Too much writing about the arts and Christianity is apologetic, explaining why the church should be concerned about artistic expression. Within that category is a lot of writing that voices high-minded generalities about "good art" and "bad art" and about who should and should not be making art.
I’m not much of a Rick Warren fan, but I’ve always appreciated his best-known catchphrase: "It’s not about you."
The evangelical worship life I grew up with was chock-full of “I”
language, with less roo
Willow Creek Community Church, originator of the famous “seeker service” model of outreach, has been fabulously successful at wooing members of the baby-boom generation. But it never reached too many people born after 1968. So in 1994 Willow charged Dieter Zander with the task of reaching out to Gen Xers.
The cover of the August 1996 Atlantic Monthly announced a Christian cultural revolution: “Giant ‘full-service’ churches are winning millions of ‘customers’ with [their] pop-culture packaging. They may also be building an important new form of community.” Author Charles Trueheart described what he calls the “Next Church”: No spires. No crosses. No robes. No clerical collars.
I’ve often wondered what sort of conversation Protestant Reformer John Calvin and Catholic Bishop Francis de Sales would have had if they had met. These humanist scholars were both trained in law, were both afire with the love of God, and both ended up in Geneva, Switzerland, though separated by a generation.
On the cusp of the 21st century, a strange thing is happening. Congregations—not all, but a noticeable number—are choosing to highlight their denominational particularities. While for some this might not seem so strange, for much of the 20th century highlighting denominational differences has been considered by many to be somewhat suspect. Early in the century, H.