Sent and Gathered (Engaging Worship) , livre ebook

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141 pages

English

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Historic changes are occurring in the convergence of worship styles throughout the Christian church. Christians across the theological spectrum are seeking to learn from their own tradition's roots and from the liturgical expressions of believers in other times and places.Here worship expert Clayton Schmit examines worship in church settings around the globe and provides a practical manual for shaping liturgies that are informed by and relevant to contemporary missional contexts. The book broadens current ecumenical worship conversations, reveals insights drawn from the church at worship in the world, and argues for a common understanding of a theology of worship.

Sujets

Philosophie et théologie

Christian worship

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Publié par	Baker Publishing Group
Date de parution	01 octobre 2009
Nombre de lectures	0
EAN13	9781441205223
Langue	English

Informations légales : prix de location à la page 0,0634€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Sent and Gathered
engaging worship
series editors Clayton J. Schmit Todd E. Johnson
E ngaging Worship, a Brehm Center series, is designed to promote reflection on the practice of Christian worship by scholars, artists, and practitioners, often in conversation with each other. Each volume addresses a particular liturgical issue from one or multiple academic disciplines, while exploring ways in which worship practice and leadership can be renewed. Volumes in this series include monographs and edited collections from authors of diverse theological and ecclesial communities. The goal of this series is to bring scholars, students, artists, and church leaders into conversation around vital issues of theology and worship.
The Brehm Center for Worship, Theology, and the Arts is an innovative space for the creative integration of worship, theology, and arts in culture. It is located at Fuller Theological Seminary in Pasadena, California.
Sent and Gathered A Worship Manual for the Missional Church

Clayton J. Schmit
2009 by Clayton J. Schmit
Published by Baker Academic a division of Baker Publishing Group P.O. Box 6287, Grand Rapids, MI 49516-6287 www.bakeracademic.com
Printed in the United States of America
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
Schmit, Clayton J. Sent and gathered : a worship manual for the missional church / Clayton J. Schmit. p. cm. - (Engaging worship) Includes bibliographical references. ISBN 978-0-8010-3165-6 (pbk.) 1. Worship. 2. Mission of the church. 3. Missions-Theory. I. Title. BV15.S334 2009 264.001-dc22
2009017724
Scripture quotations are from the New Revised Standard Version of the Bible, copyright 1989, by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
For Carol, Kyrie, and Jacob
Contents
Acknowledgments
Introduction
Part 1 Worship and the Mission of God
1. Foundations
2. Sending Is Mission
3. There Is a River
4. Worship and the Arts
5. Worship Is Communication
6. Extraordinary Worship
Part 2 A Worship Manual for the Missional Church
7. The Sending
8. The Gathering
9. The Word
10. The Sacraments
Conclusion
Appendix
Bibliography
Acknowledgments
T his book represents a conversation about worship and the missional church. The major voice in this dialogue, with all its opinions and preachments, is mine. Where I have borrowed insights from others or sought to represent their parts of the conversation, I pray I have done so fairly and with accuracy. If there are misrepresentations, the errata are mine.
I am deeply grateful for my many conversation partners. Not all of them can be acknowledged. Some have enriched my view of worship without their knowing it and some have done so without my own knowledge. Such is the school of the church, wherein we are tutored by preachers, worship leaders, prayer leaders, musicians, and countless servants whose names we may not know.
There are, nevertheless, numerous people who have been active partners in dialogue and who have helped to shape the thoughts captured on these pages. I wish to thank these colleagues, pastors, scholars, and lay ministers who have helped formulate and reform both my thinking and my prose: Diane Dard n, Dennis Tollefson, Bob Kaul, Bruce Hanstedt, Tim Kellgren, Rick Lischer, Ryan Marsh, Karen Ward, Bishops Will Willimon and Gideon Maghina, Lisa Lamb, Jeff Frymire, Agnes Lee, Noel Snyder, Bill Brehm, Dee Brehm, Lloyd Ogilvie, Mark Lau Branson, Marguerite Shuster, Chap Clark, David Scholer, Bill Pannell, Jeff Bjork, Melinda Quivik, Diane Jacobsen, Michael Aune, Mons Teig, Gordon Lathrop, Mark Bangert, Jerry Evenrud, Jana Childers, Richard Ward, Todd Farley, Doug McConnell, Ron Kernaghan, Doug Nason, Moses Pulei, Mary Hulst, Mel Robeck, Mike Pasquarello, Rein Bos, Richard Mouw, and John Witvliet. I am especially grateful to the Brehm Center for Worship, Theology, and the Arts and its core faculty and leaders who are my constant companions in dialogue at Fuller Seminary: Fred Davison, Todd Johnson, Ed Willmington, Eddie Gibbs, Bill Dyrness, Rob Johnston, Roberta King, Craig Detweiler, Alexis Abernethy, and Carolyn Gordon. Lynn Reynolds and the rest of the Brehm Center staff have added a strong measure of support as this manuscript was prepared, for which I am highly appreciative. I thank Bob Hosack, editor at Baker Academic, both for his patient encouragement for this project and for his partnership in establishing the Engaging Worship series, of which this book is a part. I am also grateful to Charles Bartow and the echo of his mentoring voice, which stands behind all my academic projects. Finally, and most ardently, I am grateful to my son Jacob who wrestles with angels and teaches me daily how to see God in laughter, music, and technology; my daughter Kyrie, whose name is a prayer, who provided editorial assistance, and who adds dance and music and light to my days; and my beloved Carol who is a song and whose love and support are the foundation on which my life and work are set.
Introduction
What we call the beginning is often the end And to make an end is to make a beginning. The end is where we start from. . . . . . . . . . . . . . . We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.
T. S. Eliot, Little Gidding
T he era of fighting over worship styles and musical preferences in worship is, in some camps, drawing to a close. There is a refreshing breeze of worship renewal blowing through the Christian church not only in North America but also in many places across the planet. It is characterized by churches-local, national, and global-seeking to learn from their historical and denominational roots as well as from the liturgical expressions of Christians in other places. At times, this occurs as one congregation borrows from the resources and practices of a church across town. At other times, it happens when a congregation borrows worship ideas or music from another culture or country. Sometimes both happen at once. 1 But the interest is not merely in borrowing from others. It also involves rethinking patterns of the past and finding in them value for present use. This book addresses the current situation by describing the nature of this liturgical convergence and providing principles for shaping liturgies that are missionally focused, creative, dynamic, theologically congruent, and appropriate to each local setting. It addresses the question of Christian worship in a general way and does not presume to speak particularly to a single worship tradition or denomination. The hope is that we can explore the common ground that unites us as Christian worshipers who gather regularly for prayer, praise, and communion with our Creator.
Constancy and Diversity
The concept for this book emerged through many conversations with scholars, pastors, and leaders of worship. It also derived from participation in innumerable worship services that represent the diversity of today s worship idioms. What these conversations and frequent occasions of being a participant/ observer proved to me is that there is as much commonality among worship practices in Christian churches as there is diversity. Moreover, the things we hold in common appear to be fundamental to Christian worship and are practiced by thoughtful, disciplined believers in all places where God s people gather.
The location for many of these worship conversations and much of the field research has been the fascinating liturgical laboratory known as Fuller Theological Seminary, which is among the world s largest multidenominational institutions. In this rich environment I teach preaching, worship, and church music. Given that there are students and faculty representing more than one hundred Christian denominations and more than sixty countries, worship at Fuller is amazingly diverse. One week, there may be an all-seminary chapel service that is led by charismatic Africans. The next week, a Eucharistic service may be hosted by a British Anglican priest. That evening, a Taiz prayer service may be held, followed the next night by an emerging worship experience.
Fuller s diversity notwithstanding, conversations about worship in the classroom, with faculty colleagues, and with scholars and pastors elsewhere have demonstrated to me that concerns relating to our diversity of practice are often needlessly exaggerated. 2 To be sure, each of us has a set of worship idioms we feel comfortable with, and it is not surprising that we are sometimes suspicious of patterns that are foreign to our own practice. Yet it is self-serving for any one group to insist that its worship is the most authentic or proper. It may be true that some services of worship are more lively than others or that some services seem more chaotic than others. But that has less to do with worship style than it does with the way liturgies are prepared and presented. The most high-church worship may be vivid and engaging, while the most low-church or contemporary worship service might be dull and uninspired. One of the things Christians of all traditions have in common is that we can design and execute worship services in any idiom poorly-or well. Coming from a strong liturgical background (I was raised and remain a Lutheran-a tradition that has often been fairly criticized for snubbing those who practice so-called free forms of worship), I have been humbled while doing the field research of singing and praying with Christians from vastly different backgrounds and traditi