Maberly: Contextualization in the context of mainstream ‘rock’ music liste

Contextualization in the context of mainstream ‘rock’ music listeners

After a great introduction to the historical background of con- By Clifton Maberly textualization, and a survey of contemporary understandings of and approaches to contextualiza- Note: Parts of this article have tion from an evangelical perspec- been previously published as an tive, they say, interview in the Record published by the Signs Publishing Com- Many of our readers may be think- ing, “Well and good; but exactly pany, Warburton, Australia, May how would the authors go about 21, 2005. Used by permission. contextualization? What methods do they espouse? What do authentic, ef- One of the difficulties of teach- fective contextualized products look ing a theology of contextualiza- like?” (1989:197) tion is that the best textbooks on the topic often illustrate the Then we are treated to a 1952 application of the theology with catechism for Indonesian tribals, inaccessible case studies. For an evangelistic tract for Chinese example, one of the best early people, a contextualization of texts on the subject was David justification for twentieth cen- J. Hesselgrave and Edward tury India, a sample of a con- Rommen’s Contextualization: textualized debate for Muslims, meanings, methods, and models. and a contextualized sermon for nominal Christians in Central Clifton Maberly is the senior pas- and Northern Europe. tor for Toowoomba and Highfields While teaching on a theology Adventist churches in Queensland, of contextualization I have seen Australia. His special interest is seeking a common ground of paradigm shifts in my students spiritual concern with unchurched (“light dawns on erstwhile sty- people. He is also involved in cross- gian darkness,” as one of my cultural and multi-cultural issues secondary school teachers used in the local community, especially to exclaim when we got the in relation to the settlement of as- point). But often the inaccessible sisted migrants (particularly Suda- examples reduced the impact to nese refugees) and in community a whimper. The “authentic, ef- race relations. fective contextualized products” Published by Digital Commons @ Andrews University, 2005 1 2/2005 67 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 were often an anticlimax. We man. The musicians perform for need more walk-through case three days on the festival’s twelve studies of recent contextualiza- stages and grassy amphitheatres tion. right in the middle of beautiful Contextualization is not an Toowoomba. arcane and erudite skill. You just I sat back and watched as have to do your best to fit the con- our two Adventist churches in text of your intended listeners. Toowoomba threw themselves Last year, after returning into adding their witness to the from thirty years in Asia to take festival. They set up a health up local church ministry in tent with the logo “This is Your rural Australia, one of the big Life,” doing a free heath evalua- events of my new parish rolled tion and a computer calculated up and over me. My new parish, life expectancy prediction on Toowoomba, hosts Australia’s passers-by. They did a great largest Christian music festival, job, and probably nudged many the Australian Gospel Music Fes- people towards commitments in

I was disturbed that we needed to pull out health at a music festival. The context was music. That’s the starting point for contextualization.

tival (AGMF). The AGMF offers a health, but I was disturbed that celebration of faith, friendship, we needed to pull out health at and music for nearly 40,000 a music festival. The context was people, with music ranging from music. That’s the starting point Scar to Psalms, Jazz to Metal. for contextualization. Last year’s acts included interna- While I was still teaching mis- tional names such as Sonicflood, siology at Sahmyook University Delirious, Brooke Fraser, and in Korea, I had started thinking Lads. It included Contemporary about how I could develop an ap- Christian Music (CCM) legends propriate approach for the secu- David Meece, Chuck Girard, lar Australia I was returning to. and the Grammy Award win- I realized I would be hopelessly ners, Petra. It hosted most of the out of touch with some of the Australian CCM bands, such as greatest passions of Australians Reuben Morgan, Nathan Tasker, (I just hadn’t been there recently United, Planetshakers Band, enough to be passionate about Sons of Korah, Alabaster Box, the State of Origin rugby league). Soulframe, and Roma Water- So I decided I ought to begin https://digitalcommons.andrews.edu/jams/vol1/iss2/8 2 68 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste with an area I had kept track of The festival presented a chal- over the years: global popular lenge to me. I am not a musician. culture. Something Australians The year before our two youth have in common with the rest of pastor volunteers had worked the world is their exposure to the up a band that was up to festival primary value-creating media of standards, but that didn’t mean global popular culture: music, there was a role there for me, not movies, and computer games. even as the manager they didn’t With that in mind I began trying need. So I decided to offer my ser- to catch up, not across a national vices as a cultural and spiritual gap, but across a generational interpreter of music. That was one. Teaching in Korea had let better suited to who I am, for a the world pass me by again. missiologist is a cultural inter- Keeping up to the minute with preter. I decided to try to engage popular culture takes a lot of people on spiritual issues in the effort. “Popular” is ephemeral, context of popular music. nothing remains popular for There was to be a large exhibi- long. However I suspected that tion pavilion, where hundreds of popular culture could be that booths would promote and sell useful forum I needed to explore contemporary Christian music spiritual issues. After all, all ele- and contemporary Christian cloth- ments of culture are a microcosm ing, as well promote a few special of the whole. mission opportunities. That would I determined that next year have to be my venue. I would try to talk music at the How do you catch the at- music festival. tention of some of the 40,000 I was kept busy for the rest people streaming though an of the first year back readjust- exhibition hall on their way to a ing to Australia (that is another concert of their favorite artists, contextual story) so it wasn’t stopping only to buy music or until I was on the way back from clothing linking them with their a cross-cultural mission project bands? How could I stop shop- to Siberia (another contextual pers in their tracks? It would story) that I started reading be easier if I was already a well the materials I had gathered known speaker. But I was an on contemporary mainstream unknown, graying man. I just popular music. I read along and wanted a chance to minister to tested the materials out on the music-focused people, and find younger members of the mis- out whether this idea of spiritual sion team. Besides exploring dialogue on the common ground how I could use popular music of music was a viable platform. as a context for religious dia- So I still had the problem of logue, I was thinking through a stopping music-lovers in their witnessing niche for the upcom- tracks as they drifted through the ing festival. exhibition hall on their way to an- Published by Digital Commons @ Andrews University, 2005 3 Journal of Adventist Mission Studies 2/2005 69 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 other concert to hear another band. reached and unchurched, that How could I get people to slow God would ensure they heard by down long enough to talk to? other means. That, in fact, is al- I decided to set up a booth in- ready happening as mainstream viting passers-by to consider the rock artists cry out the gospel in spiritual journeys of mainstream ways more effective than many popular artists as an enhance- in-house Christian musicians. ment to their non-CCM listening, and as a platform for dialogue An Aside on Rock Music about faith with those outside Maybe a footnote on rock the stream of contemporary music is necessary for those Christian music. I thought that Christian leaders who have fo- promotion on ‘non-Christian’ cused on the dangers of popular music at a gospel festival would music. I am not getting into have an edge that might catch that debate. I am exploring some interest. Contextualized witnessing within a particular communication needs an edge. context: the context of listeners If you contextualize too well you of popular music. If you don’t

Mainstream rock artists cry out the gospel in ways more effective than many in-house Christian musicians.

will dissolve into the context. listen to popular music I am Communication needs to sur- not advocating listening to it. If prise within the context. you aren’t familiar with the 70 I chose the logo “Rocks Cry bands listed below, this is not Out” (see photo) days before I your context. We have to know came across the book The rock which contexts we are qualified cries out by Steve Stockman. I to have opinions on. I am aware added his subtitle to the ban- of the raging Christian debate on ner: “Discovering eternal truth rock music: there are hundreds in unlikely music.” The Christian of books and nearly 400,000 rationale behind the logo was websites that address the issue. just as Jesus told the national I am not going there. leaders that if believers were Neither is Christian Rock the forbidden to shout their praises context we are exploring here. that the stones would cry out. That is also another heated Similarly, if contemporary Chris- in-house debate. Take this as tian music (shouted praises) was a sample from Dial-the-Truth not communicating with the un- Ministries: https://digitalcommons.andrews.edu/jams/vol1/iss2/8 4 70 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste Q: Isn’t it better for young is that there are some people who people to listen to Christian rock listen to each of these genres. All than Secular rock? of those fan groups are worthy A: NO. It’s “better” that Chris- contexts for witnessing. tians do NOT listen to rock mu- It is true that some Christians sic, but good Christian music. reject all rock music. “To rock That is an entirely differ- or not to rock” is not the critical ent subject. The context we are question. How faith in God is ex- exploring here is the context of pressed and the character of God listeners of contemporary (2000- revealed through particular music 2005) mainstream popular music to its dedicated listeners is the (here loosely called ‘rock’). The more important question. Defining category ‘rock’ slides easily off rock as “music designed not to be the tongues of its detractors, but heard, but to be felt, to be drowned it is a huge field of music. ‘Rock’ in” (Bacchiocchi, 2000:15) carries includes classic rock, blues, art/ an implication that feelings are progressive rock, various kinds unworthy of spirituality. Where of metal (heavy, thrash, power, did that come from? death, doom, progressive, angry, Music is listened to on its own nu), gothic, industrial, punk, rap, plane. Different music affects alternative, lounge, and others. I different listeners differently. As am not entering any discussion I have said, I am not a musician, or debate about the relative mer- so aspects of music will escape its or demerits of each of these me, but together with hundreds streams. All that matters to me of millions of other listeners of

Published by Digital Commons @ Andrews University, 2005 5 Journal of Adventist Mission Studies 2/2005 71 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 the mainstream popular music the Adang; the Adangbe; the accessible in my culture, I know Adap; the Adele; the Adhola; the when music elevates me, and I Adi; the Adi Galo; the Adioukrou; know what delights me with un- the Adonara; the Aduge; the der-the-brow delight. Criticisms Adyghe; the Adynyamathanha; of music that begin and end with the Adzera; the Aekyom; the Aer; “biblical principles of music” are the Afade; the Afar; the Afitti; bound to miss the point. The the Afrikaans; the Agarabi; the Bible is not a standard on cul- Agariya; the Agatu; the Agavo- ture, or science, or music. It is a taguerra; the Aghem; the Aghu; testimony to revelations regard- the Aghul; the Agi; the Agob; ing the character of God. the Agoi; the Agta; the Aguano; It disturbs me that self-styled the Aguaruna; the Aguna; the adjudicators of the spirituality of Agutaynen; the Agwagwune; the music (under the rubric of bibli- Àhàn; the Ahanta; the Ahe; the cal principles of music) ignore Aheu; the Ahirani; the Ahom; the whole other worlds of music. Ahtena; the Ai-Cham; the Aigon; What do their ‘biblical principles the Aiklep; the Aiku; the Aimaq; of music’ say to the music of the the Aimele; the Aimol; the Ainbai; Aari; the Aariya; the Aasáx; the the Ainu; the Aiome; the Airoran; Abadi; the Abaga; the Abai Sun- the Aiton; the Aizi; the Aja; the gai; the Abanyom; the Abar; the Ajawa; the Ajië; the Ajyíninka

“To rock or not to rock” is not the criti- cal question. How faith in God is expressed and the character of God revealed through particular music to its dedicated listeners is the more important question.

Abau; the Abaza; the Abé; the Apurucayali; the Ak; the Aka; Abidji; the Abinomn; the Abipon; the Aka-Bea; the Aka-Bo; the the Abishira; the Abkhaz; the Aka-Cari; the Aka-Jeru; the Abnaki; the Abom; the Abon; the Aka-Kede; the Aka-Kol; the Aka- Abron; the Abu; the Abua; the Kora; the Akan; the Akar-Bale; Abui; the Abun; the Abung; the the Akaselem; the Akateko; the Abure; the Abureni; the Aceh; Akawaio; the Ake; the Akebu; the the Achagua; the Achang; the Akei; the Akha; the Akhvakh; the Aché; the Acheron; the Achi’; Aklanon; the Akolet; the Akoose; the Acholi; the Achterhoeks; the the Akoye; the Akpa; the Akpes; Achuar-Shiwiar; the Achumawi; the Akposo; the Akrukay; the the Acipa; the Acroá; the Adabe; Akuku; the Akum; the Akurio; https://digitalcommons.andrews.edu/jams/vol1/iss2/8 6 72 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste the Akwa; the Alaba; the Ala- besides much that is mediocre. bama; the Alago; the Alagwa; the There is a principle that is at Alak; the Alamblak; the Alangan; least universal: there exists cold, the Alatil; the Alawa; the Alba- hot, and lukewarm. It is usually nian; the Alege; the Alekano; the the lukewarm that is not worthy Alemannisch; and the Aleut? of attention. As a missiologist and a pas- And that is just the peoples tor I am not interested in a set beginning with “A” (selected of criteria set up to pre-judge from the Summer Institute of a genre of music. Music is as Linguistics Ethnologue). Actu- music does. And if you want to ally, it is just a list of a third evaluate the spirituality of music of the peoples whose language you will need to know the musi- begins with “A,” and then there cians, know where they are on are 7,000 other main language their spiritual journey, and what groups. Within each ethno-lin- they are trying to express or ac-

People of faith have invaded all genres of mainstream rock ‘n roll and are get- ting a hearing in places traditional evan- gelists are never heard.

guistic musical tradition there is complish though their music. a range of musical genre. What Any critique of a musical genre were those “biblical principles that does not have a personal of music” again? Is this over- sympathetic acquaintance with kill? I’m sorry. It’s just that I get the music and musicians being angry at facile critiques of other critiqued is not worth reading, people’s music. especially if it damns a whole Over the last thirty years I genre holus bolus. Music is a have been exposed on a personal creative artifact of real people. level to at least twenty-three dif- As a contextual missiologist I am ferent musical traditions. The interested in people’s experience differences defy easy catego- of their own culture, and in look- rization. Many of these music ing at how that can be common forms, and some of the lyrics ground for a dialogue on spiri- (in languages I understand or tuality. I will take seriously any in translation), now touch and creative and expressive cultural feed my soul. Yes, there is always artifact that will give me the op- some music that is evil, but there portunity to share what I have is usually some that is inspiring, seen and heard. Published by Digital Commons @ Andrews University, 2005 7 Journal of Adventist Mission Studies 2/2005 73 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 From its inception, Christian ity Today’s Russ Breimeier and critics have assailed rock music Andy Argyrakis (2003) have as the devil’s music. As with most said: polemic treatments, often the What we are calling attention to is range within genres is blurred by the increased interest in spiritual the polemic taken. Some “rock” subject matter in today’s popular music is definitely evil in intent music outside the Christian subcul- and effect. (That characteristic is ture. Despite the rise in explicit con- not limited to rock music, or even tent within popular music in recent only to music.) However some- years, there has also been a rise in thing unexpected has happened spiritual soul searching, with artists recently that makes the task of expressing a longing for something contextualizing easier. People of much deeper than the infamous sex, drugs, and rock ‘n roll. faith have invaded all genres of mainstream rock and roll and The series highlights main- are getting a hearing in places stream artists noteworthy for traditional evangelists are never Christians. They continue:

Within our chosen context are artists who have set up disguised Christian im- ages hoping unbelievers will trip over them and ask about this god unknown to them, prompting them to open doors long shut, to open again to evaluate our God, our Jesus Christ.

heard. Some of these Christians Some of these artists do indeed come who have become popular art- from a Christian background, offering ists clearly understand their glimpses of their faith through their missionary role in their context. craft. Others still don’t know Christ, but Scott Stapp, formerly of Creed they certainly know of him—enough to communicate spiritual longing with an has said, “I think there’s a mes- honesty that is refreshing. sage in there that needs to get out and that God wanted to get We decided our niche at the out.” festival would be the only ones promoting mainstream music at Glimpses of God in Rock the gospel music festival; to fea- In their on-going series ture music that was definitely not “Glimpses of God,” Christian- contemporary Christian music. https://digitalcommons.andrews.edu/jams/vol1/iss2/8 8 74 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste At the heart of the booth was who were self-declared Chris- our list of well-known mainstream tians and those who merely sang (non CCM) artists who sing about about spiritual issues, negatively spiritual issues. We featured post- as well as positively. Some of the ers of artists not usually featured artists on the list caught their at the gospel music festival, and attention (“Why do you have we showed MTV-like video clips of Marilyn Manson on the list?”) those artists performing. We told them what we were It worked. People rushing by doing and encouraged people caught a glimpse of our posters to find out about the spiritual of Creed, Audioslave, Destiny’s journeys of the popular artists Child, U2, Bob Dylan, Bob Mar- they listened to, or wished their ley, and especially Kurt Cobain children didn’t listen to, so that and stopped in their tracks. They they could have informed opin- then noticed we were showing ions about the most listened to music video clips of U2 or Ben artists out there. Harper, and wondered how we We had compiled relevant got in there. By then they had interview or review material on seen our list of serious main- most of the artists on our list as stream artists who sing about handouts to start people off on spiritual issues (see insert). They their search for the real people stepped over to read through the behind the performers. We pro- list. We had compiled a list of the moted a number of recent books major serious popular artists. We that help in this exploration, in had differentiated between those this ministry (see Resources).

This was the list of artists we featured. Those in bold are self- declared Christians, the rest give glimpses of God: 16 Horsepower, Accident, Audioslave, Experiment, Alice Cooper, Alice in Chain, Ani DiFranco, Ben Harper, Bob Dylan, Bob Marley, Brian “Head” Welch, Bruce Cockburn, Bruce Spring- steen, Casting Crowns, Coldplay, Creed, Daniel Bedingfield, Daniel Lanois, David Gray, Destiny’s Child, eastmountain- south, Evanescence, Faith Evans, Family Force Five, Further Seems Forever, George Harrison, Godsmack, Jackson Browne, Jars of Clay, John Davis, Joni Mitchell, Korn, Kurt Cobain, Lau- ryn Hill, Lenny Kravitz, Lifehouse, Linkin Park , Lisa Gerrard, Live (1994+), Marilyn Manson , Mary Mary, MercyMe, Metallica, Mute Math, ‘N Sync, Nick Cave & The Bad Seeds, Norma Jean, Over the Rhine, P.O.D., Paramore, Radiohead, Relient K, Robert Randolph & The Family Band , Rosie Thomas, Sandra McCracken, Scorpions’ Matthias Jabs, Scott Stapp, Sixpence None The Richer, Skillet, Sleeping at Last, Stacie Orrico, Ste- ven Curtis Chapman, StorySide:B, Stryper, Switchfoot, T-Bone Burnett, Tom Waits, Tool, Train, Tribe of Judah , U2, Zwan.

Published by Digital Commons @ Andrews University, 2005 9 Journal of Adventist Mission Studies 2/2005 75 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 A Ministry in Its Own Right them and ask about this god We expect that this could be unknown to them, prompting a ministry in its own right, to them to open doors long shut, use knowledge of the spiritual to open again to evaluate our journeys of popular artists and God, our Jesus Christ. In this the story behind their popular ministry we wanted to tap into songs as the ground for discus- the ministry of believers within sion about spiritual issues. We the industry. know that there are people out Who could be more “rock” there who couldn’t care less than Alice Cooper? Many people about history or prophesy, or who stopped by our booth didn’t even health, but they do care know that Alice Cooper had be- about popular culture, music, come a Christian in the 1990s. movies, and computer games. But he had, and he is out there And these arenas are not trivial; crying out on our side. if they didn’t deal seriously with In a Hard Music Magazine life they would not be globally interview, Alice Cooper said successful. (2002): Knowing the story behind the I am not necessarily praise rock. I’m story can be a ministry. At the not Christian praise music. I think same time it can also enhance that I go to a different place. And I your own listening and your own think that Christianity needs to go spiritual experience. And that much more into the secular arts. I is important for practitioners of think that we need to be heard not popular cultural ministry. If you just by Christians. I mean, it’s nice are listening just to get polemic . . . bands like Creed, P.O.D. There dirt, or to wean people away from are some bands out there that are the media they are using, this will saying some pretty good things. And then there are a lot of really good not be your ministry. You must praise rock bands. I’ve just never be able to say sincerely, “Men of felt . . . I do that in church. I do that Athens! I see that in every way in prayer. I do that, but I think that you are very religious” (Acts my message is more of a warning. 17:22 NIV). Paul had walked I don’t mind being the prophet of around and looked carefully at doom. I think that that’s more fitted the Athenian’s objects of worship for what Alice is. I feel that, if God is until he was able to be posi- going to use Alice Cooper, it’s going tive about some things in their to be more on a level of a warning. It’s not going to be on a level of “Isn’t context. His main starting point everything great? Isn’t everything was an altar to “an unknown good? Aren’t we all wonderful?” Alice god.” In this contextual mission is going to be more like, “Be careful! we have great advantages Paul Satan is not a myth. Don’t sit around never had. Within our chosen pretending like Satan is just a joke.” context are artists who have set Because I have a lot of friends that up disguised Christian images do believe that. I think my job is to hoping unbelievers will trip over warn about Satan. https://digitalcommons.andrews.edu/jams/vol1/iss2/8 10 76 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste So much for those who see all preparation we were ready to talk rock as an instrument of the dev- with most of our visitors about il. We had wanted people to stop their favorite artists (some of the and talk about faith in relation to 80 artists and bands on our list). mainstream popular music. They Our preparation gave us great did. The exhibit really pulled the flexibility to talk with the range people in. It was by far one of the of people that stopped by. most visited sites among those with serious spiritual messages. Like a Charm People crowded the booth, with Over the two and a half day sometimes more than fifteen period nearly 700 people stopped listening at once. Many were the by to talk seriously about spiri- least-Christian of the visitors to tual issues through the medium the festival. We must have talked of music cultural interpretations. to most of ‘Goths’ that came by The topic was a draw beyond (stainless-steel studded black my expectations. People took leather clothes, black hair and the time to select and take away

We let the listeners define the com- mon ground. And within their real con- text we focused on spiritual journeys. We looked for glimpses of God there. Those glimpses of God were our start- ing point.

nails, all body parts pierced and over 4,300 of our 45 different brown lipstick). They stopped to handouts. They selected and talk to this old grey-haired man collected them enthusiastically about their music. Many of them and gratefully. I am sure the dragged their friends to come handouts will be read and passed and talk more. Parents who were around. We didn’t sell that many distressed at what their children books, but then I have never were listening to came to talk been good at selling anything about it. Recent converts came to except ideas. And we identified talk about what they should do a number of people who will join with the music that once supple- us in exploring this medium for mented their addictions. Those evangelism. That was one of the who had been wondering how to other objects of the exhibition: reach the unreached stopped to to locate colleagues to take this collect materials. Because of our idea further. Published by Digital Commons @ Andrews University, 2005 11 Journal of Adventist Mission Studies 2/2005 77 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 Here’s an email response people who were miles ahead of from one of the “practitioners” where I was; they were working we met: with insight from within their own context. What was most I don’t know if you remember me or not but I chatted to you at AGMF on gratifying was these “natives” the Saturday afternoon. I absolutely absolutely loved what we were love what you’re doing, especially doing. How did we get it that since you are coming at it from a right? Quite simply by following beginner’s angle. Well done on all contextualization theory. your work so far . . . I am a Youth The context was contempo- Minister in the Anglican Church and rary music; our surprising edge use pop culture to re-tell the gospel was mainstream, non-‘contem- all the time. I’m currently teaching porary Christian music’ music. my Youth Group about the Fruits of the Spirit by using episodes of the We stood on the shoulders of Simpsons, Seinfeld, and Frasier, and others contextualizing in the songs by U2. field: the Christian artists with- in the industry. We put aside all Which seems a good place to of ‘our’ in-house issues. We let finish this walk-through intro- the listeners define the common duction. ground. And within their real I am proud to be called a context we focused on spiri- beginner in the cultural in- tual journeys. We looked for terpretation of contemporary glimpses of God there. Those popular music by someone glimpses of God were our start- who is thirty-five years younger ing point. than me. It was great to find dedicated Christian young Going It Alone You will have noticed that this has been a very personal ac- count, all about what I thought and what I did. That is a weak- ness at this stage. The problem was that the festival rushed up on me too quickly to get a team on board. Neither did I have time to process the whole thing through my local church. There was risk involved. So I decided to take the risk myself. I alerted my church to the experiment. Two weeks before I preached a sermon from two U2 songs. Most had never heard of U2, let alone listened to them. The ones that had were touched https://digitalcommons.andrews.edu/jams/vol1/iss2/8 12 78 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste by the message, and the others listeners has revealed its poten- generously let their pastor go tial. This test at the Australian out on a limb. I got bold enough Gospel Music Festival exceeded to preach from Kasey Chambers my expectations as a common at my second more conservative ground for talking about issues church, and that went over like of faith and the end of time. It a lead balloon. But hey, I was on has given me confidence and a roll (get it?). My congregations enthusiasm to continue develop- knew what I was up to, and they ing this approach, to continue didn’t stop me. contextualizing. In the end I did get a few of And in the meantime I have the youth to help me draw in enriched my popular music the crowd, and they were great, listening. I have discovered a but not very informed. A visiting whole range of unexpected col- older brother came by, spread leagues. Later this year I will the word to those in the health stop by Dublin on my way back booth that I was into dangerous from teaching contextualization stuff, and got one of the mothers at Andrews University to see if I angry that I was involving her can get a glimpse of Bono, or at daughter in such satanic stuff least get U2 in context . . . But “she is only fifteen, for goodness that is another story. sake.” That was a battle I didn’t need, but we worked through The Next Round that over the next couple of All fired up with the success weeks. I will need to get a team of the contextual music experi- together to work up the next ment, I looked ahead for the next exhibit. There needs to be a opportunity. The next public welcoming group in the church event in our town here was to that owns the approach and is be the Toowoomba Seniors Expo able to continue the dialogue on 2005, with the logo “Live it up; that common ground. don’t give it up.” We still have a way to go to I didn’t see how we could use develop this contextual ministry any of our Australian Gospel into a method of leading unbe- Music Festival materials at that lievers to commitment, into a event. But 10,000 were expected life-changing public evangelism. to come through the expo. How None of those ‘practitioners’ I could we pass up the opportunity met at the festival are using this to reach out to them? approach in public. They are In an expo fostering an opti- using it within the community mistic lifestyle for the elderly, we of marginally-churched. None could expect to meet thousands are using it to reach out to ex- of people who were genuinely clusively ‘mainstream’ listeners. interested in products to improve However, I believe this foray into their lives. From their market the context of mainstream ‘rock’ research, the conveners expected Published by Digital Commons @ Andrews University, 2005 13 Journal of Adventist Mission Studies 2/2005 79 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 that 59% of all visitors would for God. I had given a couple of intend to make purchases at the successful seminars on “How to event; 34% would be looking for get on with your miserable life” new products and services; 62% (lessons from the book of Eccle- of those intending to attend said siastes) to people in this cohort. that information is the major So I began thinking around “an reason they attend such events. ideal time to remember your Why not be there with a spiritual creator,” or “at last you have the product, new to the visitors, and time to be spiritual.” I encour- information-based? If we get it aged the health members of the right, why wouldn’t they pick up team to think about “It’s never our product? been more important to care for We went ahead and booked your health” or “Easy health for two booths. I had more helpers seniors.” this time. It was appropriate to Flush with the success of my have information about health “Rocks Cry Out” creativity I set for people in this age cohort—we up my side of the booth with the

It became clear that this generation of Australians was not comfortable talking about spiritual things in public.

produced our own brochures, logo, “Remember your Creator . couched in the language of the . .” and projected stunning pic- expo, and touted as locally pre- tures of the kind of nature scenes pared by local people just for retirees would be seeking out the this event. It was appropriate windows of the mobile homes to promote Christian satellite and caravans. I really expected television, with around-Austra- that this liturgically informed lia-across-the-desert accessibil- generation would complete the ity for the mobile home tourers rest of the quote by themselves, (throw in 3ABN and Hope Chan- “in the days of your youth,” and nel for long term exposure). Our get a smile out of it. And that satellite access price was good, would open an opportunity to and we have people who set this talk about ‘relative youth’ with up as a missionary outreach. So those for whom the evil days there was a team ready to go. had not yet come, those who That left me free to do my con- still had some living to do before textual thing. the days would come when they Seniors were being encour- would say, “I have no pleasure in aged to “Live it up; don’t give it them.” I thought it might open up up” so why not put a word in the chance to talk about ways to https://digitalcommons.andrews.edu/jams/vol1/iss2/8 14 80 Journal of Adventist Mission Studies Maberly: Contextualization in the context of mainstream ‘rock’ music liste use their retirement to recover of clothes changed that) it be- the faith of their youth, a faith came clear that this generation of crowded out during their work- Australians was not comfortable ing years. talking about spiritual things I prepared three attractive in public. I should have known brochures dealing with aspects that. I was reminded that this of the spiritual opportunities of generation did not discuss their their senior years and printed inner feelings at all, let alone to a them by the thousand. I was stranger at an expo. For them re- careful not to be denomina- ligion was an identity rather than tional, or too doctrinal, and I an experience. If I wanted to talk thought I had another winner. about religion, then the impor- I even dressed up in a suit to tant question was, what church give dignity to my conversations was I promoting. They weren’t on sunset spirituality. And that interested anyway because they might have been where it began already had their own religion to unravel. (read “denomination”), and they I noticed that people read certainly weren’t interested in the logo and steered their way being evangelized by Seventh- in other directions. At last I day Adventists, and especially in cornered one couple who made such a public place (what would a particularly sharp u-turn in their friends think?)! front of the booth. I asked their I had put all that effort into backs why they were avoiding a lemon. Seniors did not want the exhibit. It was the lady who to talk about remembering their responded. She waved her hand creator at a seniors’ expo. We did at me without meeting my eyes, have some good talks to some, the way people do to aggressive mainly other exhibitors. But then salespeople they don’t want to they were my generation, a gen- get tangled with, and said, “We eration more willing and able to aren’t thinking about that yet.” talk about spiritual things. “Thinking about what?” I asked. The conveners didn’t do much “About meeting our maker . . .” better. Only 2,000 came to the she called back over her retreat- expo, and most didn’t buy any- ing shoulder. “Remember your thing. Apparently Aussie seniors creator” had become “meet your don’t want to talk about ‘living maker” and the piped music and it up’ in public either. Or maybe beautiful photos, and the dark they didn’t want to go so public suited professional had signaled with being seniors or admitting a funeral home promoting its they have considered ‘giving it services. up.’ Or were there other mitigat- Over the next couple of days ing factors? The jury is still out. it became obvious that I had Doing contextualization is not missed the mark entirely. Apart that easy after all. from the funeral issue (a change Published by Digital Commons @ Andrews University, 2005 15 Journal of Adventist Mission Studies 2/2005 81 Journal of Adventist Mission Studies, Vol. 1 [2005], No. 2, Art. 8 Works Cited ______. 1999. The rock ‘n roll Bacchiocchi, Samuele. 2000. The rebellion: Why people of faith Christian and Rock music: a abandoned rock music and study of biblical principles of why they’re coming back. music. Berrien Springs, MI: Nashville, TN: Broadman & Biblical Perspectives. Holman Publishers. Breimeier, Russ and Andy Argyra- Marshall, Scott and Marcia Ford. kis. 2003. Glimpses of God. 2002. Restless pilgrim: The Christianity Today (March 3) spiritual journey of Bob Dylan. http://www.christianitytoday. Orlando, FL: Relevant Books. com/music/reviews/2003/ Stockman, Steve. 2004. The rock glimpsesofgod-0303.html cries out: discovering eternal Cooper, Alice. 2002. Interview by truth in unlikely music. Or- Doug Van Pelt. Hard Music lando, FL: Relevant Books. Magazine. Internet exclusives. ______. 2001. Walk on: The spiri- http://www.hmmagazine. tual journey of U2. Orlando, com/exclusive/alice_cooper_ FL: Relevant Books. interview_unabridged_part_ Whiteley, Raewynne J. 2003. Get 2200304/index.php?page=2 up off your knees: Preaching Dial-the-Truth Ministries. http:// the U2 catalog. Cambridge, www.av1611.org/question/cq- MA: Cowley Publications. better.html (October 2, 2005). Hesselgrave, David J. and Edward Web Sites Consulted: Rommen. 1989. Contextual- byFaithOnline on art & culture: ization: meanings, methods http://www.byfaithonline. and models. Grand Rapids: com/ MI, Baker Books. Christian Music Planet: http:// Summer Institute of Linguistics www.christianmusicplanet. Ethnologue language name com/ index at http://www.ethno- Christianity Today: http://www. logue.com/language_index. christianitytoday.com/music asp?letter=A (October 2, 2005). HM The Hard Music Magazine: http://www.hmmagazine.com Resources Used Here we are now: a site for conta- for the Festival: gious faith: http://nirvana- Boyett, Jason, Scott Marshall, De- rules-godreigns.com/others. nise Washington, et al. 2003. html Spiritual journeys: How faith Jesus Journal: http://www.jesu- has influenced twelve music sjournal.com/jj_culture/mu- icons. Orlando, FL: Relevant sic/ Books. Killing the Buddha religion maga- Joseph, Mark. 2003. Faith, God zine: http://www.killingth- and rock’n roll. Grand Rapids, ebuddha.com/ MI: Baker Books. Pop music from a spiritual point ______. 2003a. Faith, God, and of view: http://www.hol- rock ‘n roll: From Bono to Jars lywoodjesus.com/music_re- of Clay. How people of faith views.htm are transforming American popular music. Grand Rapids, MI: Baker Books. https://digitalcommons.andrews.edu/jams/vol1/iss2/8 16 82 Journal of Adventist Mission Studies