Changing Our Expectations as Kingdom Work

There was a blanket of unlit candles on the altar. The call to worship pressed against the air and people took their postures of worship depending on their current orientation: the cynical sat with their heads buried in the liturgy, leaning on elbows; the expectant sat up straight and joined in the collective voice with a certain measured pleasure; the mystics and contemplatives among us sat back in the chair seeming to anticipate the rhythm of the spoken words with the whole of their body and breath. It was what I expected. The interruption to the normalized liturgy came as an invitation, an invitation to tell stories. We redefined our paradigm: we didn’t come to experience God or get our God-fix for the week. We certainly didn’t come to escape from the very real parts of our world. But… we did come to draw the light towards what God was doing in the world with or without us—to find our place in a kingdom reality. We did come to affirm (and incidentally, to remind ourselves) those moments in our last six days where we’d grazed against grace in the form of beauty, compassion, subversive awakening—whether as a witness or a sideways recipient.

Over and over again people told stories and lit their altar candles to give light to the mysterious incarnation of Christ, to the idea of of living in an unseen reality, an invisible principality. I was blessedly relieved that the stories were rich in “non-spiritual” encounters: nature, art, relationship, even grief. As a worship and teaching pastor (and a very post-church, post-evangelical one, at that) I was expecting the usual barrage of God-saved-me-from-a-car-accident, my-friend-stopped-taking-antidepressants, so-and-so-got-saved kind of sharings. Not that these are illegitimate or not Divine, but they are definitely of the culturally programmed variety and flow from the idea that “kingdom” work is somehow more shiny, sanitary, and objective-driven than other kinds of work.

We continued on after this, but there is no definitive way of explaining the shift in the room. Moving on with the flow of the service was easy, effortless, thoughtful. Communion had more of a celebratory and mysterious air to it than I had experienced in a long while.

I don’t mean to imply that we performed the right magic spell or worship formula. In fact, I think the idea that we conjure up God in our worship is both superstitious and arrogant. But I do think that we woke ourselves up. We started to shift our own expectations—of worship and of God. Perhaps better said, we confronted our expectations of worship and of God by thinking about something bigger.

Here’s what I’ve been thinking about… when that element of our worship began, an element I had planned and mapped out in the liturgy, I didn’t know what to say or what to expect. My own stories failed me and my own personal and private fears—fears that the congregation I served wouldn’t engage—threatened my thought process. And yet the stories were unremarkable and brilliant and sparked my own stories, my own affirmations of God’s amazing, subtle imploding into the world. I was led by the people I was leading. It was humbling and beautiful.

It was the piece of our worship that stayed with people as we went out into our week. It was the piece that would spark more recognitions of God-in-the-world as we move in our path-worn rituals of the week, that we would be moved to honor God, join God in “kingdom” work—or those things that were formed in a place governed by mercy, grace, and beauty.

This is Romans 12:1. Fitting that we brought this to our own community altar, that we re-enact it in a micro way in the worship. Isn’t that what the worship hour should be? A re-enactment of God’s revelation?

It was more than talking and postulating. It was more than Christian nirvana and “entering in.” It was beautiful. I’m so glad I could light my candle to acknowledge the Presence of God—not only right there or right in that perfect combination of worship elements, but now and then. It’s changing the narrative for me. It’s changing for the community that worshipped together and created that beautiful mosaic of encounter.

I hope that you will have stories to tell at the end of the week. I hope that you and your communities are shining lights of the ever-moving hand of God in those places that exist outside our own clichés and our own Christian expectations—because the kingdom of GOD is hard to find inside our own Christian culture. I hope that you find yourself surprised.

Image © Dominik “Dome”

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How are stories acted out in your worship events?

A couple weeks ago, our theme was “story.” This week, our theme is “dramatic arts.” What’s the difference? These two are related, but not the same.

A story is an account of events – real or invented – that is written or told.

A drama is a story, acted out. “Drama” comes from the Greek dran, meaning “do, act.” Dramas involve actors, not just readers. Dramas involve action, not simply description. Dramas involve three, spacial dimensions. A story in a book literally lies flat.

The dramatization of stories happens everywhere in our culture. The media of television, music video, film, and of course the stage all utilize the dramatic arts. But how are the dramatic arts used in church? What does drama have to do with worship?

The first thing that comes to my mind when someone says “dramatic worship” is ritual. My memory scans back to the times I’ve sat in a Roman Catholic mass or other “high” church Eucharist and witnessed the presiders performing “high” drama. The vestments, utensils, and gestures of the celebrant mimic the costumes, props, and physical actions of the actor in a stage play. The story content is different, but in each, the narrative is brought to life by real-life action, not just words.

“Dramatic worship” also makes me think of the that old 1990’s formula for successful drama in church:

… use a six to eight-minute contemporary sketch (comic or serious) to introduce the topic the pastor will address. -Steve Pederson, Drama Ministry, 19

It’s easy to be critical of this particular use of drama for worship, however I have personally experienced sketches in church that made a powerful, lasting impression on me and the others present, helping promote the transformation that worship is supposed to bring.

How else is drama presented in worship? Some churches write, direct, and perform full-length plays, either in a regular worship service, or as a supplementary event. Others take portions of scripture or other poetic writings and divide them up for a number of people to deliver verbally as a “reader’s theater,” with emotion and expression that isn’t typically present in a regular reading of text.

How exactly are stories acted out in your worship events? Which of the forms discussed in this post have you tried successfully? Are there others you use regularly that aren’t listed here? Share with our readers your experience with drama in worship in the comments of this blog post.

Which dramatic arts are used in your worship events? (Choose all that apply.)

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Image © iStockphoto

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A Thousand Voices. A Single Story.

There was so much hub-bub recently surrounding Rob Bell’s book (Love Wins) about heaven and hell. Either people were wrestling with what they perceived as “universalism” or some groups struggled with what seemed to them to be an obvious and long standing theory about spiritual afterlife. I have absolutely no desire to rehash those talking points, but I have to admit how fascinated I was by the fear that seemed to resonate from my own tradition (Evangelical) that was masking as preservationist. It got me thinking – as a follower of Jesus and somebody’s who’s tied my life to the Nicene Creed – that the conversations that followed Rob’s book were as close to Interfaith Dialogue as some of us might venture.

What a pity.

There’s a Native American proverb that sits on my inspiration board: “It takes a thousand voices to tell a single story.” The power of many being greater than the power of the one. The ideas and experiences of many being more potent and – maybe even more necessary – than the experience of the one.

We have started to embrace this idea in worship… and to accept what comes with that: the messy expressions, the ambiguity of mystery, the humility it takes to receive another’s experience as something that informs our own. Pulling this philosophy into our exploration of GOD and spiritual formation is something that we’re still working out practically, even if working on it theologically is still the sticking point for some of us.

But what if it’s absolutely true that it takes a thousand voices to tell this Story? In Paul Knitter’s book “Without Buddha I Could Not Be a Christian” he starts with the idea that our development and spiritual and emotional maturity will naturally find a place to settle, to make ourselves comfortable, and to become stiff, unbending and unlearning. Unaware – to use my own word. The challenge is to venture out on a spiritual quest of sorts, to intentionally and purposefully venture into the traditions and philosophies of another faith and carry back into our own tradition what is enriching and beautiful and true.

All truth is GOD’s truth. All beauty is GOD’s beauty. How can one not read the works of medieval rabbis or the Sufi poets and not encounter that transcendent element? What might be the obstacle to that practice?

As we contemplate the idea of interfaith dialogue, especially from the perspective of worship curators and artists, maybe it’s best if we let go of the notion that dialogue is talking and embrace the idea that dialogue often begins with deep listening. Start with letting the poetry and sacred texts of other faiths sit with you as prayer or meditation. Challenge your experience with the low drone of listening to fervent men in prayer.

I love that image that Knitter brings… of venturing into another territory and drawing the most beautiful and true resources to carry back in the hopes of enriching my own tradition and exploding my naturally shrinking GOD-box. What would this look like in your context? How can you draw from the thousand voices to tell this Story? We could start here – with dialogue between our traditions, sharing resources, and celebrating our experiences.

Peace to you on this great spiritual quest.

Image © iStockphoto

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The Story Wall

I’m sitting in a room with a large group of relative strangers watching as their pens move very thoughtfully over the paper in front of them. In about fifteen minutes, this group will have their names changed from Mr. Blue Plaid Shirt and Ms. Fabulous Hair to Dave Who Learned To Play Guitar As a Response To The Bullies and Nancy Jo Who Marked Childhood Decembers With an Advent Wreath. My newly acquainted colleagues are working through an exercise to capture their stories on paper – but not the way we tend to tell our stories. No, this is a chance to take them from a chronologically contained relaying of the cognitive and anonymous and move into a fluid unfolding, move them into the vulnerable beauty of their unique human experience. Some of their prose makes me laugh. Some of it moves me by it’s tenderness. And some of it scrapes like fingernails along my skin with its tragedy and grief.

This wasn’t simply an exercise to nurture our creativity, even though we’re sitting under the projected image of The Art of Curating Worship and I’m here to prompt people’s sacred imaginations; it seems that we are exercising our ability to open up, to be compassionate, to challenge our expectations of who we are and who that is sitting next to us.

The pieces are hanging on the wall now, moving slightly in the blow of the creaky air conditioner. This section of dry wall seems animated with spirit and soul, dancing under the stories that dress her. It’s hard to not notice it. It’s harder to not be curious about the hearts laid bare on paper.

Story is such a powerful tool. It seems to be woven into our deepest humanity. No wonder Christ used story as his greatest practice for awakening the soul! It draws us out of our assumptions, our selfish expectations, our own limited (and sometimes limiting) experiences. Story has the unique potential to serve as a portal to the mysterious and transcendent, to affect us in a holistic way. Reading these narratives fluttering on the wall engaged my heart in people’s experience, provoked my imagination with their pictures and landscapes, challenged my prejudices – and in turn, my body responded with goosebumps, sinking stomach, bubbling laughter. Story draws us deeper into an experience of our humanity by inviting us into an experience of another’s.

The invitation into experience and out of myself is powerful. And possibly transformative, depending on the story we’re telling.

Worship breaks down to a beautiful story of a GOD pursuing humanity with a reckless love – at least once the props are pulled away and the theological arguments quiet. How does it change your work as a curator if you approach worship as a storyteller? What words would you use?

Pulling the story of GOD out of either an emotional moment in time or a chronological relaying of historical events and into a prose and flow of encounters, experiences and insights into the heart of GOD makes the worship narrative a profoundly reshaping experience – and the narrative makes room for everybody. It can invite everybody. It can provoke everybody.

So be a bard, a story-teller, a poet. It is, after all, the first language of our souls.

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The Better Story

When I was eleven, my best friend and I had a weakness for tween romance novels. So, we decided to write our own, naming our main character “Chrystal.” My friend would take home the composition book one night and write a chapter then I’d take it the next to add my chapter. But it was finished after only three chapters. Because it went like this:

Chapter One: Chrystal starts at a new school
Chapter Two: Chrystal sees a boy across the classroom and hopes he likes her
Chapter Three: Boy expresses his love for Chrystal
The End

We didn’t have time for conflict or suspense. The only thing we cared about was the kiss i.e. resolution. It was the worst story ever written.

Which brings to mind one of the best stories I’ve ever read, Yann Martel’s Life of Pi. Early in the story, the claim is made that this story will make you believe in God. Quite a tall order! (As the narrator, himself, admits.) Without giving away how the author attempts this, the following excerpt gives some insight into the author’s appreciation of the connection between God and story:

I can well imagine an atheist’s last words: ‘White, white! L-L-Love! My God!”–and his deathbed leap of faith. Whereas the agnostic, if he stays true to his reasonable self, if he stays beholden to dry, yeastless factuality, might try to explain the warm light bathing him by saying, “Possibly a f-f-failing oxygenation of the b-b-brain,” and, to the very end, lack imagination and miss the better story. p.64

As Life of Pi and many other great books have shown me, story has the power to help the reader experience God and, as such, can inform our theology. In conversations with my academic friends, when we’re sharing about important books which have shaped our faith and theology, I’m often surprised by how many of mine are stories.

Here are a few which have been life-changing:

A Severe Mercy by Sheldon Vanauken
A Wrinkle in Time by Madeleine L’Engle
The Princess and The Goblin and The Princess and Curdie by George MacDonald
Till We Have Faces by C.S. Lewis
Silence by Shusaku Endo (scheduled to be released as a major film by Martin Scorcese in 2013)

Read excerpts from these or books from this list at a worship event, or invite a few individuals to share a spiritual kind of book review (i.e. ask them to share how the book helped them see God in a new way).

Consider the bible’s overarching story (Creation, Fall, Redemption, The Church) and invite responses to it by asking questions like:

  • Why, if God knew that we would turn away, were humans created in the first place?
  • Why did God wait thousands of years between that moment of Fall and the fulfillment of the promise through Jesus to restore us?
  • And why, once we’d been restored to God through Jesus, did God decide to keep the world going for thousands more years?

Experience stories from the bible as the characters lived them: without knowing the resolution. Be Joseph in prison without knowing he would one day become second-in-command over the kingdom. Be Abraham at the altar with his son before he saw the ram in the bushes. Because that’s how we experience our own stories – they’re incomplete.

Invite worshipers to write a story of how God has worked in their own lives in the way bible stories are often told.

How can you view the whole service/worship event as a narrative? Consider elements of a story like setting, characters, sequence, exposition, conflict, climax and resolution to create your story-event.

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