helps people learn to value their minority language and see how using their own language can help them understand Scriptures and connect with God in a deeper way. This plan helps people gain an appreciation of diversity and appreciate their own language. We can use any language and arts to worship Him and any can be used for His glory. It helps show how God is not a God of one nation or culture but a God of all nations and cultures. This would be a good plan to use with the Cause and Effect Tree tool. [Petersen 2019 -Participatory Tools]
CLAT 1, 2, 3, 4C: CHPT 4 This lesson plan helps people understand that you can’t escape or separate yourself from your culture. Embracing culture and finding how to bring Christianity into a culture is what will make Christianity feel like their own in their culture. This tool helps the community see how Christianity can go into any community and God is a God of all cultures. It shows the redemptive power of how God redeems cultures and the things in them such as local arts.
CLAT 2, 3: CHPT 9 This tool helps a community think about how to apply Scripture to their lives. They can analyze events held in their community and go through and decide if they are things that are okay for Christians to do, whether they should participate or to either not participate or find an alternative to the event. The chapter looks at different events in the society and goes through and see what aligns with the Bible, what is neutral, and what contradicts the people. Then after analyzing it, the church has to discuss what decision they want to make about it.
o [Concept also in Hiebert 1999; West 2013 – looking at beliefs behind practices]
CLAT 4D: CHPT 22 This article helps brainstorm ways music can be used and the wide variety of emotions it can express. This plan helps a community look at how their music is being used and what kind of music is being used (language it’s in and local vs foreign styles). It has great examples of how using local music had transformational impact on communities and the way art forms were redeemed to be used for God’s glory. This plan helps think through what arts are currently being used in the church, which arts they might want to use, which ones need to be redeemed, and which ones they would not feel comfortable using. [Harris 2007 -Romans 14 what the worshipper can do with clear conscious] It also helps in starting to think of how to start creating new Scripture inspired songs in their local musical styles.
CLAT 3: CHPT 23 This plan focuses on incorporating drama with engaging with Scripture. It helps people think about the various ways drama can be used in the church as well as the types of dramas. This plan helps people brainstorm and practicing using Scripture-based dramas. It helps people remember not only that they can use drama but that the drama used should be clear in the message it is trying to get across.
o [Petersen 2010; 2013 – Scripture Relevance Dramas]
CLAT 4D: CHPT 24 This lesson is good for teaching about how visual arts can be used to engage with Scripture and how they can be used in the church. It gets a community thinking about what is currently used in their churches and outside their churches in the community and how they can integrate visual arts and video into their churches and use it to engage with Scripture.
CLAT 4A: CHPT 29 A workshop guide of how to go about planning, and holding a workshop for leaders who will then go back and train others. There can be a variety of topics discussed depending on what is needed by those churches/people and where they are currently at in SE. Involve local leaders in workshop planning to help know which options are culturally appropriate and normal.
CLAT 1, 4B: Appendix 2 This plan is useful for a series of questions to have a community think about when analyzing a genre. This could be applied to any art form (not just songs). o It looks at: what is required for the genre who can do it where it is done at the history connotations associated people that can perform or create it emotions felt people involved how it’s made if it would be appropriate to use for Biblical texts [Also, Schrag CLAT manual in creating an Arts Profile]
Neeley, Alan. 1995. Christian Mission: A Case Study Approach. Maryknoll: Orbis.
(Also ABF)
CLAT 1, 4, 5
Themes: contextualization
How to study a case from Neeley:
- Read the case
- Determine the cast and chronology
- Identify the basic issues
- List the possible alternative
- Research other materials for additional insights
- Reflect and meditate on what you have discovered
- Participate in the discussion of the case
Can a Christian Celebrate the Hindu Diwali Festival?
o 14 yr old Indian boy is sad because they can’t celebrate Diwali after becoming Christians. They ask the missionaries about it and what they are allowed to do.
“Don’t Come Over and Help Us!”
o The dispute is if the drama used by the Karen Bible School in Burma is appropriate for evangelism. The Sgwa Karens view themselves as superior and feel like they should be in charge of how to evangelize and that they know the best way. They have traditions and are afraid of syncretism. Peter sees the positive outcomes of the response of the Pwo Karen but the others think it is syncretism and is overboard. The Bible School students show Jesus as being/like the fifth Buddha (which only the priests know about the fifth Buddha), which is an issue of conflict. The folktale used in the drama is a well-known story by the common people of Pwo Karen, and the Bible School then added a Christian message to the end of the story, which the Sgaw Karen Christians were not in favor of.
o Positive: The representative of the husband being the hero in the story and shedding his blood as sacrifice for his wife. The husband warned his wife of what not to do and she did not obey but he still went after her and sacrificed himself to save her from the consequence of her disobedience. These relate to Christ and the love He has for us and the way He sacrificed and chased after her even though she disobeyed him.
o Questionable: The husband lied several times trying to deceive by giving blood of animals instead of his own first. This shows the hero as someone who lied which does not represent Christ.
Singing the Lord’s Song
o Mitch must decide what to say to the missionary meeting to the people about their concerns of syncretism in his encouragement of the local music in the community.
o Mitch wanted the local art music of the people group to be used. He had 3 teaching locations set up that he visited and went to for teaching people to create and use their local music. He taught at a seminary and had new local works sang by the choir at the seminary and encouraged them to use their drums and local styles in worship. Whenever he led the worship, he implemented some of the local music/instruments into it. He wanted to continue to encourage the community to use more of their local music.
o The church pastors were attached to the way they used western hymns and didn’t want to change. Richard was concerned about the problem of syncretism and combining animism with Christianity and thought Christianity should be kept separate from local forms so they would not get mixed up. He was not in favor and brought it up with the board and put Mitch on the spot. Mitch’s colleagues didn’t say much about it, so unsure if this was unspoken agreement or disagreement, however they were all in favor of hearing Mitch speak more on what he is doing. The local Christians want to maintain a connection with the translated hymns and we are unsure of their exact position on this issue. God wants people to use the creative gifts He has given them and He wants full heart worship in whatever that looks like for the people.
Page, Christina. 2014. Manual for Training Community Literacy Workers: Student Handouts and Resources. Chiang Mai: Payap University.
CLAT 1, 2, 3, 5, and 6
Themes: workshops; OVA analysis for storytelling; justice; improving works
Christina’s Guide offers some good workshop tools for creating literature. Her module 3 looks at cultural topics, which would be good for looking at things to write about for level 1 of writing. Checking with the community and finding out if the right message is getting across is important for all levels. Depending on the age group, you must look at what that age group would want to read about and what’s appropriate for them. Christina’s guide has lists to fill in of what makes a good story, but in different cultures they have different kinds of special communication used such as how they begin certain types of literature. There may be types of writing that don’t exist in our culture that do in theirs so that is something to look out for. Literacy can be promoted through art events and songs and can work towards meeting goals such as justice or health awareness. Holding a workshop and walking through the creation process of literacy materials with a community would be helpful. Discussing if they have literature or if they don’t, looking at how they would write down stories and various information in a way that they would understand. Lots of checking would be involved in the process for both written and visual and artistic parts of the literature information. Then they would want to find how they want to integrate the materials into the community, who their intended audience is, what the cost is and who will be able to afford the material.
“Every culture has two components: their own language, and their own art forms. Both of these are used for communication. Art forms like music, drama, dance, and spoken arts (such as poetry, storytelling, and chanting) can be used to express cultural values. They are also ways that local wisdom and knowledge are taught to each new generation. Cultural art forms also speak deeply to the hearts of people within a culture. Like language, art forms also are ways of communicating meaning…” (132).
Petersen, Michelle. 2019. “Participatory Methods for Scripture Engagement.” Dallas, Texas.
CLAT 1
Themes: participatory tools; SE
[similar to Hasselbring 2010; 2012]
She talks about how Participatory methods can be used in Wayne’s 8 conditions of SE as well as in Schrag’s 7 steps of CLAT.
“Use of Our Arts in Ministry” tool allows teams to expand Scripture use to further artistic domains in ways that strengthen each weak condition.
Participatory mindset → doing things with people (affirms gifts God has given communities)
Participatory techniques → addresses needs and how to work towards a better future
Participatory tools → facilitate discussion
Involving local people to work towards community goals
People need to be a part of what they do to have ownership
Appreciative Inquiry for SE Tool (Good Things and Hopes) - can use for all 8 conditions of SE
The Use of Local Arts in Ministry Tool - “ creating new Scripture-infused works out of their faith in their culture means artists and communities more fully own their faith”
o 7 steps of clat outlined
Peterson, Michelle. 2017. “Arts Development for Scripture Engagement.” Global Forum on Arts and Christian Faith, 5(1): 58–86.
CLAT 1, 5, and 7 (can be in all)
Themes: SE
Status, Corpus, and Acquisition
o Status = 1 and 2; for Corpus = 5; for Acquisition = 7
Arts development can be used for Scripture use, language analysis, translation, literacy, community development, language and culture learning, church life and outreach, trauma healing, social change, to preserve a language, revive a language, embrace diversity, and more. Focusing on how arts development positively impacts Scripture engagement, the goal of Scripture engagement is to engage people in interacting with the Scripture in life-changing ways.
graphization: describing and documenting a genre’s forms
standardization: determining the stable forms of a genre and prototypes of known works
modernization: adapting malleable elements of current genres to new functions and developing new symbols for new concepts
creation: innovating an emergent body of works for use in all domains which are the focus of development.
