Endorsements
What hath Christian witness to do with the arts? Well, virtually everything, according to King. The authors assertion is sorely needed and long overdue, particularly in a day when 70 percent of the worlds people cant, dont, or wont read. Kings lifelong ministry and academic engagement as an active musicianary make her seasoned reflections here a must-read!
James R. Krabill , Anabaptist Mennonite Biblical Seminary; general editor, Mission and Worship for the Global Church: An Ethnodoxology Handbook
King brings us a very important reveal about why artistic specialists and expression stand central to effective gospel proclamation. Creative, with plenty of stories, culturally sensitive, and filled with insight and life, this book provides much help for how indigenous Christian community formation really happens. Artists, musicians, missionaries, worship leaders, and anyone else who is concerned about the church making sense in her context will find this book to be a must-have. King gives her life for these insights, and now we get her wisdom distilled in ways that will increase our ministry effectiveness. Along the way, too, she affirms all the artistic kingdom servants so often overlooked for the strategic role they play in Gods kingdom purposes.
Byron Spradlin , president, Artists in Christian Testimony International
Inviting the reader on a global spiritual and artistic safari, King has richly and skillfully advanced our understanding about the role, importance, and impact of the arts in its ability to incarnate the good news in cross-cultural contexts. Informed by twenty-two years of missionary ministry in East and West Africa and over two decades of academic leadership at Fuller Theological Seminary, King has adroitly crafted and curated a resource that provides a theological and missional framework for expressive cultural interaction through the arts that becomes a platform that leads to authentic spiritual dialogue and gospel witness.
Stan Moore , president of the executive board, Global Consultation on Music and Missions; B. H. Carroll Theological Institute
Packed with stories on subjects ranging from Bono to the Senufo, this volume will motivate and inspire its readers to think in new ways about the value of global arts in the church. I especially appreciate Kings ten recommendations for needed shifts in our thinking. If these shifts could be implemented today, the use of arts in witness and worship worldwide would change dramatically for the better.
Robin Harris , Center for Excellence in World Arts, Dallas International University
Series Page
S COTT W. S UNQUIST
AND A MOS Y ONG ,
SERIES EDITORS
The Mission in Global Community series is designed to reach college students and those interested in learning more about responsible mission involvement. Written by faculty and graduates from Fuller Theological Seminary, the series is designed as a global conversation with stories and perspectives from around the world.
Title Page
Copyright Page
2019 by Roberta R. King
Published by Baker Academic
a division of Baker Publishing Group
PO Box 6287, Grand Rapids, MI 49516-6287
www.bakeracademic.com
Ebook edition created 2019
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any meansfor example, electronic, photocopy, recordingwithout the prior written permission of the publisher. The only exception is brief quotations in printed reviews.
Library of Congress Cataloging-in-Publication Data is on file at the Library of Congress, Washington, DC.
ISBN 978-1-4934-1810-7
Unless otherwise indicated, Scripture quotations are from the Holy Bible, New International Version. NIV. Copyright 1973, 1978, 1984, 2011 by Biblica, Inc. Used by permission of Zondervan. All rights reserved worldwide. www.zondervan.com. The NIV and New International Version are trademarks registered in the United States Patent and Trademark Office by Biblica, Inc.
Scripture quotations labeled CEB are from the COMMON ENGLISH BIBLE. Copyright 2011 COMMON ENGLISH BIBLE. All rights reserved. Used by permission. (www.CommonEnglishBible.com).
Scripture quotations labeled NASB are from the New American Standard Bible (NASB), copyright 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation. Used by permission. www.Lockman.org
Scripture quotations labeled NRSV are from the New Revised Standard Version of the Bible, copyright 1989 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
Dedication
For the Lord of the harvest
To my students, colleagues, and global companions
who witness to Christs glory and salvation through music and the arts
Contents
Cover
Endorsements
Series Page
Title Page
Copyright Page
Dedication
List of Illustrations
Series Preface
Foreword by Mark Labberton
Acknowledgments
Prelude: My Art, Go
Part 1: Foundations in Global Arts and Christ-Centered Witness
1. Negotiating Faith and Culture
2. Communicating Christ through Global Arts
Part 2: Encountering Christ through Global Arts
3. Exegeting Cultures through Global Arts
4. Translating the Message via Global Arts
5. Theologizing with Global Arts
Part 3: Engaging Peoples for Christ via Global Arts
6. Contextualizing the Gospel in Daily Life via Global Arts
7. Telling Gods Sto
9. Appropriating Global Arts in Multicultural Settings
Postlude: Revealing Gods Glory and Salvation via Global Arts
Webography
Bibliography
Index
Photo Insert
Back Cover
Illustrations
Figure 1 (prelude): Missional gem (Psalm 67)
Figure 2 (prelude): Missional gem (Psalm 96:15)
Figure 3 (prelude): Missional gem (Psalm 98:15)
Figure 4 (prelude): How this book is organized
Figure 1.1: Hieberts dimensions of culture
Figure 1.2: Global arts, expressive culture, and Christian witness
Figure 2.1: Crucifixion batik from Bali
Figure 2.2: Senufo balafons and drums singing the gospel
Figure 2.3: The more believable signal systems
Figure 3.1: Global arts: experiencing, expressing, engaging
Figure 3.2: Map of the African continent
Figure 3.3: Senufo believers praising God in their local context
Figure 3.4: Senufo images of both their physical world and their worldview, on hand-spun cotton
Figure 3.5: How Senufo songs function like the Word of God
Figure 4.1: Nyarafolo traditional pire drum ensemble
Figure 4.2: Bible translation and the arts: a cyclical process
Figure 5.1: The abundant catch of fish: a Tanzanian setting
Figure 5.2: The centrality of Gods Word in active theologizing
Figure 5.3: Dinka cattle: a focal point of life
Figure 5.4: Dinka believers and the cross
Figure 5.5: Hermeneutical spiral and the arts
Figure 6.1: Gods people, global arts, Christian witness
Figure 6.2: Koyas art exercise from a trauma healing workshop
Figure 6.3: The arts: from witness to worship and life-in-between
Figure 6.4: Daily life: women at the well (Republic of Congo)
Figure 7.1: Maasai singers and dancers