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Question

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

Answer 1

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?”

Answer 2

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.

Answer 3

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

Answer 4

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.

Answer 5

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.

Answer 6

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).

Answer 7

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).

Answer 8

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.

Answer 9

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.

Answer 10

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]

Answer 11

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]

Answer 12

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).

Answer 13

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]

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