Search Results (7)

“After this I will return, and I will rebuild the dwelling of David, which has fallen; from its ruins I will rebuild it, and I will set it up” (Acts 15:16 NRSV). This verse, quoting Amos 9:11, is part of James’ speech to the Jerusalem “council” considering the issue of Gentile believers and their relationship to the Law. In some Pentecostal circles, especially those influenced by the “Latter Rain” revival of 1948, this verse has taken on a different force based on the Greek skēnē, literally a tent or traditionally “tabernacle.” This teaching is based on the “tabernacle of David” as described in 1 Chron. 16:1–6 and other places and likely the venue in which some of the original psalms were performed. Their argument is that this is part of a model for experiencing the dynamic presence of God in worship and the restoration of the NT church. It forms a theological basis or rationale for contemporary praise and worship with the use of musical instruments, lifted hands, dance, clapping, etc., following the Psalms. However, this interpretation of “David’s fallen tent” seems to fail interpretive tests such as context, authorial intention and audience understanding. This article discusses the interpretive challenges raised by Acts 15:16, how skilled interpreters have understood the “tent of David,” and some weaknesses in these readings. The argument of “Latter Rain” authors on the “Tabernacle of David” is explained and evaluated in the light of some other contemporary research and hermeneutical principles associated with typology. The Latter Rain position is found to have considerable strengths but overreaches in some key points especially by making structure too central. Full article

“If there is no space in our faith communities where children can participate in theological work, how can children create a theology that will liberate them?” R.L. Stollar asks in his book, The Kingdom of Children: A Liberation Theology (2023). Popular Christian parenting literature since the 1970s has encouraged adults to view children as undisciplined trainees with little of value to offer their families and churches other than their obedience. Exploration of the recent history of Christian parenting literature and its intersections with politics and other Christian media reveals that there is substantial overlap between the communities most impacted by these books and those that utilize contemporary praise and worship music (CPWM). Using a child liberation theology framework, I examine the ways that prevailing ideas in parenting books have enabled a “parent-centered” model of musical worship in many evangelical churches. By observing the ways children are invited into or implicitly discouraged from participation in corporate musical worship, we can better understand the ways that CPWM practice might be reshaped in a more liberatory direction—one that will benefit children and adults, and foster a more radically unified church. Full article

How do infants praise the Lord? While we cannot say definitively how this is so, exploring this idea—particularly in the context of intergenerational worship and formation—offers rich theological insights. Scripture declares, “Out of the mouth of babes and nursing infants, you have perfected praise” (Matthew 21:16; Psalm 8:2, NKJV), suggesting that (1) infants indeed praise God, and (2) their praise is perfected by Him. Rather than dismissing this as purely metaphorical, this article draws on St. Augustine’s concept of the jubilus, a song with no intelligible words, to explore how infants’ babbling might be seen as a form of praise and worship, and what we might learn from it if it is thus seen. The article concludes by demonstrating how this reflection on infants’ praise might challenge us to reevaluate and enrich our approaches to Contemporary Praise & Worship and intergenerational formation. Full article

This paper examines the emotional balance in children’s worship and the need to move beyond the focus on fun. The author argues that while having fun is important, it should not be the main focus of worship. This paper discusses the myth of the always happy child and the consequences of adults trying to regulate the feelings of children. The author suggests that children need to be given space and opportunity to use their own voice and shape their emotions. This paper concludes that churches should listen carefully to what children want and need in their services and adjust their ministry accordingly. The children should have a say in how their worship is done and their opinions need to be respected. Full article

In the recent study of Contemporary Praise and Worship (CPW), many studies have focused on musical repertory, including its text, music, and performance, as the foundational text(s) for theoretical analysis. In particular, scholars have relied on lists of the most popular songs that have been reported to Christian Copyright Licensing International (CCLI). This essay points out several critical weaknesses in the current overreliance on this methodology and instead contends for two underutilized methodologies—liturgical ethnography and liturgical history—that need to be developed in the scholarship. The essay argues that such a cultivation of methodology will enable the burgeoning scholarship on CPW to gain richer insight into the range of theological meaning expressed in CPW contexts. Full article

In this article, I examine the emotional content of songs sung in Christian churches. An analysis of the lyrical content of the songs that have been tracked by Christian Copyright Licensing International (CCLI) from 1988 to 2018, shows there is a definition of the Christian life that is set before the church and in turn sung by it. The word “joy” appears 37 times and the word “praise” is used 152 times in the 133 songs that comprise the contemporary praise and worship hymnody in the defined time period. In the same time frame, the word sad or any of its derivatives (sadly, sadness, etc.) never occurs in the group of songs that are being discussed. Nor is the word “sorrow” ever used. There are two conclusions that can be drawn from the lack of the use of the word sad. The first is that sadness is undervalued. The second conclusion is that the word “sad” is not a good song word, meaning that it is awkward to sing and fit in the rhythm or meter of a song. The first conclusion relates to the lexical value of a word and the second to the semantic value. To understand the emotional content of music, the texts which provide a lexical meaning need to be examined. Secondly, the semantic meaning, which is composed of the cultural connotations, needs to be considered. The first part, the lexical, is considered by looking at only the text. The second, the semantic, involves looking at how the words and music (both apart and together) conceal and reveal meanings that surpass the lexical level. Thus, the first part of the present work will look at the lyric’s words devoid of context while the second part of the essay will examine the fullness of the songs. As the semantic levels are explored, they will be brought together with the lyrics and the previous level and the question of whether there is an overpromising of joy in the songs will be answered. Full article

The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise in the church, the chorus of ‘what ought to be’. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly ‘is’. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church’s liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of ‘Truth’ in contemporary congregational music, as defined by Don Saliers’ Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship. Full article