I’m happy to share “Digital Worship,” a podcast that I worked on for Wartburg Theological Seminary. These are important conversations about how we approach worship in these digital-bound days.
“Away from the Manger (Refugee King)” written by Liz Vice, Wen Reagan, Bruce Benedict, Greg Scheer, Lester Ruth. © 2018 Cardiphonia Music.
Performed by Clayton Faulkner and Annika Becker (oboe) for Lessons and Carols for Advent 2019 at Faith Lutheran Church, Bellaire, TX.
Download the original chord chart here.
Download my arrangement chord chart here.
Download the oboe/C instrument part I wrote here.
While we were planning for the Lessons and Carols service this year, there was a question as to what should be the carol sung between the last two readings (Luke 2:1-7 and John 1:1-14). It was very providential that I came across this song last week when trying to decide what that last carol should be. It turned out to be quite fitting not only for that spot of the service, but also for the larger season of Advent, and the situation of our world today. One attendee said, “the words were so very appropriate for us to hear with so many babies and young children being held in confinement centers at our borders.”
The connections this song subtly makes are jarring. Jesus was a refugee. His parents were terrified. They were running for their lives. The same is true for immigrants and refugees today. I’m aware of the story of Carlos Gregorio Hernandez Vasquez, a 16-year-old from Guatemala who crossed the border in Texas in May and died in U.S detention on May 20 from lack of adequate medical care. Carlos crossed the border because his brother has special needs, and he came to earn money to support his brother back in Guatemala. He is the seventh child that has been reported as dying while in detention near the southern border.
“Keep us from Herods and all of their lies,” is the lyric that sets this song apart. It has the bite of Canticle of the Turning’s “Let the king beware for your justice tears ev’ry tyrant from his throne” (Rory Cooney). One of the ways that empires maintain control is through an alternative narrative. Lies feed people the fear that allows for oppression to take place. We should take note when kings and emperors tell us to not treat everyone as a neighbor. They are the lies of empire, not God’s kin-dom.
Some backstory from one of the composers, Liz Vice: “Earlier this year I was invited to a conference at Calvin College in Grand Rapids, MI to have a conversation about Christmas carols and how most don’t give an accurate depiction of the scene of God coming to earth in the flesh. A group of us gather into a room and reprised “Away in A Manger”. Side note: Since I wasn’t there, you know, at the actual scene of the Christ’s birth, I can only use my imagination with the scripture I’ve read. Matthew 1:18-25 Joseph’s dream to flee/run/ escape to Egypt Matthew 2:13-14 “When they had gone, an angel of the Lord appeared to Joseph in a dream. “Get up,” he said, “take the child and his mother and escape to Egypt. Stay there until I tell you, for Herod is going to search for the child to kill him.”
Live video of Liz Vice singing:
Official audio version:
Away from the manger they ran for their lives
The crying boy Jesus, a son they must hide
A dream came to Joseph, they fled in the night
And they ran and they ran and they ran
No stars in the sky but the Spirit of God
Led down into Egypt from Herod to hide
No place for his parents no country or tribe
And they ran and they ran and they ran
Stay near me LORD Jesus when danger is nigh
And keep us from Herods and all of their lies
I love the LORD Jesus, the Refugee King
And we sing and we sing and we sing
Many following the #ELCAcwa this year have seen the image being discussed and heard the apology offered by Bishop-Elect Strickland. Many have asked how such an offensive thing could happen. As the person who selected the images for worship, I want to offer my apology as well. I apologize to you my colleagues, the Churchwide Assembly and Churchwide leaders and most of all to my African American brothers and sisters who were wounded by this. I know that many were troubled, shocked, hurt, and disgusted by the use of the image. Something I worked on was hurtful, and for this I am deeply sorry.
I do not intend to offer a defense of why the image was used, only an explanation that might help shed light. I was searching for images to align with the gospel text of the service:
“for I was hungry and you gave me food,
I was thirsty and you gave me something to drink,
I was a stranger and you welcomed me,
I was naked and you gave me clothing,
I was sick and you took care of me,
I was in prison and you visited me.”
This image of someone being visited in the hospital was selected to lift up the African American experience, support their inclusion in representation, and exemplify ministry to the sick. My own cultural situation and lack of knowledge on this genre of art caused me to not see what was evident to others. The representation of African Americans in minstrel art has a painful history. I was unaware, and we did not have enough diversity in our group that vetted and approved the images. I know these issues are being addressed and they will be handled more carefully in the future.
I am fully aware of the place that racism has in my own life. As a white male born and raised in rural south Texas, it is endemic to me in a deep way. At the same time I am deeply invested in anti-racist ways of being. I find Luther’s sinner/saint idea very fitting here. I have the sin of racism embedded in me while I learn to fight and dismantle it.
I want to echo the words my friend Kathy Patrick shared on Facebook: “(this apology) is a clarion call to recognize that we white people in the church have a LOT of work to do to increase our cultural competence, including by diversifying our leadership, so that we can see as we should see. This was not one person’s mistake, it is OUR mistake. We all make similar mistakes every day that injure our siblings of color and the terrible thing is, we do it thoughtlessly because we do not know what we should know.”
I personally intend to do some things differently as I learn and grow from this:
- I will do some reading to learn more about the history of minstrel art and plays. If you have resources or websites you recommend, please share them with me.
- I will make sure that any worship planning team that I am part of has a diverse representation of leadership.
- When I am considering using a piece of art or music for worship, I will ask for feedback from African American colleagues.
- I will encourage people of color to lead us in selecting images for churchwide events.
- I will engage in our synod’s anti-racism training.
- I will explore and lift up the work of African American artists. If you have a favorite, I would appreciate if you shared them with me.
I experienced some backlash this week after sharing a Patheos article on Facebook. The article, “How Offering Different Worship Styles Contributes to Church Decline” by Jonathan Aigner has made the rounds recently.
One commenter referred to the article as “toxic waste,” said I was wasting my time, and claimed I was starting a “worship war.” I found it hard to understand why there was such fiery backlash. Most of the objections were because they felt the author was invalidating any style of worship other than his personal preference. They seemed to think that the author was advocating for one, and only one way of worship.
To be upfront, the author is coming from a Baptist, evangelical framework which could be a reason for some of the backlash. And the author did take some potshots at contemporary worship: “Sentimental worship is just as toxic as contemporary worship.” Perhaps it was because I was just skimming the article, but when I read I tend to skip over the less helpful parts and focus on the things I think are said well. For example, one of the highlights for me was this excerpt:
“When we tell our people that we’re here to connect them with God through their own preferences, we are telling our people that worship is about their story.
When we suggest that corporate worship is about fitting everyone just right, we are telling our people that worship is about their story.
When our strategies for church growth hinge on making the worship life of the church fun, entertaining, and easy, we are telling our people that worship is about their story.
When we design worship services to flow seamlessly like a theatrical production, we are telling our people that worship is about their story.”
I have long questioned whether offering multiple styles of worship within one congregation is all that helpful. Is it a quick fix, a patch job, any easy way out of the slow, painstaking work of building a community that actually appreciates one another and puts their needs second to their neighbor?
Can we really claim to be surprised when church members act immature or self-centered after we have programmatically catered to their whims and preferences?
There are good reasons to offer multiple styles of worship. I think you could say that a church in a metropolitan, or ethnically diverse suburban area is being contextually faithful by offering multiple styles. But do we lose something by not learning each other’s songs? Are we missing a depth and richness of our song when it is stylistically monochromatic?
The real worship war is not about musical style or preference. The real worship war is about narrative. Who gets to be the main character in our worship? Whose story is the reason we assemble in worship?
If you were to visit a church in North America today, chances are you would be faced with a choice: contemporary or traditional. Occasionally there might be a third option of “blended.” There might also be additional styles of worship offered (emerging, recovery, Taizé, liturgical, etc.). Faced with these choices, those assembled are practically begged to answer the questions, “What is my preference?” “What do I like?” and “What works for me?”
These choices for worship have come to be expected in many churches. Is there anything wrong with them? Perhaps they are a cultural phenomenon in a society bent on individualization (a symptom of the Burger King ethos where you can “have it your way”). Perhaps they are the church’s most missional effort to reach as many people possible with the gospel of Jesus. However, a church that encourages self-preferential behavior seems to run against the path of discipleship that teaches, “Do nothing from selfish ambition or conceit, but in humility regard others as better than yourselves” (Philippians 2:3). What style would worship take if those assembled regarded others as better than themselves?
Reframing the style question
When a new church is birthed or when an existing church launches a new opportunity to assemble for worship, do they ask, “Are we going to be traditional, contemporary, or blended?” Do they look at what the largest church in town does and duplicate it? Is there another way to discern what style of worship a church should employ? Maybe a church has decided that offering multiple styles of worship has become divisive and done more harm than good. Perhaps their question is, “How do we move past traditional and contemporary?”
“Traditional,” “contemporary,” and “emerging” are merely labels. There are instances when our labels are not necessarily helpful or accurate. (see also, “How is worship traditional? How is worship contemporary?”) Regardless of their benefit or precision, these styles for worship have developed and the labels have become affixed to the church’s conscience. In order to move past these labels, a better question may be needed: “How do we figure out what our local worship should sound like?”
“Jesus whom we worship was born into a specific culture of the world. In the mystery of his incarnation are the model and the mandate for the contextualization of Christian worship. God can be and is encountered in the local cultures of our world. A given culture’s values and patterns, insofar as they are consonant with the values of the Gospel, can be used to express the meaning and purpose of Christian worship. Contextualization is a necessary task for the Church’s mission in the world, so that the Gospel can be ever more deeply rooted in diverse local cultures.” (Nairobi Statement on Worship and Culture, 3.1)
The Nairobi Statement reasons that worship, as it dynamically relates to the given culture in which it is enacted, is contextual. Worship cannot be disconnected from the time and place in which it is enacted. Many of the factors pertaining to how worship is offered are determined by its particular context. “We call on all churches to give serious attention to exploring the local or contextual elements of liturgy, language, posture and gesture, hymnody and other music and musical instruments, and art and architecture for Christian worship.” (Nairobi Statement on Worship and Culture, 6.1) Faithful worship does not ignore the people or culture in which it is located.
Suggestions for making worship contextual
To return to our reframing question: “What should our local expression of worship sound like?” Contextual worship makes use of the music, language, and artistic forms of the local culture the church is planted in. This means that Lutheran worship in downtown New Orleans will potentially be radically different than Lutheran worship in rural Montana. Regardless of how radically different they appear in form and content, they both remain faithful enactments of Lutheran worship. The willingness to connect to the surrounding culture and become contextual make their worship faithfully Lutheran, not their predilection for Baroque-era European music. Contextual worship requires rooting into the neighborhood. There are no shortcuts to contextual worship; real, relational, outwardly focused ministry is the only way to discern context. Contextual worship does not imply a disregard for global music or the historical practices of the church.
The sounds of a worshiping assembly should be reflective of the culture that it is planted in. The musical gifts present that are present within a local church should be used to make worship contextual. The Holy Spirit, equipping her for ministry, gives these gifts to the local church. Many churches have a preconceived idea that worship should sound a certain way, requiring particular instruments for worship to sound that way. Instead of hiring a drummer or hiring an organist because of the perception of what worship should sound like, worship should sound like what you are.
The sounds of contextual worship, produced by the people that God has gifted to a church, should be current and modern, as well as reach back into the history of our faith.
P.S. For further analysis of how to enact faithful, Lutheran worship that is also transcultural, counter-cultural, and cross-cultural, see Can We Talk? Engaging Worship and Culture.
Somebody’s Prayin’ by John Elliott, arr. Mark Hayes.
Clayton Faulkner, vocals
Joanna Thornton, piano
Will Van Horn, pedal steel guitar
As a resident of the Houston area, Hurricane Harvey has made an impression on me. We take storms of this caliber very seriously. So seriously that schools close for multiple days and churches cancel Sunday worship services. We are better safe than sorry. Flooding and dangerous roadways are the biggest concern.
With so many churches canceling worship services on Sunday, there have been several devotions made available for home use. Here is a list of litanies, prayers, and devotions I found for use in times of inclement weather. Feel free to share others that you may know.
- A Liturgy for Times When Storms Arise (from Celebration in Cypress, TX)
- A Liturgy in a Time of Storm (from Kindred in Houston, TX)
- Litany in Response to a Hurricane
- Prayer Book for the Hurricane and Tornado Seasons (from Thomas Weitzel)
- Storm Sunday Liturgy (from Australia)
- In the Eye of the Hurricane (by Kwasi Kena)
- A Hurricane Liturgy (from Lent and Beyond)
- Resources Created from Hurricane Katrina (from The Text This Week)
- A simple liturgy posted by Bishop Mike Rinehart to Facebook:
Light a candle.
Pray: O God, with all your faithful followers of every age, we praise you, the rock of our life. Be our strong foundation and form us into the body of your Son, that we may gladly minister to all the world, through Jesus Christ, our Savior and Lord.
Look up these texts, read and discuss:
The coastlands look for deliverance…
If God had not been on our side, the raging waters would have overwhelmed us…
Do not be conformed to this world, but be transformed by the renewing of your minds…
You are Peter, and on this rock I will build my church, and the gates of Hades will not prevail against it…
Pray for the church, the world, your family, your congregation, the needy, the dearly departed.
Pray The Lord’s Prayer
Bless one another and share the Peace.
Why do you like to sing? There is something transformative that happens when our soul and body connect to the melody and text of a song. Here are what I consider to be the top 5 reasons why we should be singing in church. These ideas are adapted from Dennis L. Bushkofsky and Craig A. Satterlee, The Christian Life: Baptism and Life Passages. Augsburg Fortress, 2008. p. 55.
- Singing is communal. Singing in church is meant to be more than a bunch of solo voices forming notes at the same time in one space. When an assembly breathes together at the same time, creating the same pitches and harmonies, something unites all our solo voices into one. We become connected to everyone in the space. This connection seeps out of the current time and place and touches all believers from past and future and across the world.
- Singing nurtures faith. You are what you eat. In the same fashion, you believe what you sing. The story of God’s creation, reconciliation, and new creation is best learned in the psalms, songs, and hymns that have sustained generations before as well as those yet to come.
- Singing shapes memory. The songs that nurture our faith also give us the handlebars to hold onto our faith when crisis and frailty arrives. The songs of our brothers and sisters can lift us up and remind us of God’s faithfulness when we need it. Sometimes we need to sing for others. There will be times when others need to sing for us.
- Singing opens us to the Spirit. Just as the Spirit hovered over the waters at creation, God makes a home amidst our praises. When we sing in community the hardened parts of our heart are broken open. We become open and receptive to how God is moving around us.
- Singing builds trust. When I open my mouth and sing in church I am instantly vulnerable. What if I stick out? What if I sing out of tune? What if I sing the wrong word? What if people think my voice is ugly? There is nothing like vulnerability that provides a place for trust to grow. And church is the one place where we should be able to trust that we are loved.