Global Arts and Christian Witness (Mission in Global Community) , livre ebook

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146 pages

English

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Veteran missionary-scholar Roberta King draws on a lifetime of study and firsthand mission experience to show how witness through contextualized global arts can dynamically reveal Christ to all peoples. King offers the global church biblical foundations, historical pathways, theoretical frameworks, and effective practices for communicating Christ through the arts in diverse contexts. Supplemented with stories from the field, illustrations, and discussion questions, this textbook offers innovative and dynamic approaches essential for doing mission in transformative ways through the arts. It also features a full-color insert of artwork discussed in the book.

Informations

Publié par	Baker Publishing Group
Date de parution	16 juillet 2019
Nombre de lectures	0
EAN13	9781493418107
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,0778€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Cover
Endorsements
“What hath Christian witness to do with the arts? Well, virtually everything, according to King. The author’s assertion is sorely needed and long overdue, particularly in a day when 70 percent of the world’s people can’t, don’t, or won’t read. King’s lifelong ministry and academic engagement as an active ‘musicianary’ make her se asoned reflections here a must-read!”
— James R. Krabill , Anabaptist Mennonite Biblical Seminary; general editor, Mission and Worship for the Global Church: An Ethnodoxology Handbook
“King brings us a very important reveal about why artistic specialists and expression stand central to effective gospel proclamation. Creative, with plenty of stories, culturally sensitive, and filled with insight and life, this book provides much help for how indigenous Christian community formation really happens. Artists, musicians, missionaries, worship leaders, and anyone else who is concerned about the church making sense in her context will find this book to be a must-have. King gives her life for these insights, and now we get her wisdom distilled in ways that will increase our ministry effectiveness. Along the way, too, she affirms all the artistic kingdom servants so often overlooked for the strategic role they play in God’s kingdom purposes.”
— Byron Spradlin , president, Artists in Christian Testimony International
“Inviting the reader on a global spiritual and artistic safari, King has richly and skillfully advanced our understanding about the role, importance, and impact of the arts in its ability to incarnate the good news in cross-cultural contexts. Informed by twenty-two years of missionary ministry in East and West Africa and over two decades of academic leadership at Fuller Theological Seminary, King has adroitly crafted and curated a resource that provides a theological and missional framework for expressive cultural interaction through the arts that becomes a platform that leads to authentic spiritual dialogue and gospel witness.”
— Stan Moore , president of the executive board, Global Consultation on Music and Missions; B. H. Carroll Theological Institute
“Packed with stories on subjects ranging from Bono to the Senufo, this volume will motivate and inspire its readers to think in new ways about the value of global arts in the church. I especially appreciate King’s ten recommendations for needed shifts in our thinking. If these shifts could be implemented today, the use of arts in witness and worship worldwide would change dramatically for the better.”
— Robin Harris , Center for Excellence in World Arts, Dallas International University
Series Page

S COTT W. S UNQUIST AND A MOS Y ONG , SERIES EDITORS
The Mission in Global Community series is designed to reach college students and those interested in learning more about responsible mission involvement. Written by faculty and graduates from Fuller Theological Seminary, the series is designed as a global conversation with stories and perspectives from around the world.
Title Page
Copyright Page
© 2019 by Roberta R. King
Published by Baker Academic
a division of Baker Publishing Group
PO Box 6287, Grand Rapids, MI 49516-6287
www.bakeracademic.com
Ebook edition created 2019
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—for example, electronic, photocopy, recording—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews.
Library of Congress Cataloging-in-Publication Data is on file at the Library of Congress, Washington, DC.
ISBN 978-1-4934-1810-7
Unless otherwise indicated, Scripture quotations are from the Holy Bible, New International Version®. NIV®. Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc.™ Used by permission of Zondervan. All rights reserved worldwide. www.zondervan.com. The “NIV” and “New International Version” are trademarks registered in the United States Patent and Trademark Office by Biblica, Inc.™
Scripture quotations labeled CEB are from the COMMON ENGLISH BIBLE. © Copyright 2011 COMMON ENGLISH BIBLE. All rights reserved. Used by permission. (www.CommonEnglishBible.com).
Scripture quotations labeled NASB are from the New American Standard Bible® (NASB), copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation. Used by permission. www.Lockman.org
Scripture quotations labeled NRSV are from the New Revised Standard Version of the Bible, copyright © 1989 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
Dedication
For the Lord of the harvest

To my students, colleagues, and global companions
who witness to Christ’s glory and salvation through music and the arts
Contents
Cover i
Endorsements ii
Series Page iii
Title Page iv
Copyright Page v
Dedication vi
List of Illustrations ix
Series Preface xi
Foreword by Mark Labberton xiii
Acknowledgments xv
Prelude: My Art, Go d’s Mission? 1
Part 1: Foundations in Global Arts and Christ-Centered Witness 23
1. Negotiating Faith and Culture 25
2. Communicating Christ through Global Arts 43
Part 2: Encountering Christ through Global Arts 63
3. Exegeting Cultures through Global Arts 65
4. Translating the Message via Global Arts 87
5. Theologizing with Global Arts 109
Part 3: Engaging Peoples for Christ via Global Arts 135
6. Contextualizing the Gospel in Daily Life via Global Arts 137
7. Telling God’s Sto ry among Oral and Postliterate Peoples 161
8. Global Arts in Peacebuilding and Interfaith Dialogue 185
9. Appropriating Global Arts in Multicultural Settings 209
Postlude: Revealing God’s Glory and Salvation via Global Arts 233
Webography 247
Bibliography 255
Index 263
Photo Insert 270
Back Cover 271
Illustrations
Figure 1 (prelude): Missional gem (Psalm 67) 8
Figure 2 (prelude): Missional gem (Psalm 96:1–5) 10
Figure 3 (prelude): Missional gem (Psalm 98:1–5) 12
Figure 4 (prelude): How this book is organized 16
Figure 1.1: Hiebert’s dimensions of culture 30
Figure 1.2: Global arts, expressive culture, and Christian witness 35
Figure 2.1: Crucifixion batik from Bali 51
Figure 2.2: Senufo balafons and drums “singing” the gospel 52
Figure 2.3: The more believable signal systems 58
Figure 3.1: Global arts: experiencing, expressing, engaging 66
Figure 3.2: Map of the African continent 68
Figure 3.3: Senufo believers praising God in their local context 73
Figure 3.4: Senufo images of both their physical world and their worldview, on hand-spun cotton 74
Figure 3.5: How Senufo songs function like the Word of God 82
Figure 4.1: Nyarafolo traditional pire drum ensemble 99
Figure 4.2: Bible translation and the arts: a cyclical process 103
Figure 4.3: A Christian’s journey from the old Adam to the new Adam (acrylic on canvas) 107
Figure 5.1: The abundant catch of fish: a Tanzanian setting 113
Figure 5.2: The centrality of God’s Word in active theologizing 114
Figure 5.3: Dinka cattle: a focal point of life 129
Figure 5.4: Dinka believers and the cross 130
Figure 5.5: Hermeneutical spiral and the arts 133
Figure 6.1: God’s people, global arts, Christian witness 138
Figure 6.2: Koya’s art exercise from a trauma healing workshop 143
Figure 6.3: The arts: from witness to worship and life-in-between 147
Figure 6.4: Daily life: women at the well (Republic of Congo) 149
Figure 7.1: Maasai singers and dancers 163
Figure 7.2: Global arts and storying 171
Figure 7.3: Storyteller (Côte d’Ivoire) 182
Figure 8.1: The kora of West Africa: twenty-one-string harp-lute 189
Figure 8.2: The oud, a Middle Eastern musical instrument 190
Figure 8.3: Musical spaces of relating 192
Figure 8.4: Dialogues of beauty and art 197
Figure 8.5: Whirling dervishes of Damascus and Byzantine priests at the Fez Festival 204
Figure 9.1: Stepping-stones to forging relational bonds: music and the creative arts 224
Figure 1 (postlude): Lifeline of global arts and witness: three strands braided together 237
Series Preface
A mission leader in 1965, not too long ago, could not have foreseen what mission would look like today. In 1965 nations in the non-Western world were gaining their independence after centuries of Western colonialism. Mission societies from Europe and North America were trying to adjust to the new global realities where Muslim nations, once dominated by the West, no longer granted “missionary visas.” The largest mission field, China, was closed. Decolonization, it seemed, was bringing a decline to missionary work in Africa and Asia.
On the home front, Western churches were in decline, and the traditional missionary factories—mainline churches in the West—were struggling with their own identities. Membership was then—and remains—in decline, and missionary vocations were following the same pattern. Evangelical and Pentecostal churches began to surpass mainline churches in mission, and then, just when we thought we understood the new missionary patterns, Brazilians began to go to Pakistan, and Malaysians began to evangelize Vietnam and Cambodia. Africans (highly educated and strongly Christian) began to move in great numbers to Europe and North America. Countries that had been closed began to see conversions to Christ, without the aid of traditional mission societies. And in the midst of this rapid transformation of missionary work, the alarm rang out that most Christians in the world were now in Asia, Latin America, and Africa rather than in the West.
What does it mean to be involved in mission in this new world where Christianity has been turned upside down in less than a century?
This series is directed at this new global context for mission. Fuller Theological Seminary, particularly through its School of Intercultural Studies (formerly School of World Mission), has been attentive to trends in global mission for over half a century. In fact, mu