Applied Arts in CLAT Steps ONLY Flashcards
AA in CLAT: Step 1–Meet a Community and its Arts
1. Meet the Community and Its Arts:
Use Hasselbring’s (2010) Stakeholder Analysis with a small group to determine formal and informal leaders.
Use Smith’s (2007) Art Reveals Culture Study to carefully observe the art and artifacts of a community, which reveal helpful insights into their worldview expressions of values, needs, and beliefs. Compare how these differ from the Biblical worldview. This knowledge and understanding will allow for a wiser more strategic selection of themes to be addressed and stories to be communicated. This should be an ongoing process, not a one-time activity.
AA in CLAT: Step 2.1 – Choose a Kingdom Goal (4 Steps)
2. Choose a Kingdom Goal:
Hasselbring’s (2010) Appreciative Inquiry Tool and Cause and Effect Tree for helping people determine their goal and its effects.
Steps:
- Gather voices: Be sure to include people from as many parts of the community as possibly, especially marginalized voices. (Schrag 2013)
- Explore the strengths that could be built on (Schrag 2013). It might be good to modify Hasselbring’s (2010) Appreciative Inquiry Analysis, since that analysis fits into the third and fifth step of CLAT as well.
- Explore problems and connect the problem to a kingdom goal (Schrag 2013).
- Ask the community to choose either one strength to build on or one problem to address (Schag 2013). Using Hasselbring’s (2010) Cause and Effect Tree can be used to help people decide which they would like to choose.
AA in CLAT: Step 2.2 – 6 Possible Kingdom Goals (2-1-4-1-9-3)
Possible Kingdom Goals:
1. Identity and sustainability: value identity/culture, teach tradition to children, contribute to media
- Adichie (2009), Petersen (2018): work to encourage and develop a body of literature in their language (arts corpus development), to validate them and their culture (arts status development), and aid in education and literacy (see 3. Justice)
- Coulter (2011): work to achieve and maintain GMSS level #3 Vigorous
2. Shalom: healing, reconciliation, balance, rest, and play
- Hill and Hill (2010): Arts and Trauma healing
3. Justice: social justice—care for marginalized, education, literacy, economic opportunity
- Wendell (1982): model for scaling difficulty of reading material
- Saurman (1993): using music for literacy
- Adichie (2009), Petersen (2018): Building up of MT written resources (with or without accompanying illustrations/other arts) aids education and literacy
- Saurman (2010): Using music as a teaching tool in education programs
4. Scripture: translating Bible, oral Bible translation
- Dye (2009): appropriate language (#1) and acceptable translation (#2), accessible Scriptures (#3) lead to Bible use.
5. Church Life: corporate worship, study and remember Scripture, Christian rites, witness
- Klem (1982): literacy and orality for Scripture study
- Rowe (1984): need local arts for Christian contexts
- Hiebert (1985): 4 steps to critical contextualization
- Duvall & Hayes (2005): Grasping God’s Word
- Harris (2007): need critical contextualization of local forms with biblical meaning
- Dye (2009): 8 Conditions
- Schechner (2013): can create new rituals
- Schrag (2015): Mono example
- West and Shetler (forthcoming): Culture Meets Scripture workshop
6. Personal Spiritual Life: prayer and meditation, spiritual formation, personal Bible study, applying Scripture
- Rowe (1984): need local arts to combat/avoid nominalism
- Duvall & Hayes (2005): Grasping God’s Word
- Dye (2009): Spiritual hunger (#6)
AA in CLAT: Step 3–Select Effects, Content, Genre, Events
- It might be useful to continue using Hasselbring’s Appreciative Inquiry Analysis.
- Also, in order to prepare for problems in advance, it might be useful to go through Hasselbring’s Force Field Analysis with the appropriate stakeholders. If this practice is culturally incompatible, this participatory method could be held in reserve for when problems arise.
AA in CLAT: Step 4D.1 – CC (4 sources & concepts)
Harris (2007): need critical contextualization of local forms with biblical meaning, including:
Kraft (1996)— Model of Form and Meaning
Forms+Meanings=Result
Local+Local=Local Religion
Foreign+Local=Christopagan Syncretism
Foreign+Foreign=Domination Syncretism
Local+Christian=Appropriate Church
Liesch (2004): Music is morally neutral, affected only by the condition of one’s heart
Hiebert (1985) — 4 steps of Critical Contextualization
- Gather information from and with locals about the forms and their current meanings, as well as the functions of those forms in the 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 teachings.
- Encourage local people, based on what they have learned in the process, to make their own decisions to accept/reject/alter the forms to create an appropriate, contextualized practice.
Best (2003): Change needs to come from within, from new heart, not from different outward forms. “Search me, O God, not the artifact!”
AA in CLAT: Step 4D.2 – Culture Meets Scripture
Step #1 – Describe Traditional Practices
Step #2 – Compare Traditional Practices with Scripture
Step #3 – Transform the Ritual Event
Step #4 – Unite Believers:
Step #5 – Create an Action Plan
Step #6 – Describe a few ways you hope the new choices will help believers honor God.
AA in CLAT: Step 4D.3 (5 other authors & concepts)
Priest (1994) – Eclentics: concerned with the conviction of sin
Turino (1999) – 3 Semiotic Ways to Redeem/Repurpose Artistic Forms:
- Ungodly or uncommunicative lexical symbolism: change the words
- Ungodly or uncommunicative iconic symbolism: change the form/iconic resemblance
- Ungodly or uncommunicative indexical symbolism: change the associations – but this takes time
Duvall & Hayes (2005) – Grasping God’s Word
Hill & Hill (2010): ch. 9, “Identifying Relevant Issues”
King (2013): Develop a theology of music-in-context
Collard (2013): The possibilities for raising art awareness and education in the church is varied. There will not be a “one size fits all” education program.
AA in CLAT: Step 5–Spark Creativity
Sparking Planning: Schrag (2013) also mentions that this step might be a good time to discuss opportunities that could be maximized and barriers that need to be overcome. Hasselbring’s Force Field Analysis is a useful tool for achieving this end.
Activities that Involve Teaching: The Learning that Lasts model includes five key parts: connection, content, challenge, change, and closure.
Worship Wheel (Saurman 2013):
- Usually we wait until people are already creating songs in natural and authentic ways. At that point, this tool helps them find a wider variety of culturally appropriate song genres, themes, and uses that may even incorporate other arts as well.
- We begin by presenting only the inner four parts of the wheel, while the outer part of the diagram—at the ends of the arrows—is derived from previous workshops and is only a guide for the leaders to help them spark ideas, preferably from song types and contexts discussed previously by the group.
Producing new artworks results in Arts Corpus Development.
AA in CLAT: Step 6–Improve New Works
Scripture Check: Team check–> Consultant Check–> Community Check (3+ people + gatekeepers)
Community Checking an Illustration Using UNICEF’s Four Interview Questions (Haaland 1984)
AA in CLAT: Step 7–Integrate and Celebrate for Continuity
Schrag (2013) recommends using Results Based Management (Baldwin 2000) in order to help communities integrate the use of local arts into the process of achieving long-term goals.
IMHO, Hasselbring’s (2010) Force Field Analysis or SWOT Analysis tools might be handy to aid in planning for RBM
Petersen (2018): continuity contributes to arts acquisition development as well as arts corpus development
