CONTENTS
Benefits
of Indigenous Doxology
Catalyzing
Creativity: Nurturing a Dying Music through Apprenticeship
Is
the Role of Reconciliation Part of Our Roles as Great Commission
Musicians & Artists?
Using
Music and the Arts to Communicate to
Unreached People Groups
CONTENTS
IS THE ROLE
OF RECONCILIATION PART OF OUR ROLES AS GREAT COMMISSION MUSICIANS
AND ARTISTS? - (both locally and abroad?)
\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\////////////////////////////////////////
(Editor's Note) - The scenario in the following
excerpts has been played out in many nations around the world.
Unintentionally, western missions has done much over the years
to undermine the dignity and sense of worth of peoples of various
cultures by labeling and denouncing their musical and artistic
expressions, often across the board, as pagan and demonic.
In coming editions we will be talking more about aspects of contextualization
- which in many ways is another way of referring to the practice
of seeing various God-given aspects of culture that Satan has
used over the years for his own worship and glory 'reclaimed'
for the glory and whole-hearted worship of our one True God. Of
course one of the major issues that believers involved in contextualization
need to prayerfully consider is the danger of syncretism, but
often we have erred on the side of 'throwing out the baby with
the bathwater' rather than recognizing that God delights in the
various 'colors' and artistic expressions of worship of His people
of various cultures as they are reclaimed for His glory.
Although the following excerpts are about First Nations peoples,
much of this applies to situations you may find ourselves in with
various other cultures as well. I trust you will find it helpful.
I also realize that some of the terminology used in this section
is controversial for some of you, but I would ask you to consider
the things that are being said, which I wanted to pass on in the
context in which they were written. Thank you. I would encourage
you to order a copy of the entire booklet.
God has called us to be peacemakers, and as mentioned earlier,
we as western missions/missionaries have unwittingly deeply wounded
many of the peoples of the earth, causing them to see God as a
foreign god and Christianity as a western religion as a result
of our denouncing of their cultural forms. As there is a growing
move across the earth today of believers being involved in the
processes of reconciliation and peacemaking, I believe that this
is also a role which God is increasingly going to be asking Great
Commission-minded/hearted musicians and artists to become involved
in, and that this type of role could potentially pave the way
for much healing and a drawing of the net of many more peoples
into the Kingdom of God.
We realize that this is not something that can be done superficially.
We need to be led by the Holy Spirit and be covered with prayer
as well as bathe the process in prayer, and I encourage you to
seek good counsel, if possible, from those who have learned some
vital lessons about this through experience.
If some of you have stories that you would like to share with
our readers in future editions about examples of where this has
happened, we would be most grateful if you would send those to
us at: dtnations@hotmail.com --
--------------
The following excerpts are from a very helpful
booklet called the "HEAL THE LAND Handbook" - compiled
for Inuit Ministry International by Fred & Joan Brodin, Brett
Fielder, Zachary Scheidler, and written by Fred Brodin and Brett
Fielder. To order your copy, contact: IMI, PO Box 81270, Fairbanks,
AK 99708 907-455-6342 imi1@juno.com Fax: 907-479-3613
Excerpts are from ch. 6. - INDIGENOUS PEOPLES - p 21 - 25 (there
are some blank spaces included, since this book is written as
a workbook).
"'The Creator endowed the First Nations
Peoples (Indigenous) with stewardship of the lands where He placed
them.
Remember there is a difference between ownership and spiritual
stewardship.
With this stewardship comes both opportunity and responsibility
to cleanse, heal and redeem (or 'reclaim' - Editor's note) the
land maintaining its purity so it can be a free and holy dwelling
place for God.
Acts 17:26 He made from one blood all nations who live on the
earth. He set the times and places where they should live.
God is redeeming (or 'reclaiming' - Editor's note) the cultures
He created in the earth. He is doing this for two reasons:
1. Because it's in His ___ to do so, and,
2. so that the Indigenous peoples can worship Him in 'Spirit (Holy
Spirit) and in _____ (using the customs, regalia, and instruments
of their culture which He created them to be.)"
"The greatest moments of Native History
may lie ahead of us if a great spiritual renewal and awakening
should take place. The Native American has been a sleeping giant.
He is awakening. The original Americans could become the evangelists
who will help win America for Christ! Remember these forgotten
people!" - Dr. Billy Graham
"It seems a basic requirement to study the history of our
Indian people. America has much to learn about the heritage of
our American Indians. Only through this study can we as a nation
do what must be done if our treatment of the American Indian is
not to be marked down for all time as a national disgrace."
John F. Kennedy - 1963…
…We are deeply indebted to the Anglo culture for bringing the
gospel to our shores and lands. They did not, however, bring God
with them.
God had lovingly revealed Himself to the Indigenous people long
ago. That revelation was rejected in favor of shamanism, animism
and totemism. Such rejection requires ____.
When the first missionaries arrived, they brought the gospel along
with two preferences:
1. the indigenous peoples adopt the white forms of church practice,
music styles and instruments of worship, etc.
2. the indigenous peoples must reject their own culture including
language, regalia, music form and instruments and native expressive
dance.
Acts 10:1-48 Here is the account of Peter being
sent to the house of Cornelius, a non-Jew.
The Greeks had a ____culture. The Jews, also, had a sin-stained
culture.
God did not require the Greeks to abandon their sin-stained culture
for another sin-stained culture.
The Indigenous people should never have had to abandon their culture
for the Anglo church culture and the Anglo church has much to
repent for in stripping the Indigenous people of their essential
identity by insisting upon the abandonment of their culture.
Some parts of every culture are not redeemable but most parts
are and need to be restored. When the Creator commanded His peoples
to dance (Ps. 149:3; 150:4, etc.), He was not telling all the
peoples of the earth to dance like the Jews danced using their
rhythms, their instruments, their musical note scale, or their
regalia.
His instruction was that He was worthy of all expressions of dance
by whatever culture He had created.
Certainly some of our ancestors used the dance to worship other
gods and call forth spirits, etc., but they were wrong, not the
dance.
The expression called dance does not know if its being used to
glorify God or man.
The instruments called native drum, trap-set drums, or conga drums
do not know if they are being played by white men or brown men,
believers or non believers - and they don't care.
The issue of allegiance resides in the heart of men. God looks
upon the heart, not upon the instrument being played or the dance
being expressed. As Creator of all, He is worthy of ALL!
The Indigenous peoples need to reclaim the redeemable aspects
of their culture - dress, regalia, language and instruments and
use them, in total allegiance to their Creator, for His ultimate
glory.
"I said that most non-Indians have not been able to discern
value in Native cultural expressions of Christianity and therefore
do not see their own need to include these Native expressions
with their own." - Richard Twiss, Culture and Christianity
It is time for many Indigenous peoples around the world to come
forth with anointed words in poetry, music, dance and stories
using their cultural expressions with freedom, dignity, honor
and beauty…"
"...Some parts of every culture are not
redeemable but most parts are and need to be restored. When the
Creator commanded His peoples to dance (Ps. 149:3; 150:4, etc.),
He was not telling all the peoples of the earth to dance like
the Jews danced using their rhythms, their instruments, their
musical note scale, or their regalia. His instruction was that
He was worthy of all expressions of dance by whatever culture
He had created. Certainly some of our ancestors used the dance
to worship other gods and call forth spirits, etc., but they were
wrong, not the dance..."
-------------
"…The majority Anglo church MUST find
room in their hearts to be accepting of these expressions without
the pressure of having to embrace them.
There's enough for everyone in every form!
Where are the First Nations leaders?
"The absence of Christian Native leaders in key leadership
roles in the evangelical mainstream in America today is an accurate
indicator that Native American believers have never been recognized
as having anything of value to contribute to the Body of Christ.
Doesn't it seem reasonable to think that after four to five hundred
years of steady evangelism at least two or three Native Americans
would have emerged as significant leaders in contemporary American
evangelicalism?" - Richard Twiss, Culture and Christianity
It is time for many First Nations believers
(and other leaders from cultures around the globe - Editor's note)
to allow God to thrust them into places of leadership in the Body
of Christ.
Prepare your hearts and minds to be one of the Indigenous people
God can use in these last days.
Father, I ____, make myself available to Your
highest callings. You have endowed my life with splendor not my
own. Your world is crying for Indigenous expressions of worship,
faith and healing. Make me an instrument of Your peace in the
earth. - Amen!
First Nations Prophets
---------------------------------
Sometimes First Nations Peoples accuse others of buying the 'white
man's God," but they ignore the mutlitude of native prophets
God used to foretell the arrival of the gospel.
Ninety miles northwest of Nome, Alaska, stands the island known
as King Island. Known as Ooq-vok ("a place for tiner")
by the Inuit, it was inhabited for the walrus that lived nearby.
"Paul Tiulana is one of the traditional chiefs of the King
Island people. He was born on King Island in the early 1920's
before any white man came to live there and was named Tiulana
after his grandfather. His Christian name, Paul, came later when
he was baptized by a priest who brought "Christ the King"
to the island, a statue of Jesus the Eskimos labored with ropes
to place atop the island. Tiulana explains in Eskimo terms, the
coming of white men, and how "Christ the King" chased
away a demon who lived on the other side of the island.
The statue was immediately accepted by the islanders because ten
years beforehand, an elder had dreamed about it. He said a really
shiny thing had come down from the sky and landed where "Christ
the King" came to stand.
Another elder had told Tiulana when he was a small child about
a medicine man long ago who said that the universe had a creator.
"He said if you eat the flesh and drink the blood of this
universe's creator, you will be safe. This was before anyone on
King Island had heard anything about Christianity" - Shannon
Lowry, Natives of the Far North, p 56-58
In the Kobuck River area of the Northwest Region known as NANA,
the history and stories of the Eskimo prophet Maniilaq (Ma-nee-luk)
are well known.
Although he lived in the mid-eighteen hundreds, Maniilaq prophesied
the coming of the white man and that the white man would bring
light in the form of the word. He also prophesied power boats,
airplanes, stoves in homes, telephones, and many other details
concerning the end times.
The Lord is again seeking prophets for the First Nations Peoples.
These are vessels willing to not be afraid of who they are in
Christ and how God made them and their cultural expressions.
The Creator is giving visions and dreams to those willing to receive
them. Maybe you're one of these Indigenous people? If so, you
are needed by the Body of Christ and the First Nations Peoples.
Father, there have been times when I have hated being the color
and race You made me. I have despised my own people out of my
fears, frustrations and pain. I repent of thinking and acting
this way.
You have made all peoples and they are all able to glorify You
in the ways You made them and from the land where You placed them.
Please forgive my sinful attitudes and give me a new heart that
responds using my gifts in the culture and race You made me. Amen.'
-------
Please note that IMI also has other resources
available, including First Nations worship tapes, etc.
CONTENTS
Using Music
and the Arts to Communicate to
Unreached People Groups
By Paul Neeley - ad2000arts@netscape.net
%%%%%%%%%%%%%%%%%%%%%%%%%%%%
(Editor's Note) - "...each people group
has their own unique systems of visual arts and music that use
signs and symbols that carry meaning within that culture..."
It is very important for musicians and artists to understand these
cultural meanings in order to learn how to communicate what is
INTENDED. We can think we're communicating clearly because we're
using OUR symbols and meanings and because we understand what
we're trying to communicate, but to those receiving our message,
in whatever form, our symbols can mean something absolutely opposite
to our intended meanings. Paul's article helps us to be aware
of this need so that we can factor these thoughts into our practical
communications
This article deals with a vital issue in missions today. --
------------
"Each people group in the world has its
own language system that uses culturally-determined signs to carry
meaning. In a related manner, each people group has their own
unique systems of visual arts and music that use signs and symbols
that carry meaning within that culture. When we want to communicate
the Gospel across cultures, an important task is learning what
connotations are attached to various artistic signs and sounds.
Note that the connotations may be very strongly held within a
particular culture, but that does not mean that they are inherently
attached to the sound or symbol. For example, the sound of a feedback-drenched
Hendrix-style guitar with wah-wah pedal conjures up certain connotations
within the American culture in which it was developed. However,
if I play a recording of that same sound with friends in West
Africa where I work, the social connotations don't cross the ocean.
Going the other way, my friends who play drums in their African
churches consider it to be an expression of joy unto the Lord,
but if I attempt to introduce those same drums and rhythms
into my mother's Baptist church, the members may read other connotations
into the sounds which could lead to a major misunderstanding.
Connotations connected with sounds can be very strong within each
culture, but they don't necessarily cross cultural boundaries.
Signs and symbols
must be studied within their cultural context to ascertain meaning.
For communication to be effective, it must
be receptor-oriented. This means that it is the job of the one
initiating the communication to learn what various signs and symbols
mean in the "receptor culture" and not just assume that
whatever they mean at home - be they words, ideas, art, movements,
or musical sounds - they will automatically mean the same thing
in another culture. A communicator who is receptor-oriented is
one who does the research and uses communication media that is
understood by the local people, which makes it easier for the
message receivers to understand what you are trying to say. It
would be possible for me to go to the Kalahari Desert and preach
in English and try to teach everyone to play "I Love You
Lord" on
the guitar, but that is not receptor-oriented communication. It
would be less work for me to do that than to study their way of
life and forms of artistic communication, but it is not effective
ministry. Who is going to do the hard work of adapting themselves
so that real communication can happen - the missionary who has
the Greatest Story, or unbelievers who (in the beginning) could
care less about "some foreign god"?
I worked with one group of young missionaries
who spoke of doing mime shows on the streets of Nepal. I asked
them if they had ever tested their performances in private before
going public; they said "no." We know that pantomime
has a certain vocabulary of actions, and that vocabulary must
be clearly understood for the story being acted out to have the
full meaning.
Well, pantomime is not "the universal
language," and different movements carry different meanings
and connotations in different cultures. So I advised the group
to always test their show in private before a public performance:
go in someone's house with just a few people, preferably some
Christian and some non-Christian, and get their feedback on what
the movements mean to them. Then you can rest assured that the
movements are communicating what you really intend, or you can
modify them so that becomes true.
The key is doing some research: some before
you leave your home country, and some when you arrive on the missions
field. For some people groups, a great deal of information is
available if you look hard enough. For instance, S__ was in one
of my ethnomusicology classes. He is the worship leader of an
American church that has "adopted" the Wodaabe people,
the famous "Nomads of Niger." This people group still
travels in Africa with their animals, and
has been quite resistant to the Good News. But S__'s church has
made a long-term commitment to reach the Wodaabe people, and S__
came to learn about reaching them through their own style of song,
accompanied only by clapping. He learned how to do some basic
music research, and we found CDs of Wodaabe music for sale on
the internet! So even before he left for Africa, he could learn
something about the music of the Wodaabe and prayerfully consider
some tentative plans for music ministry.
Sometimes the research and application is a
multi-part process. Recently a Baptist worship minister had an
invitation to visit North Korea and do exploratory research among
unreached people groups there. He and his team received some basic
training on ethnomusicology research in general, as well as some
background information on musics of minority language groups in
the hills. They went into North Korea, the doors were opened for
them to do the music research, and they collected a large amount
of useful information. It is now being sifted and weighed, looking
for the most relevant sociocultural
factors that would help or hinder communication of the Gospel
in these groups through musical means. After all the research
information has been evaluated, the team from the Baptist church
plans to go back for the application phase and put into practice
some of the possible plans they
developed under God's guidance.
"…I was recently in the Kalahari Desert,
holding Scripture Song workshops with two "Bushmen"
ethnic groups. They have a very unique way of singing, involving
yodeling and many vocables (non-semantic syllables). The music
sounds "otherworldly" to many people in the West; one
song sounded to me like it would be a good soundtrack for "The
Twilight Zone!" But their
music is quite beautiful in its own special way, and is a marvelous
tool for communicating biblical truths. Before I went, I obtained
all the materials I could about "Bushmen" music, including
recordings, articles, and a book, and walked into the situation
with a very good idea of what the musical situation would be.
Making use of other people's research gave me an enormous head
start in understanding how music worked in their culture and some
ideas as to appropriate Christian music ministry. If other people
have literally spent years doing relevant research, why shouldn't
I let that aid my musical communication of the Gospel?
One way that ethnomusicology scholars are helping
to equip people to fulfill the Great Commission is by doing major
bibliographic studies of the musics of key unreached people groups,
along with suggestions of applications. Among major ___ people
groups, this music research has been completed so far for the
___ people of _____ and the _____ and _____ peoples of _____,
and is being distributed to missionaries working in those cultures.
In addition, a book with information on ____ musics, and various
ways of doing music ministry within ____ cultures, is being prepared
for missionary use. Two other book projects are also underway,
helping missionaries to teach principles of worship and applications
in cross-cultural contexts. All of these materials will be available
through the International Worship & Arts Network at www.worship-arts-network.com.
In addition, a consortium of missionary ethnomusicologists is
being established, experts who can provide advice to general missionaries.
These are people who have much experience and expertise in musics
of various parts of the world, and can "point the way"
by email and letters to
missionaries all over the world. This consortium can be reached
through the Network.
So if you're interested in making effective
use of music in cross-cultural communication, you can take a look
at the resources we suggest for the part of the world you work
in.
What about using culturally-appropriate visual arts to communicate
the Gospel? Again, the same signs and symbols don't carry the
same meanings everywhere in the world.
One group who is working to proclaim the Good
News through the use of contextualized visual arts to non-western
peoples is Ancient of Days Ministries. The founder, Scott Rayl,
studies the visual arts and beliefs of an ethnic group and creates
Biblical art based on their culture's aesthetic style. The resultant
art works can be used in evangelism, in worship, and as biblical
teaching tools. Some of Scott's contextualized biblical artwork
can be viewed at www.members.tripod.com/~S_Rayl. A number of works
seen here are in the styles of ancient Egyptian and Mayan arts,
and include such Bible stories as Abraham and Isaac, David &
Goliath, the Fiery Furnace, Noah's Ark, the
Ascension of Jesus, and more. These artworks carry so much power
you've got to see them for yourself. As well as paintings, Scott
envisions multimedia presentations that present the Gospel, such
as a shadow puppet show in Southeast Asia that incorporates visual,
musical, and oral arts in performance.
When you want to communicate across cultures,
whether through visual arts, mime and dance movement, drama or
music, don't assume that these signs and symbols will mean the
same thing they do as in the First Presbyterian Church of your
hometown. Instead, assume there will be communication barriers,
and do research before you go and when you arrive. Even
short-term teams can do a small private "test" performance
before some non-Christians in the target culture, then ask comprehension
questions to see how well the message was understood. (But remember
that sometimes people tell us what they think we want to hear,
so such feedback must be carefully obtained and evaluated with
the help of others.)
Spending at least a little time in preparation
and research can pay off in big dividends when communication through
the arts is successful. The story we have to tell is the most
important one in the world; let's do a good job of telling it!"
CONTENTS
Ethnodoxology:
It's Role in Seeing a Worshipping Church
Among Every People
__________________By Dave Hall__________________
Do you remember making up words as a child? Remember the wonder
of
Julie Andrews singing out the wonderous
"supercalifragilisticexpialidocious?" Sometimes new
ideas need new words
to contain and convey them. This is the case with "ethnodoxology,"
an idea
whose time has come.
The purpose of this writing
is to build a case both theologically
and practically for ethnodoxology. I define ethnodoxology as "the
study
of the worship of God among other cultures" or, more precisely,
"the
theological and practical study of how and why people of other
cultures
praise and glorify the true and living God." The term I prefer
to use for
the heart of our discussion is "ethnodoxology." "Ethno,"
from the greek
word "ethne" meaning peoples or people groups and "doxology,"
from the
greek word "doxos" meaning "glory or "praise."
Our hope and prayer is
that some day soon the use of indigenous doxology in cross-cultural
church
planting and evangelism will be the norm rather than the exception.
Why do we need a new term?
Because inevitably when speaking of
issues regarding worship and missions the topic of ethnomusicology
enters
into the discussion. The term "ethnomusicology" (the
historical and
scientific study of music of other cultures) has no directly Christian
connotation and is limited to musical aspects only when speaking
of the
worship of other cultures. Ethnodoxology, however, places the
study in an
explicitely Christian context while at the same time encompassing
all
aspects related to Christian worship in a culture (i.e., music,
arts
[dance, drama, mime, visual arts,etc.], eucharist, offering, preaching,
etc.). It also addresses worship as a life-style, not just as
an event.
Clearly scripture calls us to both (cf. Ps. 95 and Rom. 12:1).
For our
purposes here we will speak primarily about the musical aspects
of
ethnodoxology. Future writings will explore the many other expressions
of
ethnodoxology.
We are instructed in Ps. 96:3
to "Declare His glory among the
nations." Is. 61:11 proclaims God's global agenda, "For
as the soil makes
the sprout come up and a garden causes seeds to grow, so the Sovereign
LORD
will make righteousness and praise spring up before all nations."
Rev.7:9,
11b-12 illustrates the fulfillment of the Almighty's agenda for
the
nations, "After this I looked and there before me was a great
multitude
that no one could count, from every nation, tribe, people and
language,
standing before the throne and in front of the Lamb. They were
wearing
white robes and were holding palm branches in their hands. . .
They fell
down on their faces before the throne and worshiped God, saying:
"Amen!
Praise and glory and wisdom and thanks and honor and power and
strength be
to our God for ever and ever. Amen!"
How can we as the body of Christ
and, more specifically as a
missionary force, be obedient to the mandate of Ps.96? In what
way will
God cause "righteousness and praise to spring up among all
nations?" What
does He desire that praise to look like, sound like, . . . even
move like?
What is God calling us to do in our missions thrust now that mirrors
and
paves the way for the glorious celebration that awaits us before
His throne
and that of the Lamb?
The Case
for Ethnodoxology in Missions
We need a fundamental paradigm
shift in missions orthodoxy that
impacts missions orthopraxy. For decades we have communicated
from our
pulpits that God saved us to save the world. John Piper challenges
this
faulty thinking when he writes:
Missions is not the ultimate
goal of the church. Worship is.
Missions exists because worship doesn't. Worship is the
ultimate, not missions, because God is ultimate, not
man. . . Worship, therefore is the fuel and the goal in missions.
It's the
goal of missions because in missions
we simply aim to bring the nations into white-hot enjoyment of
God's glory. . . But worship is also the fuel of missions. Passion
for God
in worship precedes the offer of God in preaching. You can't commend
what
you don't cherish. . . Where passion for God is weak, missions
willl be
weak. Churches that are not centered on the exaltation of the
majesty and
beauty of God will scarcely kindle a fervent desire to "declare
his glory
among the nations."1
As an extension of the Church
among the nations how will our church
planting teams "kindle a fervent desire to 'declare his glory
among the
nations'"2 if our teams are not worship centered? The lack
of sound
biblical teaching on this most important and strategic area has
brought us
to a place where we are sending out many of our church planting
teams with
literally no clue about the importance or process of establishing
new
believers in a lifestyle of worship nor the process of facilitating
corporate worship truly indigenous to the culture. Most missionaries
have
little or no theological and practical skill or experience in
planning,
leading and facilitating corporate worship, especially in a cross-cultural
setting.
When missions is central worship
is peripheral. This is true not
only corporately, but personally. One of our missionaries said
he got to a
place within two years of being on the field where he was totally
burned
out. He felt that God was only interested in "using him to
save souls."
He went on, "It was only after I learned that God loves me
for who I am,
not what I can do for Him that I could minister to the millions
of
unreached souls around me with a sense of balance." Without
a loving,
intimate relationship with God (i.e., worship) at the core, missions,
and
missionaries lack the fuel needed to stick it out.
Worship, if it is to have its
proper home, must rest at the
core of our reason for existence and our motivation for missions
and
ministry. Worship is the Christian raison d'etre. Should it be
replaced
by anything else, no matter how noble or good (even the Great
Commission),
it is unbiblical. Rick Wood, Managing Editor of Mission Frontiers
magazine, issues this challenge:
The global church must change
the way it thinks about worship and
missions. The two are inexorably linked in the accomplishment
of God's
highest purpose for mankind. Worship and missions must be broughth
back
together in our hearts, minds and theologies.3
Does our theology of missions
incorporate all that the scriptures
have to say about God's passionate desire not just for the souls
of men,
but for their enjoyment of Him in worship? Just a cursory overview
of
God's Word illuminates this truth:
1Chr. 16:24 ,28 Ascribe to
the LORD, O families of nations, ascribe to the
LORD glory and strength"
Ps. 45:17 I will perpetuate your memory through all generations;
therefore the nations will praise you for ever and ever.
Ps. 67:1-4 May God be gracious to us and bless us and make his
face shine
upon us, Selah, that your ways may be known on earth, your salvation
among
all nations. May the peoples praise you, O God; may all the peoples
praise you. May the nations be glad and sing for joy . . .
Ps. 86:9 All the nations you have made will come and worship before
you,
O Lord; they will bring glory to your name.
Ps. 108:3 I will praise you, O LORD, among the nations; I will
sing of
you among the peoples.
Ps. 117:1 Praise the LORD, all you nations; extol him, all you
peoples.
Rom. 15:9-11 . . . so that the Gentiles may glorify God for his
mercy, as
it is written: "Therefore I will praise you among the Gentiles;
I will sing
hymns to your name."
Again, it says, "Rejoice, O Gentiles, with his people."
And again, "Praise
the Lord, all you Gentiles, and sing praises to him, all you peoples."
Rev. 15:4 Who will not fear you, O Lord, and bring glory to your
name?
For you alone are holy. All nations will come and worship before
you, for
your righteous acts have been revealed."
2
Our goal in fostering ethnodoxology among unreached peoples is
to
facilitate worship that is culturally relevant to the people we
are
reaching with the Gospel. "We are intent on being catalysts
in
reconnecting peoples 'heart music' with their Christian faith,"4
says
Wycliff Bible Translators missionary ethnomusicologist, Brian
Schrag.
Case
Studies of Ethnodoxology in Missions
The following are case studies
in the benefits of ethnodoxology to
cross-cultural church plantng and evangelism.
"A few years ago during
the dedication of the first Scriptures
translated into Sabaot, the language of the people on the Kenya-Uganda
border, a group of Saboat dignitaries stood solemnly at the rear.
These
VIPs had been suspicious that translation efforts would undermine
their
culture. Near the end of the ceremony two of the translators sat
down to
play the bukaantiit, a six-string wooden lyre with ancient roots
among the
Saboat. As they accompanied words from the Gospel with a traditional
tune,
the guest elders spontaneously stood and began to sway in Saboat
style to
the beat of the music and , as they caught on, to sing the words
of the
refrain: "God is good, God is good."5
Rob & Catherine H. of Overseas Missionary Fellowship tell
of a Christmas service at the B__ seminary where Rob taught and
served as an
ethnomusicologist in Indonesia. Incorporated into the service
was a
traditional B__ dance set to a traditional tune and performed
with
traditional instruments. Never before had their music, instruments
and
dance been experienced in the context of Christian worship. Two
responses
were recieved from opposite ends of the opinion poll. One older
lecturer
at the seminary leaned over during the performance and whispered,
"Heresy!" He was "old enough to associate the music
and dance with animistic worship practices." After the service
a student commented, "Hearing our music and seeing our dance
just now, for the first time I truly feel that Jesus came for
me, a B__."6
The H.'s do well to point
out that that both responses are valid
and must be attended to in order to carry out a ministry that
facilitates
indiginous praise and worship. Not only do some Christian nationals
associate their own music and instruments with past animistic
practices,
but "some nationals feel the ethnomusicologists want to keep
them from
modern ideas and delay their attainment of cultural equality with
Westerners."7
In response to the issue of
music or instruments being "guilty by
association" we would do well to remember that the organ
was first a
"secular" instrument and went through similar verdicts
of condemnation due
to its association with things not "sacred."8 Luther's
"bar tunes" would
eventaully become some of the best loved hymns of the faith. Steve
Miller
speaks to this cyclical pattern of musical transition and gives
us four
more guideposts to lead us through the often murky waters of these
important issues:
1. Each period of musical transition follows a cyclical
pattern.
2. A style's dubious origins or bad associations don't
preclude God's ability to use it for His purposes.
3. Subjective convictions on musical style cannot be trusted.
4. Those who strive to avoid all controversy may find
themselves on the periphery of God's move.
5. Tradition drives in stakes that are difficult to remove.9
3
Relating the process of innovation speciafically to cross-cultural
settings Brian Schrag offers this
four-step process:
1. Innovation: An indigenous
Christian composer sees that a
certain style of music in his culture could be used to express
his faith. .
. he composes some hymns in this style and introduces them to
the church
leaders.
2. Social Acceptance: The local church leaders, after much debate
and theologizing, agree to try out these new hymns in the church.
3. Performance: The songs are taught and sung in church and
everybody loves them. The church regularly sings these songs and
there is
a continually growing body of indigenous hymns.
4. Integration: The singing of indigenous hymns becomes a standard
part
of local church life, spreads to churches in neighboring villages
and is
even picked up by people outside the church.10
There appears to be a growing
body of evidence, both theological
and practical, that would suggest that God not only redeems individuals,
but cultures as well. This redemption of cultures includes that
culture's
music and even it's instruments. Our many distinct cultures will
not be
eradicated in heaven, rather they will be celebrated. John, in
recording
his glimpse into the heavenlies, reports beholding "a great
multitude that
no one could count, from every nation, tribe, people and language,
standing
before the throne and in front of the Lamb."11
Ethnodoxology finds application notonly in traditional musical
forms and instruments, but also in the influences of Western and
other
cultures. Chris Hale, missionary with Operation Mobilization in
India,
does rock concerts in Indian cities using western instruments,
and does
traditional devotional concerts in the villages using classical
Indian
instruments. He explains (I quote Chris at length because so much
of what
he says illustrates the various aspects and issues we've explored
thus
far):
"As far as western music
goes my guess would be that about a half a
million young people all over India love rock and roll, but through
MTV
and VTV that number is increasing rapidly. . . When it comes to
his
devotional life, however, the Hindu religious seeker wants 'Bhajans',
repetitious songs with a simple melodic line which the leader
sings and the
devotees repeat. Bhajans can also take on complex classical forms
and
are available on cassette for those who can afford a sound system,
but by
and large Bhajan is 'live' and sung in the context of a 'satsang',
or
religious meeting where a preacher expounds scripture with Bhajans
interspersed throughout keeping the devotees actively involved.
Satsangs
are held at temples, ashrams and outside wealthy devotees homes
under
shamianas (large tents) throughout the year but especially during
festivals. . .
I have conducted a worship
meeting in one North Indian city for Hindu youth
who watch MTV and having large collections of rock cassettes and
I have
observed that they do respond spiritually to the songs. But the
vast
majority of Indians will not respond. As for the typical Western
Hymns and
western classical music, these do even less spiritually for the
average
hindu than the modern western choruses do. Translating the western
choruses into the local languages is only a minute improvement,
because though the intellect can respond, the emotions are not
touched. It's like expecting my grandmother in New York to have
a religious experience singing the words of "All Hail the
Power of Jesus Name" to some nasally monotous drone-centered
Indian Raga.
Translating the words of great
western hymns and putting Indian melodies to them is a vast improvement
on the above, but this also has its weak points. One can easily
imagine how difficult it is to take a western poetical form and
fit it into traditional Indian musical form. What you find here
in the
church is a large number of such songs whose melodies are very
influenced
by Hindi film song melodies of the last twenty years, which in
turn were
very influenced by western dance music. This brings us back to
square one,
music that moves the body but not the soul. . .
4
Clearly with Hindus, Bhajan is the way to go, especially in North
India
where Christian and western influence is most strongly opposed.
Indian
lyrics, Indian tunes, Indian worship format. There is nothing
unscriptural
about these forms which of course are taken from Hindu devotional
practice.
In fact it is very scriptural and conducive to biblical meditation.
First
there is the exposition of the passage by the preacher which enlightens
the
understanding through the Holy Spirit. Then there is the repetition
of the
Biblical thought through the singing of the Bhajan, and the thought
goes
from the mind into the heart and touches the emotions and the
will. Of
course, this style of worship is very foreign to most Indian Christians
from traditional church backgrounds, and many of them find such
a format
initially quite offensive because it reminds them of Hinduism.
But few
people are suggesting that the church change what it has been
doing for the last few hundred years. Bhajans and Satsang are
primarily being used by church planters in the vast areas of India
that are not being reached
directly by the local church."12
Ethnodoxology benefits not
only believers, but unbelievers as well.
Paul Neeley, also a missionary ethnomusicologist with Wycliff,
explains:
"It only takes one month
to sell 100 cassettes."13 These tapes of
indigenous scripture praise are bought by Shrine priests and listened
to by
children to accompany their games and dances. Women forbidden
to learn
about Christianity hear them and ask: "Are these stories
true? Where did
they take place? Where is Jesus now?" "When Hebrews
was introduced into
Yoruba culture (Nigeria) in the form of Yoruba music on cassette,
the Bible
as memorized song moved out of the church walls to reach markets,
farms,
and even Muslims."14
Brad Hill writes of unbelievers
being powerfully impacted by indigenous
music in rural Africa: "As Christians sang African songs
that expressed their faith, non-Christians drew closer to listen
and watch. The Christians sang of
being "transformed," and of no longer following the
ways of evil. They
would act out the way they used to behave, and then sing of being
"transformed." One man would convulse as if in a trance
and mumble
incoherently, then all would sing "We will not do witchcraft
anymore,
brothers, we've been transformed." The non-Christians were
shocked. Fear
of the spirit world was a real aspect of their lives, yet people
from their
own village were obviously not afraid, and even spoke of change.
The
celebration of the Christians was contagious. Even skeptics joined
the
final dance celebrating the Lord's coming to the village."15
The Implications
of Ethnodoxology for the Future of World Missions
Three trends are moving us toward a harvest of worship renewal
among the nations:
I. It is estimated that by the year 2005 the majority
population of the United States will no longer be predominately
white
caucasian, but Hispanic, Black and Asian. There will be a growing
demand
for training to assist the North American Church in transitioning
from
mono-ethnic worship to multi-ethnic worship. Christian schools
and
institutions will be needed to meet this unique demand while at
the same
time mobilizing and empowering an army of worship leaders and
artists from
North American churches to take worship to the nations.
Existing
Christian Schools with programs in ethnomusicology:
SIL (Summer Institute of Linguistics) Ethnomusicology
Program
Contact: Dr. Tom Avery
7500 W. Camp Wisdom Rd.
Dallas, TX 75236
(214) 709-2400, ext. 2265 e-mail
tom_avery@sil.org
5
Music in World Cultures/Crown College Ethnomusicology
Program
Contact: Dr. John Benham
Crown College Graduate Studies
6425 County Rd.
St. Bonafacius, MN 55375
(800) 910-GRAD e-mail benhamj@gw.crown.edu
Prairie Bible College &
Graduate School Ethnomusicology
Program
Contact: Vernon Charter
Fine Arts Department
Prairie Bible College
Box 4000
Three Hills, AB TOM 2NO
CANADA
(800) 661-2425 e-mail
admissions@pbi.ab.ca
Christian Schools in the planning
stages:
Nashville International Christian Arts Center initiated and
operated by Byron Spradlin and Artists in Christian
Testimony. Byron may be contacted at:
Artists in Christian Testimony, Box 395, Franklin TN
37065-0395, ph--615-591-2598
fax--615-591-2599, e-mail 74152.727@compuserve.com.
International School of Worship
and Cross-Cultural Ministry
Envisioned as a possible future ministry of Pioneers and Worship
to
the Nations (WTN). Pioneers is an interdenominational mision agency
whose
purpose is to mobilize teams to glorify God among unreached peoples
by
initiating church planting movements in partnership with local
churches.
WTN is a ministry of PIONEERS that mobilizes and empowers worship/arts
leaders to glorify God by serving existing Pioneers teams and
discipling
worship/arts leaders among the unreached. Dave Hall, International
Worship Leader for Pioneers has initiated WTN. He can be reached
at:
PIONEERS,12343 Narcoossee Rd., Orlando, FL 32827-6020. Phone
407-382-6000, fax 407-382-1008,
Email: Davehallwtn@Compuserve.com.
II. The "worship boom"
in the North American Churches (a
faint, but ever clearer reflection of what God is doing in churches
around
the globe) will create a greater sensitivity to and understanding
of the
theological ramifications and significance of worship becoming
central in
our paradigm of ministry. This will impact not only our churches,
but our
missions organizations. As a result, more and more missions agencies
will
actively mobilize and train worship leaders and artists for missions.
Below is just a sampling of missions agencies I am aware of that
are actively involved in mobilizing and empowering worship/arts
leaders. A
more complete list may be obtained by writing the AD2000 Worship
and Arts
Network under point three below:
Artists in Christian Testimony,
info above under point I.
Church Resource Ministries,
1240 N. Lakeview Ave. #120, Anaheim, CA
92807-1831.
714-779-0370. Contact Steve Hoke at 74543,3221@compuserve.com.
Great
Commission Worship & Arts Center
6
Operation Mobilization, PO Box 444, Tyrone, GA 30290-0444,
770-631-0432 x252. Or contact Frank Fortunato, Music
Director for OM at Fort@omusa.om.org.
Overseas Missionary Fellowship,
10 W. Dry Creek Cr., Littleton, CO,
80120-4413, 303-730-4160.
Pioneers, 12343 Narcoossee
Rd., Orlando, FL 32827-6020,
407-382-6000. Contact Dave Hall, International Worship
Leader and Coordinator of Worship to the Nations at
76543,1405@Compuserve.com.
Wycliff Bible Translators
and SIL (Summer Institute of Linguistics)
Contact: Dr. Tom Avery at the address given above under point
I.
III. An increase in efforts
to network together the
individuals and ministries involved in worship and missions.
Worship/Arts and Missions
Networks and E-mail forums:
AD2000 Worship and
Arts Network
The AD2000 Worship and Arts network exists to enable
artists to use their talents and gifts in world
missions. They seek to network, mobilize and provide resources
for artists
in missions. As part of the larger AD2000 Movement, their
desire is to see a worshipping church among every people
group. Artists and musicians play a crucial role in that
expression. For more information write:
AD2000 Worship and Arts Resource Network (Frank Fortunato,
Coordinator)
P.O. Box 444
Tyrone, GA 30290
ph. 770-631-0432, fax 770-631-0439
Email: AD2000WA@omusa.om.org
(ask for info on how to become a part of the AD2000 W&A
Network e-mail forum)
The WORSHIP LIST.
An international forum that exists to network worship
leaders around the world. More info can be obtained by
e-mailng Kim Gentes at LordOMercy@aol.com.
Conferences:
AD2000 Global Conference on World Evangelization (GCOWE)
June 30-July 5, 1997 in Pretoria, South Africa, AD2000
hosted a global conference on Worship and the Arts in
missions. Over 200 "musicianaries," and other artists
came
together to network, pray and strategize toward the most effective
use of
worship and the arts to see a church for every people and
the gospel for every person by the year 2000.
World Christian Fellowship,
Wheaton College, hosted a consultation
on worship and missions late summer, '97. Over 60 undregrads
from Christian Colleges around the U.S. attended.
I trust that God will stimulate your heart and mind toward the
goal
of seeing all peoples of the world, and especially the unreached
peoples,
develop worship that is truly an expression of their musical and
cultural
arts "heart language." Let us rejoice in all that God
is doing among the
nations for truly He has begun to fulfill in our generation what
he
promised in Is. 61:11 where He vows that in His sovereign power
He will
make righteousness and praise spring up before all nations."
7
Footnotes:
1 Piper, John, Let The Nations Be Glad, (Grand Rapids, Baker,
1993),
11-12.4
2 ibid.
3 Rick Wood, A Call to the Global Church to Bring Missions back
Into Our
Worship, Mission Frontiers, May-August, 1996, 7.
4 Brian Schrag quoted in, Musicianaries, Christianity Today, October
7,
1996, p. 52.
5 Andres T. Tapia, Musicianaries, Christianity Today, October
7, 1996, p.
52.
6 Catherine Hodges, The Batak Heresy, The Struggle to Achieve
Meaningful
Worship, Mission Frontiers, May-August, 1996, 16.
7 Andres T. Tapia, Musicianaries, Christianity Today, October
7, 1996, p.
52.
8 cf. Best, Harold M., Music Through the Eyes Of Faith, (San Fransisco,
Harper, 1993), 40.
9 Miller, Steve, The Contemporary Christian Music Debate:Worldy
Compromise or Agent of Renewal, (Wheaton, Tyndale House Publishers,
1993),
142-147.
10 Brian Schrag quoted in, Ethnomusicology Newsletter, February,
1993.
11 Rev.7:9, New International Version of the Holy Bible, (Grand
Rapids:
Zondervan, 1978).
12 Chris Hale quoted from Email.
13 Paul Neeley quoted in, Musicianaries, Christianity Today, October
7,
1996, p. 52.
14 Paul Neeley, Why Indigenous Hymns Failed at Chipili and What
We Can
Learn, article in EM News, May, 1993.
15 Hill, Brad with Ruth Hill, Slivers From the Cross - A Missionary
Odyssey, (Chicago, Covenant Publications, 1990). Summarized in
An African
Illustration, by Peter Jorgensen in EMNews, Aug. 1992.
Bibliography
Bakke, Corean, Let The Whole
World Sing: The Story Behind the Music of
Lausanne II, (Chicago, IL, Cornerstone Press, 1994).
Best, Harold M., Music Through
the Eyes Of Faith, (San Fransisco, Harper,
1993).
Campbell, Patricia Shehan,
Lessons From the World: A Cross-Cultural Guide
to Music Teaching and Learning, (New York, Schirmer Books, 1991).
Reviewed
in EM News, May 1993.
Chenowith, Vida, The Usarufas
and Their Music, (Dallas, SIL Museum of
Anthropology, 1979).
Gray, John, African Music:
A Bibliographical Guide to the Traditional.
Popular, Art, and Liturgical Musics of Sub-Saharan Africa, (New
York,
Greenwood Press, 1991).
Grudem, Wayne, Systematic Theology,
An Introduction to Biblical Doctrine,
(Leicester, England, Intervarsity Press and Grand Rapids, Zondervan,
1994).
Hill, Andrew E., Enter His
Courts With Praise, Old Testament Worship for
the New Testament Church, (Nashville, Star Song, 1993).
Hill, Brad with Ruth Hill,
Slivers From the Cross - A Missionary Odyssey,
(Chicago, Covenant Publications, 1990). Cited in An African Illustration,
by Peter Jorgensen in EMNews, Aug. 1992. Available only through
the
publisher 800-621-1290.
Klem, Herbert, Oral Communication
of the Scriptures, (Pasadena, William
Carey Library, 1977).
King, Roberta, Pathways in
Christian Music Communication, (Pasadena, Fuller
Theological Seminary, 1989). Also see Roberta King's thesis done
at Fuller
on the Senufo of Ivory Coast available through University Microfilms.
Paul
Neeley refers to it as, "one of the most in-depth studies
of the
development of indigenous hymnody ever written."
8
Bibliography continued
Krauter, Tom, Keys To Becoming
an Effective Worship Leader, (Hillsboro, MO,
Training Resources, 1991).
Krauter, Tom, Developing an
Effective Worship Ministry, (Hillsboro, MO,
Training Resources, 1993).
Le'au, Sosene, Called To Honor Him: How Men and Women Are Redeeming
Cultures, (Tampa, FL, Culture Com Press, 1997).
Lisech, Barry, People in the
Presence of God, (Grand Rapids, Zondervan,
1988).
MacDonald, Alexander B., Christian
Worship in the Primitive Church
(Edinburgh: T. & T. Clark, 1934).
Malstrom, Marilyn, My Tongue is the Pen, (Dallas, SIL, 1991).
Reviewed in
EMNews, Vol. 1, No.2.
Mapoma, Isaiah Mwesa, The Use
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Congregations in Zambia, Yearbook of the International Folk Music
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Martin, Ralph P., Worship in
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and Scott, 1964).
Miller, Steve, The Contemporary
Christian Music Debate:Worldy Compromise or
Agent of Renewal, (Wheaton, Tyndale House Publishers, 1993).
Morgenthaler, Sally, Worship
Evangelism: Inviting Unbelievers Into the
Presence of God, (Grand Rapids, MI, Zondervan Publishing House,
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Musical Instruments, Microsoft
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each.
Musical Instruments of the
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Nettl, Bruno, The Western Impact
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Piper, John, Let The Nations
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Schrag, Brian, Music and the
Missionary, (Dallas, SIL, 1991) $15 for
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Anthrpology Dept., 7500 W. Camp Wisdom Rd., Dallas, TX 75236.
Scherzer, Joel, Kuna Ways of
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Sorge, Bob, Exploring Worship,
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CD accompanies with many examples. A 3rd Edition is now available.
9
Bibliography continued
Tozer, A.W., Whatever Happened
to Worship, (Camphill, Christian
Publications, 1985).
Webber, Robert E. ,ed., The
Complete Library of Christian Worship
(Nashville: Star Song Publishing Group, 1994).
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212-545-7536. e-mail Worldmus@aol.com.
(C) 1998, Dave Hall
Additional copies may be obtained by writing:
PIONEERS
12343 Narcoossee Rd.
Orlando, FL 32827-6020
Attn. Dave Hall, Worship to the Nations
CONTENTS
CONTENTS
