Saturday, September 10, 2005

1. Practicing Church


Been reading recently some essays in The community of the Word.Ed.s Mark Husbands and Daniel J. Treier (IVP 2005) This book grew out of a conference at Wheaton 2004 exploring the title.

I'd like to highlight selected chapters I enjoyed and engaged me:(I'll do this over the next wee while)

PART ONE:
Chpt 3 Practicing Church: Evangelical ecclesiologies at the end of modernity.
Jonathan R. Wilson.

This essay takes 4 popular authors and explores their implicit and explicit ecclesiologies: Francis Schaeffer' Chuck' Colson, Rick Warren and Brian McLaren. The reason for this is that Wilson, thanks to an article by Jackson Carroll reveals that clergy reading has no 'theologian ' ie after the likes of Bloesch, Grenz, Barth, Motlmann, Pannenberg, Torrance, Lindbeck etc among their favourites in reading, 'no theology is among thier most recently read books, and no theological journal is among their frequent reading.' (p63). [What is more disconcerting in this is that other essays also point to a lack of ecclesiological understanding and thinking as a whole in students].
Wilson speaks of Improvisational or Instrumental? he wants to add to missional ecclesiology an improvisational dimension - so that there is maintained a commitment to mission and a faithful flexibility to our commission. this enables us to adapt to each context 'under the guidance of the Spirit'. Schaeffer and Colson's ecclesiologies are of this ilk. However, instrumental ecclesiology is the opposite of improvisation - resistant or clinging to past forms or disconnects church from its life source. For Wilson, Warren's ecclsiology is instrumental. (Wilson states that it is actually difficult to discern any ecclesiology that guides his book, discerned only perhaps in the 'silences' Cautiously he notes: absence of critical examination of culture - assumed unproblematic, though does argue for cultural sensitivity; look in vain for anything of treaditional oneness, holiness, ctholicity of Church; leaves untouched the individualism of N. American culture - it IS about you and your fulfilment.

Mclaren, he regards as closer to Colson and Scheaffer, sensitive to the cultural context and the world as 'opposition' to Church and Gospel. HE does note a 'fear of irrelevance' in McLaren in his ecclesiology which is seen as a work in progress, 'still developing'... 'emerging'

Much of this Jazz metaphor is more fully developed by others these days and little new may seem to have been said in this chapter, but what was helpful was something I feel strongly about - that 'one, holy, catholic and apostolic' as characteristics, rightly understood, relate the church properly to its mission in the world and enable improvisation. For Wilson this sets the direction for ecclesiology into the future. The essay may have been more helpful, with more space to develop what is his conclusion and engage more fully with how Wilson intends the metaphor of Jazz improvisation at a level of thinking about the church beyond that of Warren and others. Something I do think needs consideration within such a framework, otherwise we dangerously cut loose from some 'core' tradition that addresses every age and we perpetuate an unthinking, uncritical ecclesiology and then we are in a dissonant mess!

Indeed, improvisation as a metaphor has for some time now been engaged with in organisational science and teased out. Perhaps that is what he needed to open up more fully in a critical way.


The Church rests on the grace of God, the judging, atoning, regenerating
grace of God which is holy love in the form it must take within human sin.
Wherever that is heartily confessed and goes on to rule we have the true
Church.
P.T Forsyth

Sunday, September 04, 2005

Abstract Expressionism - The Caim and beyond....

Abstract expressionism is art in which artists typically applied paint rapidly, and with force in an effort to show feelings and emotions. Their work is characterised by a strong dependence on what appears to be accident and chance, but which is actually highly planned. However, usually there is little or no effort to represent as the spontaneity of the artist's approach to their work is said to draw from and release the creativity from within,. Importantly the expressiveness of painting is sometimes more significant than the painting itself. Continuing such thinkiing as applied to worship as expression is the simplicity to show feeling and emotion as much as be embraced by the same as we firstly listen and experience God's touch apply his comfort, forgiveness, love, etc.

Having planned several weeks ago to take the theme of todays Sunday service as Our Fears... little did I realise what our midweek half hour Caim readings would contribute.(The Caim is a quiet, reflective space, held Wednesdays, morning and evening taking the readings for the day) . Psalm 34 played a part pastorally as well as today for us all.

We started with a scary story... and then explored anxiety/fear...














THEN...
PSALM 34
4GOD met me more than halfway,
he freed me from my anxious fears.

5Look at him; give him your warmest smile.
Never hide your feelings from him.

6When I was desperate, I called out,
and GOD got me out of a tight spot.

7GOD's angel sets up a circle
of protection around us while we pray.

8Open your mouth and taste, open your eyes and see—
how good GOD is.
Blessed are you who run to him
. (Peterson, The Message)

We then had 'Do not be afraid..' played and invited folks from this point to come place their YELLOW fear post-its on a rough cross at the front. (representative of their anxious fears). Some people came fter the blessing as they left too. It was a very emotional time of unburdening our anxious fears. We prayed aware of the circle of protection.















May the grace of God,
deeper than our imagination;
the strength of Christ,
stronger than our need;
and the communion of the Holy Spirit,
richer than our togetherness,
guide and sustain us today
and in all our tomorrows. Amen.