In search of holistic Christian witness, we must cultivate new approaches for integrating the arts into mission praxis. Written by missiologists, art critics, ethnodoxologists, and theologians from around the world, these essays present historical and contemporary case studies while calling Christians to understand the power of art for expressing cultural and religious identity, opening spaces for transformative encounters, and resisting injustice.
In search of holistic Christian witness, we must cultivate new approaches for integrating the arts into mission praxis. Written by missiologists, art critics, ethnodoxologists, and theologians from around the world, these essays present historical and contemporary case studies while calling Christians to understand the power of art for expressing cultural and religious identity, opening spaces for transformative encounters, and resisting injustice.
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.
The Georgetown Companion to Interreligious Studies provides fifty thought-provoking chapters on the history, priorities, challenges, pedagogies, and practical applications of this emerging field, written by an international roster of practitioners of or experts across diverse religious traditions.
We all understand the importance of constructive dialogue between people of diverse religions, and we can all appreciate the enjoyment received from viewing pictorial art. What, therefore, does the use of pictorial art for interreligious dialogue look like? PICTORIAL ART FOR INTERRELIGIOUS DIALOGUE, commissioned by the 2020 International Fellows Programme of the King Abdullah bin Abdulaziz International Centre for Interreligious and Intercultural Dialogue (KAICIID), explores the unique usage of pictorial art to undertake interreligious dialogue. It presents a practical guide to help educators learn and teach an effective and enjoyable interreligious dialogue within their academic settings. This book offers an alternative to prevailing approaches to interreligious dialogue through its Structured Arts-based Educational Dialogue (SAED). The SAED approach will transform pictorial art into a channel for dialogue through the artwork’s form, content, and subject matter, serving as speaking points in the dialogical process informing the life experiences and religious ideas of the dialogue partners. Herein lies a new power for interreligious dialogue, to know and love the religious other through a mediated, personal and arts-based dialogical approach.
The emergence of the field of interreligious studies is emerging as a response to critical issues within our religiously plural world. Religious conflicts, large and small, continue to plague our society, as the challenges of navigating religious difference emerge in daily encounters among people who would like to get along in the public square that they fashion together. These challenges unfold within families, congregations, college campuses, workplaces, communities, media, and cyberspace. This volume offers a comprehensive introduction to interreligious studies. Providing an overview of the history, terms, and characteristics of the field, Rachel Mikva explores the ethical, philosophical, and theological foundations for pluralism. She also presents guidelines and case studies that demonstrate how interreligious understanding and solidarity can be achieved. Designed for use in undergraduate and graduate courses, the volume also will be useful to medical doctors, social workers, police officers, corporate managers, and others whose work requires multi-cultural competence.
Challenging other narratives of mission history, Skreslet offers a new speech-act theory approach to the modern roots of World Christianity that differentiates between what a missionary might intend to communicate and the effects of what has been said or actions taken both in the moment and over time.
Heaney traces the hidden history of music's presence in Christian thought, including its often unrecognized influence on key figures such as von Balthasar, Barth and Bonhoeffer. She uses Lonergan's theological framework to explore musical composition as a theological act, showing why, when and how music is a useful symbolic form. The book introduces eleven ground-breaking theologians, and each chapter offers an entry point into the thought of the theologian being presented through an original piece of music, which can be found on the companion website: https://bloomsbury.pub/suspended-god. Heaney argues that music is a universally important means of making sense of life with which theology needs to engage as a means of expression and of development. Musical composition is presented as an appropriate and even necessary form of doing theology in its quest to engage with the past, mediate truth to the present and tradition it into the future.
Indigenous peoples of Brazil have come to faith in Christ in large numbers in recent decades. As Christianity takes root in each culture, it may incorporate expressive forms of music and art, which can range from those identical to earlier cultural forms to those which are fully imported. But what happens when musicians and artists of a local indigenous community fuse elements from a variety of genres and create their own music? Are they just imitations of external forms? Or are they authentic creations from elements that have now become their own sounds, too? Christian musicians among the Xerente (pronounced Sheh- ́ren-teh) have created their own fusion genre(s) to express their faith, communicate the gospel, and edify their churches. Their music includes elements from their cultural tradition as well as from (secular) genres of the northeastern region of Brazil. Is it, then, authentically Xerente? As we discuss in this book, independent of tangible markers or its long history, the authenticity of an art form can be demonstrated through a number of connections with the community and signposted by its meaning and function among the people, as well as the competence and agency of the people in their artistic choices.
Art As Witness is an invitation for professors, researchers, clergy, educators, students, and activists to creatively integrate the arts in theology and religious studies for a practical theology of arts-based research that prioritizes public witness. This methodology challenges the traditional written word as being the privileged norm, arguing that this emerging research genre is an excellent, viable, and necessary option for research that supports, promotes, and publicizes liberating theology for the marginalized, victimized, and oppressed. It includes a detailed case study of “Art Inside Karnes,” the all-volunteer arts-based ministry of presence the author facilitated inside a for-profit immigrant family detention center that became the Power of Hope traveling art exhibit for education, advocacy, and public witness. This primer covers practical ethical, legal, and political matters; includes pedagogical examples for how to use arts-based research for student assessment in theology and religious studies; and provides an overview of arts options, including literary genres, visual arts, fabric arts, theater, filmmaking, and new media with digital content. Art as Witness features 40 illustrations, several case studies, and multiple contributing theologian-artists who engage the arts in themes that include immigration, HIV/AIDS, biblical studies, political protest, gender equity, gun law reform, racial justice, and more.
