… in the previous post:
- Yes, the musos are fabulous! While I certainly could do without the singers and the dancers, that music is a gift from a place that is very familiar to God. That it is apparently quite unfamiliar to many who profess to like and practice the kind of stuff that God likes and practices is something very near tragic. A spirit of celebration and praise is near the heart of all worship characterised by the gifts and promises of one literally pushed into the world kicking, farting, and screaming.
- Of course, every good thing has its ape, but apes are only apes and it seems only fair that they be allowed to have some fun too.
- But I concur with those who note the incongruence between the message and the medium. It’s like seeing an athletic woman selling ‘health drinks’ or muesli bars; you suspect that you’re being sold bullshit. More on this in a moment (see #6).
- However, far from seeing this performance as something that I ought to therefore dismiss out of hand, which may be an understandable first reaction, I feel drawn to ask further questions. I want to know, for example, what happens before, and after, this song. How am I to interpret this single performance in the context of a larger event and story and witness, and of a culture largely foreign to me? Maybe it’s simply – whether partly or mostly – a piece of shallow and money-making glitz and that’s all. But I can’t even begin to form that judgement unless I have some broader context – and some other stories – in which to evaluate it, lest my judgement be held hostage to simply another set of cultural manifestations. (Some, of course, might well argue that much of that context is already provided for us in other stories that we have heard and/or experienced first hand about Hillsong’s modus operandi. But I want to know more, and I’ve long learnt that the truth ain’t the facts.)
- That the piece doesn’t work in the cultures with which I identify and am most familiar and conversant doesn’t mean that it’s necessary discordant with the actions of God. After all, God isn’t a Christian, let alone a male Aussie with wog parents. Hell, I’m not even sure God speaks English. Indeed, one might make the argument that the stranger and more unfamiliar and more difficult it is to understand and interpret, the closer it may be to the stuff of God. (I’m not suggesting for a moment that this is Hillsong’s motivation here.) Nathanael’s observation about the Caribbean context, and that GQ article too, raise some perennial questions for me about the relationship between gospel and culture, of the temptations to make an ideology out of the former and of making indiscriminate familiarity with the latter the precondition for the gospel’s reception.
- Watching the performance of this single song, online, nearly 17,000 kilometres from where it was performed, I have the same kind of confusion I experience whenever I worship in a building with a national flag in it; or an Honour Roll commemorating those who gave their lives in ‘the service of freedom’ and ‘for God, King and Country’, some of whom, it is noted (sometimes with the sign of a little cross!), ‘paid the supreme sacrifice’; or whenever I see a reference, in my ecclesiological territory, to ‘senior pastor’; or when I hear that a qualification for being a bishop (in some other ecclesiological territories) is proof of a penis; or whenever I see an innocent bunch of carnations perched on a baptismal font; or whenever congregations celebrate the Lord’s Supper not with a common cup but with those hideous little shot glasses; or when I see a funeral casket draped with the flag of a football team; or when I see church children get shuffled off out of ‘adult church’ so that they can engage in some more ‘age-appropriate’ activites; or when I visit a church worship centre in rural Thailand that is, visually speaking, entirely indistinguishable from the Buddhist temple down the road save for a presence of a small crucifix. I could go on …
- A hearty thank you to all who have taken up my invitation. If to embark on theology is to be unstable bearers of live questions (as Mike Higton puts it), then I welcome the invitations that this clip offers, and the conversations that it has encouraged. May both continue.
Thanks Jason – just came across your words here after posting on the other thread with one suggestion as to what that very missing context might be. Thanks for your preference for hermeneutical patience on this and for the excellent reminder that what is obvious in different cultures and contexts differs widely.
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Thanks to Byron for providing info on that important word – context. I’ve never been drawn to the Hillsong mode of worship. But, exuberance is an attractive quality.
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Yep: “Exuberance is Beauty” (Blake). It’s the reducibility of worship to what Andre Muller, in an earlier comment, refers to as “the modern cult of self-expression”, and the actual nature (distorted?) and object (projection?) of the desires expressed, that I would want to explore further.
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I read it was part of a play and this version of the song was Harod’s raunchy way of “worshipping” the King. Later it was sung in a more reverent way it is usually sang. Still more research to do. But if this is true it makes sense.