Other

Question 1

Anonymous. 2015. “A Participatory Approach to Song Crafting.” The Orality Journal 4(2): 43-48.

Answer 1

CLAT 5
Themes: participatory

Bible story song crafting in South Asia with 1st generation Christian women

Focused on:
o	learning Bible stories
o	studying and discussing what the Bible has to say about songs
o	song crafting
o	participatory activities

Participatory activities:
o Categorized felt markers to learn how they categorize differently
o Then the women drew flowers and birds on pieces of paper that they have in their community. They arranged them in categories of used for religious events, decorations, medicine, or food. Each language community had different and some of the same categories.
o Then, they discussed characteristics of songs used for different purposes. Participatory tool called “Domains and Kinds of Music” used for song-crafting. This increased awareness about the types of song and domains they are used for within their own communities and helped figure out what type of songs they wanted to create.

Question 2

Randel, Don Michael (ed). 2003. The Harvard Dictionary of Music. London: Belknap Press of Harvard University Press.

Answer 2

CLAT 4
Themes: music analysis

Definitions of all musical terms
Examples:
o Texture:
	Solo, Unison
	Monophony (1 line)
	Homophony (harmonizes)
	Polyphony (2 independent melodies)
	Heterophony (core melody that can be played between different people with other voices)
	Hocket (interlocking), Call and Response, Canon Round

o Form:
	Through-Composed
	Litany (prayer where congregation respond to lines spoken by leader)
	Call and Response
	Antiphonal (ex. alternate by two singers or two choirs)
	Strophic
	Theme and Variations
	Cyclic (repetition)
	Ostinato (repeated figurations)
	Rondo (ex. ABA, ABACA, or ABACABA)
	Progressive 
	Binary (2 sections, the A and B)

o Melodic features:
	Motifs
	Sequences (repetition of melody or chords)
	Phrases
	Ostinati

o Rhythm 
	Polyrhythm (drone, imitative fugue, throat singing)
	Proportional
	Speech rhythm
	Free rhythm

Question 3

Aubert, Laurent. 2007. “Chpt 10: The Music of the Other: New Challenges for Ethnomusicology.” In A Global Age. Burlington: Ashgate Publishing.

Answer 3

CLAT 1, 4
Themes: history; bimusicality

Mantle Hood pioneer of study of world music programs - bimusicality

European institutes have programs to learn the music of other cultures. In 1992 international conference started to incorporate extra-European music into music programs. We can master another culture’s music; it may take learning info on the context and background of music though. Proof of mastery of another culture’s music is East Asians mastering European classical piano music.

Question 4

Bartlotti, Leonard N. 2008. “The Gospel in Afghan Pashto Poetry, Proverbs, and Folklore.” In Jesus and the Cross: Reflections of Christians from Islamic Contexts. Eugene: Wipf and Stock Publishers.

Answer 4

CLAT 1
Themes: Muslim contexts; identity; OVA analysis for storytelling; relationships

You can use the folklore that the people already use to look for examples of the cross in Muslim contexts. Their proverbs and folk stories are important to negotiating meanings and their identity in their culture. They use proverbs, poetry, and stories when talking about their Islamic faith. The boundary between their ethnic and Islamic identity is marked in the discourse of folklore. The Bible is full of oral arts such as the book of proverbs and Ecclesiastes, songs, and stories. It can be easier to share faith and have faith discussion through oral verbal arts.

Question 5

Best, Harold M. 2003. Unceasing Worship: Biblical Perspectives on Worship and the Arts. Downers Grove: IVP Books.

Answer 5

CLAT 5
Themes: creativity; worship; redemption

Arts are one part of our creative ecology. Worship is a continuous outpouring that liberates and frees Christians to artistic creativity on the basis of intent and direction. In this the Christian artist’s responsibility is to direct their art toward God. Some Christians “will confuse artistic content and the artist’s intent and arbitrarily accept or reject both art and artist on that ground” (113). Only the artist and God know the intent, while the audience/others only see the content. Another problem is that some artists only look at what is good or bad art and lose sight of making sure their intent and direction is toward God. We can make art for God without over spiritualizing it (just like a surgeon doesn’t need to constantly think of God while doing a bypass surgery but can do it for the glory of God). “We make and offer art because we worship; we should not make it to lead us into worship” (119). We should already be continuously worshipping God. “Instead of depending on the power of the arts to enhance their worship or bring it about, faithful worshipers can actually enhance the power of the arts by the faith-driven force of their worship” (122).

No art form is better than another. We need to make sure music in worship does not become an idol of needing music to worship God. Beware of idolatry in general in worship to make sure nothing becomes an idol that you’re more focused on than praising God.

Each art form has different task and a unique quality.

Artists that are believers can redeem art of the culture and can offer their art up to God. Our God is a God of diversity.

Question 6

Brown, Rick. 2004. “Communicating God’s Message in an Oral Culture.” IJFM, 21(3): 122-128.

Answer 6

CLAT 2, 3, 6
Themes: OVA analysis for orality; learning style; memory; relevant Bible storytelling

Brown points out that with half of the world being oral communities, it becomes a necessity to have Scripture in other forms that just written.

He argues that people learn best in forms that correlate with their learning style preferences.

A benefit of oral communication is that memorization is more common. Storying and chronological teaching is effective in these types of communities. Sharing Scripture stories that are relevant to the lives of the people [Petersen 2010 - dramas] is beneficial which hits on the SE condition 6/spiritual hunger. [Dye 2002]

Oral learners also enjoy having information in context with the background information which hits on SE condition number 4. [Dye 2002] These things already help engage more than just reading a passage would.

The Bible uses orality through Jesus’ teaching, the apostles saying in their letters to have them read aloud, and much of the disciple’s teaching through communicating and dialoguing with the people about Christ instead of just giving them a book. They had the OT for years and it wasn’t changing hearts but Jesus’ interactions and engagement with them in showing them and explaining Scriptures transformed lives.

Question 7

Brown, Rick. 2004. “How to Make Oral Communication More Effective.” IJFM, 21(4): 173-178.

Answer 7

CLAT 1, 3, 4, 6
Themes: OVA analysis for orality

Oral communicators value quality, versus print comm focuses on content.

Stories must be communicated in an artistic way for oral communicators
o focusing on intonation, sound quality, and local techniques
 such as how to mark certain parts of the story
 what style/form is appropriate for the message being communicated.

Question 8

Chenoweth, Vida. 1984. “Chapter 23: Spare Them Western Music!” In Worship and Mission for the Global Church: An Ethnodoxology Handbook.

Answer 8

CLAT 1
Themes: music not universal; ethnomusicology field; contextualization; don’t reject; artists not having place in church

Ethnomusicology is the expansion of musicology to examine non-European music. Every individual culture has a unique way they can worship God and God can speak through every people group’s art forms and language. Music is not universal. Each culture should find what is looks like for their culture to pray, sing and truly worship in a way that speaks to them.

Dangers in rejecting a people group’s music:
o interrupting transmission/losing the entire tradition
o secretly retained rituals/syncretism
o alienate composers from the church
 [Collard 2013]

The music of the people should be studied by a trained ethnomusicologist and workshops should be carefully planned to not rush and make bad Christian songs that don’t sound like something that fits in with their culture. “God made each one, and each has its song to sing for him” (123).

Question 9

David, Simon P. “Can a Christian celebrate the Hindu festival called Diwali.” In Case Studies in Missions. Grand Rapids: Baker Book House.

Answer 9

CLAT 1, 4
Themes: contextualization; rituals

New Christian family in India were sad that they felt they could not decorate their home with lights for the Diwali festival. The family wondered if there could be a contextualization of the Hindu festival and what that could look like for them being Christians.
• [Contextualization]

Question 10

Dunaetz, David R. 2016. “Mission in Evolving Cultures: Constructively Managing Music-Related Conflict in Cross-Cultural Church Planting Contexts.” Missiology 44(3): 296–310.

Answer 10

CLAT 1, 2
Themes: relationships

Music is especially impactful for evangelism to youth, and there are many conflicts involved with using music in church planting. In resolving this conflict, it was found that the goal of relationships was most important to people, meaning how they related to each other in love to resolve the conflict was the most important part over the outcome. This could be applied to other conflicts in the church of how to resolve conflict and how to approach conflict in a Christ-like way.

Question 11

Hayward, Douglas. 1995. “Measuring Contextualization in Church and Missions.” IJFM, 12(3): 135-138.

Answer 11

CLAT 1, 5
Themes: contextualization

Having the OT translated helps deepen contextualization.

Areas to be contextualized in the church include:
o expression of faith
o worship [Best]
o theology reflection
o local metaphors
 like the ones in the Bible but relating to their own culture of what characteristics of God remind them of
o symbols
o images
o ways of communicating God’s truth
o how the ethics and values in the Bible relate to their culture
o church structure
o how they relate to others in their community (including non-believers)
o discipleship

Question 12

Herman, Judith Lewis. 2015. Trauma and Recovery. NY: BasicBooks.

Answer 12

CLAT 2, 3
Themes: shalom

Victims feel helpless, overwhelmed, intense fear/terror, and loss of control during traumatic events. There are frequently long-lasting effects on victims of trauma. Some symptoms found in trauma victims include hyperarousal (fight or flight), intrusion (reliving), and constriction (numbing).

Children commonly show symptoms in their behavior such as they may enact scenes of their abuse in play but not remember experiencing any type of abuse. Through watching this kind of play in children, it is usually literal enough that the trauma can be guessed.

A person’s feelings of safety and order in the world are disrupted and trust for others and God are damaged. They lose their sense of self and secure connections with people. After trauma a person may struggle with feelings shame, guilt, and doubt, especially when they do not have close relationships that are able to support them through healing. Victims may go back and forth between clinging to relationships or isolating themselves from others. They may also not be able to stand harm done to others, while other times causing harm to others. This unbalance within themselves is also torment to the victim.

Question 13

Hiebert, Paul. 1987. “Critical Contextualization.” International Bulletin of Missionary Research, 11(3): 104-112.

Answer 13

CLAT 1, 5
Themes: history; contextualization

From 1800-1950 the cultural of the people missionaries went to was rejected. They did not believe at this time that there was a part of the culture they could build Christianity on. There also was a push for colonization and modernization along with bringing the Gospel. In critical contextualization first study the local culture (exegesis of culture), then look at the exegesis of Scripture, then you can have a critical response of what that looks like for the culture. This results in new contextualized practices of figuring out what rituals can look like in the light of the Gospel.

Question 14

Hill, Margaret, Harriet Hill, Richard Bagge, and Pat Miersma. 2007. Healing the Wounds of Trauma. Revised Edition. Paulines Publications Africa.

Answer 14

CLAT 2

TH Curriculum

Question 15

Kraft, Charles H. 2012. “Contextualization of Essential Christianity: Three Points.” Evangelical Missions Quarterly, 48(1): 80-86.

Answer 15

CLAT 5
Themes: contextualization

Kraft states that Christianity is not based off religious structures but is based on faith (faith over rituals), a person (Jesus), and process (transformation). Faith can be contextualized whereas religion is typically brought as a set package. Contextualization is scene in Acts 15 when Paul finds ways for the Gentiles to live out faith without converting to become like Jews.

Question 16

Krashen, Stephen D. 1998. The Natural Approach: Language Acquisition in the Classroom. Hertfordshire: Prentice Hall International.

Answer 16

CLAT 1, 2, 5
Themes: literacy; building on what’s known

Pg 32 i+1 concept for literacy. Learning language in culture in the way a child does.
[Wendell 1982 – levels of literacy; Franklin 2005 – good story builds on what the hearer knows]

Question 17

Langberg, Diane. 2015. Suffering and the Heart of God: How Trauma Destroys and Christ Restores. Greensboro: New Growth Press.

Answer 17

CLAT 3, 4
Themes: shalom; symbols; emotions

Langberg says the traumatized must learn to speak the unspeakable. Arts can be very helpful in helping speak about what someone has been through. Sometimes, we may have a hard time articulating something that happened to us, but expressing it in other forms can be easier. Drawing, painting, using play-dough, and other art supplies can illustrate someone’s emotions and experience. In arts, symbols can be used to represent different parts of the trauma. Children may use symbols by drawing some people larger than others or using various colors to represent different meanings to them. After a drawing is made, questions can be asked to gain an understanding of what the art means to that person. Even just the process of making an artistic creation can be healing.

At the same time, it is important for all of us to remember that telling a trauma story—facing the truth and expressing the deep and painful emotions that keep company with trauma—takes tremendous courage. Most people cannot do it alone. They need connection with a caring and patient person to help them have the courage to face the truth of what happened and how it hurt them. A companion in tragedy or difficulty always helps us have courage. Many emotions cannot be adequately expressed in words and so nonverbal ways are important. I have often asked people to draw or paint me a picture of their sadness or fear or grief. Many years ago I saw a woman who created a dance that told the story of what happened to her and how she felt. Sometimes people write stories or poems or songs. People create jewelry or other art objects to symbolize the trauma and its pain.

Question 18

Malone, Kelly. 2018. “Paul and the Issue of Syncretism.” Missiology 46(2): 137–49.

Answer 18

CLAT 2
Themes: contextualization; identity; don’t reject

Issues with syncretism when people come to Christ include deciding what belief systems they identified with before are okay or not to participate in the practices related to them, what words for God should be used, and reviewing past ways of living life and identifying what parts do and don’t align with their new faith. Refusing to participate in past things may isolate new believers socially. Paul did not completely turn away from his Jewish identity when becoming a follower of Christ, but he does change the way he lives and what he values. When he speaks to other cities, he tells them about what issues in their lives need to be changed, such as eating food sacrificed to idols and idol worship.
[Hiebert 1999, West 2013, Hill and Hill 2008; Moon 2009 talk about analyzing events and contextualizing them]

Question 19

McConnell, Bonnie B. 2017. “Performing Participation: Kanyeleng Musicians and Global Health in the Gambia.” Ethnomusicology 61(2): 312-32.

Answer 19

CLAT 3
Themes: using local arts testimony; variety of forms

At an immunization promotion event, the audience was unengaged in the speeches about polio in English from the health care workers. However, “When the Talinding kanyeleng group began to perform, the atmosphere of the event changed” (213). They danced and sang a song about polio and how they should stop the progress of it from coming in a call-and-response style. It was entertaining and informative as it went into details about polio and how to prevent the disease.

“As noted above, kanyeleng performers have adapted their performance practice in order to accommodate the requirements of health education contexts such as the polio campaign launching. First, kanyeleng performers incorporate extensive saataroo, a form of heightened speech. The call- and- response format, with the addition of saataroo, is particularly suited to information dissemination because the lead singer is able to insert more detailed information about health topics in her solo section while maintaining participants’ engagement through active singing in the response section. In saataroo the lead singer frequently lengthens her solo section to provide more complete information about a particular topic. For songs with very short call- and- response phrases, the lead singer may maintain the phrase length in her saataroo, breaking up sentences and ideas as necessary to fit within the song structure”

“The song that the Talinding kanyeleng performed at the polio campaign launching was based on a song with an almost identical melody that the group performed at life- cycle events such as weddings and naming ceremonies”

“My observations, as well as the testimonies of performers and health workers, support the idea that participatory performance facilitates emotional and social engagement in health programs”

Question 20

Moon, Jay. 2009. African Proverbs Reveal Christianity in Culture: A Narrative Portrayal of Builsa Proverbs Contextualizing Christianity in Ghana. Eugene: Pickwick Publications.

Answer 20

CLAT 1
Themes: contextualization; using local arts testimony; OVA

The father Immanuel, lost his son and he wanted a Christian funeral. Afterwards though the elders wanted to take some dirt from the grave to take it to see what caused the boy’s death. The pastor recommended that Immanuel not allow them to take the dirt. Immanuel then decided his cultural traditions were bad and would make him fall back into past ways. Meanwhile another pastor gave him the complete opposite advice and told him to allow them to take the dirt since he wasn’t the one that would be consulting the ancestor spirits and making the sacrifices and it would prevent a fight from breaking out.

Immanuel’s tragedy is what Hiebert calls “excluded middle” where there’s a gap between Christianity and traditional religion.

Start with finding cultural values in proverbs “easy ground” then learn how to deal with contextualizing complex issues like the funeral. Discussion about proverbs with the people can uncover what they believe in and understand situations in their culture. Instead of accepting or rejecting a proverb take the parts of it that are good and relate them to Scripture. Discuss with the people what parts of their proverbs align with Jesus or that Jesus would reject.
o This can help get the local people thinking about how to solve culture and faith issues through practicing with their proverbs and finding what parts to accept or reject according to Scripture. [Critical Contextualization: Malone 2018, West 2013, Hill and Hill 2008]

Proverbs exist because it has roots in the culture and some shouldn’t just be dismissed but they should be discussed to find those roots and understand their culture better – like a tree and its roots.
Pastor David noted, “This proverb talks about how to deal with difficult people. It implies that we should be careful with who we help and how we do it. Naawen Wani also warns us to be careful with people. We should not throw our pearls to swine. We should be wise as serpents but harmless as doves. We know that we should not repay evil with evil, but we should also be careful and wise in how we help people. “
The discussion leader added, “Yes, 1 think that is one root that we can accept. When 1 think about Yezu though, he did not leave us in the water. ….He KNEW that people were going to push him in the water by sending him to the cross; yet, he still pulled us out of the river. “A somber hush fell on the room like the settling of dew in the early morning. “1 never thought about that before. He knew that people would hurt him for his good deeds, yet, he did it anyway. That is powerful love, isn’t it?” spoke Immanuel.

Then, they discussed the dirt issue. They discussed that if they take away their protection (giving them the dirt), then they need something to replace that with, to find protection in. Give a spiritual response to a spiritual issue.

By studying a culture’s proverbs, you can see places where God is working already in the culture.

Discussions can be sparked where Scripture can be brought in to see what parts fit in with Scripture and which don’t.

5 options in situation:
o Acceptance – can lead to syncretism
o Absorption –assimilation (letting culture remain)
o Critical Engagement
o Modification – modifies safe practices by changing some things
o Rejection – cuts out all of culture and says its bad

Question 21

Nweke, Rachel and Linus Otronyi. 2017. “Scripture Listening and Reading Groups: Community Initiated Training and Implementation.” Dallas: BT Conference.

Answer 21

CLAT 2
Themes: SE; orality; participatory

How to make Scripture Engagement successful, sustainable and lead to transformation in Nigeria was researched. Looking holistically at the issue and finding the underlying issue and not just treating surface level symptoms helps make a sustainable and long-lasting impact. Before starting a Scripture listening and reading group, leaders and stakeholders should be involved in finding what the needs are in the community.

Four factors to look at in making SE effective are: Co Co Le Me
o the context
 innovation compatible with values of the cultural context and their preferences of learning styles
o community initiation
 using a participatory approach for the local people to use their ideas and take ownership without being pushed by a Western mindset of what should be done
o leadership and participants
 a clear vision of what type of participants are being looked for to take part in the groups
o method of communicating instruction
 finding culturally appropriate ways to do this

Question 22

O’Connor, Kathleen M. 2002. Lamentations and the Tears of the World. Maryknoll: Orbis Books.

Answer 22

CLAT 2 – goal of shalom
Themes: shalom

The book of Lamentations and books of the Bible that have laments are a good way to express pain. This is a good tool for people (this can be used for children when they get older and are processing their abuse) to use in healing.
o theology of witness
o dilemma victims have of their perspective of who God is. Dealing with the conflicting ideas of God being in control of everything that happens and wondering how a God can be good and let what happened to them happen. They may view it as punishment or they may have a twisted view of who God is (113).

Question 23

Oswald, John. 2001. A New Song Rising in Tibetan Hearts. John Oswald.

Answer 23

CLAT 1 – worship is spiritual and CULTURAL, Jesus’ practice of worship was CULTURAL, fluent worship is CULTURAL, music has CULTURAL associations

Themes: music not universal; contextualization; culture meanings; emotions

“In writing this book, it has become undeniably apparent that Tibetan Christians already have a distinctive approach to prayer and worship that is both biblical and cultural” (8).

“At root, worship is without doubt both a spiritual and cultural phenomenon” (9).

He says Jesus’ practice of worship was cultural! Need to be incarnational like Jesus to help other cultures worship in a way that is biblical and cultural for them. Christian worship should involve our true self that flows from our hearts in 4 areas: the words, music, structure, Holy Spirit. Fluent worship is cultural. No such thing as universal music. Music impacts our emotions, music has cultural associations of what things mean and musical meaning is learned.

4 main elements of worship: drawing closer to God, learning from God, fellowship with God’s people, and extending God’s church.

Question 24

Petersen, Michelle. 2013. “Chapter 143: Scripture Relevance Dramas.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook.

Answer 24

CLAT 2, 6
Themes: SE; drama analysis; improving works

According to Dye’s research, people accept Christ because of their conviction that God and His Word are relevant to our daily life. We can help people to see/have that conviction through applying Scripture to everyday encounters. Michelle does this through Scripture relevance dramas. Some types of Scripture Relevance Dramas: Jesus’parables, Some historical events from Scripture (e.g. story of Tabitha), Local oral literature that can illustrate Biblical points, and Problem stories. To create a meaningful drama you need interesting ideas, interesting characters, and interesting actions. Then she discusses the corpus building of how to create a drama, and then she discusses involving gatekeepers and the discussion of building the drama, improving new works (checking process!), evaluating (clarity of the story, Biblical and cultural accuracy, and audience engagement), and then tells some of the impacts they’ve had on the local people.

Question 25

Petersen, Michelle. 2016. “Avoiding Visual Miscommunication: Choosing Illustrations for Translated Scripture.” Dallas: BT Conference.

Answer 25

CLAT 2, 6
Themes: SE; improving works; symbols

During Petersen’s time in Côte d’Ivoire it came to her attention that the pictures chosen for the Bibles were not interesting or helpful to the local people. They didn’t understand the illustrations and it didn’t increase their engagement. Illustrations need to be checked by the intended audience!

“More people from developing languages may read the text if it includes color illustrations that show peak dramatic events. If the illustrations show foreign places and things perceived as irrelevant to real life, people may think the text is not especially worth the hard work of reading. Thus the precious Word of God may likewise be wrongly perceived as irrelevant” (2).

Interpretive frame = intention of artist for the illustration
1. Storytelling Framed illustrations portray characters, actions and emotions. These illustrations are likely to engage a reader with a text when they show a key story event.
 Historical or Contextual
2. Background Knowledge Framed illustrations teach audiences how to picture unfamiliar objects and places. These are the most common type of illustrations in most Scripture translations.
3. Symbolically Framed illustrations evoke concepts; for example, for some cultural audiences, filigree borders around sacred text evoke respect for holiness.
o “Consider placing color Storytelling Framed illustrations in the text, and black and white Background Knowledge Framed illustrations in the glossary to differentiate the two Frames” (3).
o They should: illustrate most important elements, invite and motivate audience to engage and read more, help them remember what they read, deepen knowledge, and add respect to text through cultural symbols.

Aboriginal art of Last Supper example:
o Visual Vocab (e.g. what the “U”s represent
o Visual Grammar (e.g. if you can show two different places in time at once)
o Visual Rhetoric (tools used for persuasion, education, or entertainment)

Consultant and Community Checking

Some additional consultant Q’s:
o a. Have you researched the characteristics of local genres of visual arts?
o b. How well do stock illustrations or commissioned local illustrations match the local visual vocabulary, grammar and rhetoric?
o c. How well do storytelling illustrations focus attention on the main events of Scripture? Which storytelling illustrations best communicate the relevance of Scripture for people who are moderately interested in the text?
o d. Are background knowledge illustrations in the glossary? What background knowledge illustrations do we need there? Do any of the illustrations in the text show minor details we should move to the glossary?
o e. Would it be wise to indicate our respect for the holiness of the text in the eyes of our audience by any special symbols, text borders, covers or colors? Conversely, are there holiness markers that should not ornament non-sacred text like the glossary?
o f. Have you checked these draft illustrations with uninitiated native speakers and with community leaders? What questions have you asked? What feedback did you receive? How has the illustrator acted on the feedback you have received? How have you changed your choices of stock illustrations based on the feedback you received?

Community Checking, ask questions about:
o Content, Meaning, Strengths, Suggestions
o Also “How does it make you feel?” “How can we improve it?”

Question 26

Quakenbush, J. Stephen, and Gary F. Simons. 2018. Language and Identity in a Multilingual, Migrating World. Dallas: SIL International.

Answer 26

CLAT 2
Themes: identity; shift; (translanguaging)

Social identity is commonly associated with a language. When faced with language shift, language communities have the question to work through of “who am I?” and “who are we?”

6 Identity Construction Factors- involved in figuring out one’s identity:
o perceived benefits of minority community
o obligatory identity markers of minority community
o collective grievances/sufferings of minority community (typically draw the community closer together)
o perceived benefits of majority community
o permeability of majority community (how easy it is for them to become part of community)
o the repertoire of majority community (easier when majority is not monolingual)

For grassroot multilingual (learn multiple languages simultaneously/grow up multilingual) people, their languages are complementary. This type of person can commonly have multiple “heart languages.” Translanguage allows them to use the full repertoire by using a blend of their languages (like a spinning top that in motion has all the colors blended together). Monolinguals can also translanguage by using multiple dialects of their language.

Question 27

Reck, David. 1997. Music of the Whole Earth. Boston: Da Capo Press.

Card 1 of 3

Answer 27

CLAT 1, 4 – we must overcome barrier of timbre to understand a culture’s music, making music is culturally defined, music is shaped by culture perception of time and rhythm; analyzing music (several musical terms)

Themes: music analysis; music not universal; culture meanings; emotions; don’t reject

Music is “an ever changing, mind-blowing collection of subtle or brazen ‘colors’ and a constant and ready delight for the ears.”

The structure of music can be shaped by harmony, orchestral sound, tonality, mathematics, time, texture, movement, and many other elements. Each little moment in music has a specific shape and each of these small shapes combines to form the large shape of the song.

Music has the power to tell a story or paint a picture.

There are several laws that help to explain why tones can create visual images. 
o	law of sound-alikes
o	law of imaginary alikes
o	law of association
o	law of the symbol
o	the puzzle of the human being

Ritual is a common ‘shaper’ of music. Finally, the author talks about conceptual music or the floating of music in time.

It is ludicrous to believe that the more ‘primitive’ people began with a ‘simple’ style of music and developed into the European style of music.

we should look at the music that exists in the world today rather than build imaginary histories.

Making music is culturally defined. He says there is pleasure in making music alone and in making music together. Every musician is playing for someone, whether it is an audience or himself. The communication of music happens through a combination of musician, instrument, voice, and listener.

The larger the group of people the more relationships are present and the greater the expansion of musical function. He goes on to describe the power of singing in groups and the power of a large orchestra created from individual instruments to form whole sound.

4 main types of form: 
o	iterative (one small formula repeated)
o	reverting (a return after a digression)
o	strophic (repeats of a larger formal unit)
o	progressive (developing organically from one idea to the next)

Other forms include:
	variation 
	alternation (between 1 section of music and another)
	call and response
	antiphony
	antiphonal psalmody 

3 way Music can connect and develop:
o sections connected by ‘elbows and joints,”
o fluidity
o building up of continuous levels

Question 28

Reck, David. 1997. Music of the Whole Earth. Boston: Da Capo Press.

Timbre
Card 2 of 3

Answer 28

CLAT 4 Musical Terms:

Timbre = the quality or tone color of sound (can be single sound or collection of many different sounds)
o metaphorically is visual or tactile textures
o musical personality of a sound
o evokes emotions and attaches to genres and cultural icons

3 different origins of timbre:

1. The conglomerate of many tones.
   
   • This conglomerate has to do with the ratio between fundamental and overtone.
2. The shape that each note takes as it is sounded, this is called the envelope.
   
   • There are three parts to the envelope (which is crucial to being able to identify the source instrument of a specific note):
     a) the attack
     b) constant state
     c) decay
3. The resonating quality of the person or instrument making the tone.

Timbre is one of the first barriers we must cross to come to an understanding and appreciation of the non-universal languages of the earth’s music.

Question 29

Reck, David. 1997. Music of the Whole Earth. Boston: Da Capo Press.

Musical Terms
Card 3 of 3

Answer 29

Isorhythm = way to extend musical ideas while still achieving a balance of unity & variety.

Repetition and varied repetition extends basic music building blocks. The development of music takes basic cultural ideas and works with them to mold them, shape them, transform them, and put them together in an organic and logical manner. Also, in many cultures, music can be put together from different stereotyped patterns and themes and variations on those patterns and themes.

Improvisation = a musician learns the “construction kit of their musical tradition” and adds the spark of their individual creativity.

Harmony = musical consonance which is aesthetically pleasing according to specific cultures and is made up of the simultaneous happening of pitches.
o can occur with its components in simultaneity or through aggregates of notes that occur sequentially. It also uses the melodic concept of the tonal center.

Dissonance = chords have a more complex makeup or have clashing intervals.

Drone = “continuous or incessant pitch or group of pitches which occurs more or less constantly and unchangingly behind the melody and harmony.”
o Commonly, but not always, drones happen on the pitch of a tonal center.

antiphonally = by two separate voices.

Ostinato = a series of notes, a short melodic fragment, a bass line, a brief chord sequence, etc.
o fairly short and repeated over and over

Homophony and chords = blending of harmonic sounds.
o the individual notes in a harmonic texture have no individuality

Polyphony = the simultaneous occurrence of two or more relatively independent melodies or the simultaneity of music layers.

heterophony = the weaving of melodic strands around a central core of a melody where all the strands simultaneously relate to the melody.

solo = single voice or a single instrument, but sometimes can be a combination of both to form a “hybrid alone.”

Rhythm = “the way sound shapes move in or through time.”
o Music is shaped by the cultural perception of time through rhythm.
o 2 underlying concepts that dominate the say music happens in time:
 the beat, or rhythmic pulse
 Flow

music flows like water, freely and expansively

melody = “one or more single pitches happening one after another and arranged in a particular order to make a whole.” Arranged into a culturally appropriate scale. No always a fixed scale. Is shaped by voice and extra-musical elements, instruments, setting, and words.

Question 30

Rice, Timothy. 2014. Ethnomusicology: A Very Short Introduction. NY: Oxford University Press.

Answer 30

CLAT 1
Themes: ethnomusicology; copyright; spiritual connection; emotions

“Ethnomusicology is the study of why, and how, human beings are musical” (1).

Musical = capacity to create, perform, organize cognitively, react physically and emotionally, and interpret meanings of organized sounds.

Comparative musicology  ethnomusicology (developed in 1950’s)

The “Sweet Lullaby” case – copyright of who owns music can get “thorny”
o [Zuckerman and Feld also mention “Sweet Lullaby”]

“music fosters communication between members of a society” (47). Music is often used in religion and supernatural world.

In some cultures (e.g. Bulgaria) music is the proper way to handle emotions, one woman was told “stop crying; sing a song” (49).

Question 31

Schrag, Brian. 2013. “Chapter 118: Determining your Role as an Arts Advocate and Facilitator.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook.

Answer 31

CLAT 1
Themes: memory; identity; emotions; purpose; method/model

The importance of arts:
o separate from everyday activities
o involves cognitive, experiential, and emotional parts of brain
o aids memory of messages
o increases impact of message
o concentrates information contained in messages
o instill solidarity in its performers
o provides socially acceptable frameworks for expressing difficult or new ideas
o inspire and move people to action
o can act as strong sign of identity

Three models: Bring It—Teach It, Build New Bridges, & Find It—Encourage It (which art advocates use).

Question 32

Sollenberger, Glenna. 2002. “Sung Speech: The Key to Language, Culture & Evangelism Among the Pirahã.” Ethnodoxology, 1(3): 10–12.

Answer 32

CLAT 1, 3
Themes: SE; using local arts testimony

Tribe in Amazon Jungle – “sung speech” to reach hearts of the tribe with Gospel.

Singing is determined by the underlying tones in the words. Spoken language can be hard to tell words about and isn’t clear, but singing is actually a lot easier to understand and analyze, such as the tones impacting how its sung. They use singing to communicate new information because its clearer. The people group say if they don’t sing, then they can’t understand the information. Other types of singing/humming is used, such as with children. Children are talked to in hum speech and they don’t understand/obey normal speech. The tribe responded well to Gospel stories in sung speech and it transmitted around quickly that way.

Testimony!
o The people use to sing and dance to the spirits at night, but one full moon they tried having some of the people sing and dance for Jesus at that time, and later the rest of the tribe (after 3ish nights) stopped singing and dancing for the spirits and instead sung and danced to Jesus singing songs about God’s love for them.

Question 33

Spriggs, David and Sue Coyne. 2010. “Biblical Advocacy – Advocating for the Bible in an Alien Culture.” Bible in Mission. Oxford: Regnum Press.

Answer 33

CLAT 1, 2, 3
Themes: SE; contextualization

In Bible advocacy the goal is to minimize the barriers [Brown 2002 -Choosing a Bible Story Set to address bridges and barriers] between people and God’s Word. One way this is done is through using media to change people in the culture’s perception of the Bible instead of trying to change the people in the culture.

4 culture drivers to be looked at include: 
o	Arts
o	Politics
o	Media
o	Education

These influence the culture and can help us find how to advocate for the Bible in a culturally relevant way. This can be done through showing how Soap Operas can be related to the Bible and showing how the Bible is relevant to people’s lives.

Question 34

Tennent, Timothy C. 2006. “Followers of Jesus in Islamic Mosques: A Closer Examination of C-5 “High Spectrum” Contextualization.” IJFM, 22(3): 101-115.

Answer 34

CLAT 4D
Themes: Muslim contexts; identity; community

The spectrum of Christ-centered communities on the scale varies in language, cultural/religious forms used in worship, and self-identity. C1-4 are primarily in Christian communities that are biased towards foreign culture, where C5-6 are primarily in Islamic communities and hold onto their culture identity and ties.
[Travis 2000 – Messianic Muslims and why they choose that]

Question 35

Travis, John. 2000. “Messianic Muslim Followers of Isa a Closer Look at C5 Believers and Congregations.” IJFM, 17(1): 53-59.

Answer 35

CLAT 1, 2, 4D
Themes: Muslim contexts; identity; community

Many Muslims will accept Jesus as their savior but not switch religions becoming Messianic Muslims, who still accept Islam but modify some of the teachings that don’t fit in with the view of Jesus. In many Muslim cultures, “Christian” means Western and correlate it with some negative views and immortality they see of Western culture (eg non-conservative dress, disrespecting elders, etc.) C5 Muslims (on C1-6 scale) believe in the truth of the Gospel but still participate in and stay within their Muslim society (appearing as a Muslim on the outside).
• [Tennent 2006 – C1-6 scale]

Question 36

Van der Kolk, Bessel. 2014. “Finding Your Voice: Communal Rhythms in Theater.” In The Body Keeps the Score: Brain, Mind, and Body in Healing of Trauma. NY: Viking Penguin.

Answer 36

CLAT 2, 3
Themes: shalom; drama; emotions

Theatre can help children with illnesses such as chronic fatigue and depression. Instead of talking about how they feel they can feel like they have power and can be someone that’s not the disabled child they have been. Greek drama is about bearing witness to the stories of veterans.

Music can bind people together who individually may be terrified and feel powerless to be a group of power together to be powerful advocates – such as during the civil rights movement.
o For public hearings in south Africa in 1996 when people shared testimonies and everyone became overwhelmed, they would pray, sing, and dance to help them find words to what had happened to them. Theater is about embodying emotions.

Trauma Drama skits in a Boston org were used to act out everyday problems and address issues such as health problems and bullying. When the scene hits a choice moment for the violence recovery groups, they have different people go up and act out how they would respond to the situation in the skit. Then they have discussions about the scenarios and how they’ve seen similar ones in their schools and community.

Referring to experience homeless veterans had with arts to find healing: “Standing on stage with professional actors, speaking about their memories of the war, and reading their poetry was clearly a more transformative experience than any therapy could have offered them” (333).

Question 37

West, Amy. 2013. “Equipping for Decision-Making When Culture Clashes with Scripture.” BT Conference.

Answer 37

CLAT 1
Themes: contextualization; rituals

The WHY, CONSEQUENCES, and BELIEFS behind rituals
Philippines struggling of what to do in some rituals
• Burning money to ancestors
o Reason Why: Reason to give food and help them have good life in next world

Give them all information so they can come to conclusion – don’t tell them directly but show Scripture that clearly says it

o Consequences: Death will retaliate

o Beliefs & Assumptions: Living need to take care of needs of the dead
o People will mock, shame, and gossip if we don’t do it
o Luke 12:4-6: don’t fear humans; fear God
• Pray God’s protection and strength – we can’t do it alone – we need community of believers that walk together through it
o Write Scripture songs and prayers that speak to fears and consequences
• Look at temptations, pressures, tension, and hopes

Take to Scripture reasons why and consequences
• Let people know the reason why you are doing things:
o God gave a gift to us, so I want to give a gift to you
• By completely withdrawing, you take away God’s light from the event

[Moon 2009, Hiebert 1999, and Hill and Hill 2008 both talk about analyzing events and contextualizing them & Malone 2013 – being Christian in culture]