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ABSTRACT “SHALOM, GOD BLESS, and PLEASE EXIT to the RIGHT:” a CULTURAL ETHNOGRAPHY of the HOLY LAND EXPERIENCE. by Stephanie

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ABSTRACT “SHALOM, GOD BLESS, and PLEASE EXIT to the RIGHT:” a CULTURAL ETHNOGRAPHY of the HOLY LAND EXPERIENCE. by Stephanie ABSTRACT “SHALOM, GOD BLESS, AND PLEASE EXIT TO THE RIGHT:” A CULTURAL ETHNOGRAPHY OF THE HOLY LAND EXPERIENCE. by Stephanie Nicole Brehm This thesis explores the intersection of evangelical Christianity, entertainment, and consumerism in America through a cultural ethnography of the Holy Land Experience theme park in Orlando, Florida. This case study examines the diversity within the evangelical subculture and the blurring of the line between sacred and secular in American popular culture. In this thesis, I begin by discussing the historical lineage of American evangelical entertainment and consumerism, as well as disneyfication theories. I then classify the Holy Land Experience as a contemporary form of disneyfied evangetainment. Finally, I delve into the implications of classifying this theme park as a sacred space, a pilgrimage, or a replica, and I explore the types of worship and material objects sold and purchased at the Holy Land Experience. “SHALOM, GOD BLESS, AND PLEASE EXIT TO THE RIGHT:” A CULTURAL ETHNOGRAPHY OF THE HOLY LAND EXPERIENCE. A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Comparative Religion by Stephanie Nicole Brehm Miami University Oxford, Ohio 2011 Advisor_______________________________________ (Dr. Peter W. Williams) Reader_______________________________________ (Dr. James S. Bielo) Reader_______________________________________ (Dr. James C. Hanges) TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................... III ACKNOWLEDGEMENTS ....................................................................................................... IV INTRODUCTION ........................................................................................................................ 1 CHAPTER ONE ......................................................................................................................... 10 HISTORY OF EVANGETAINMENT ................................................................................................. 10 DISNEY THEME PARK MODEL .................................................................................................... 22 CHAPTER TWO ........................................................................................................................ 28 “JAN CROUCH PUT HER STAMP ON THIS…” ................................................................................ 28 “SHALOM, GOD BLESS, AND PLEASE EXIT TO THE RIGHT” ........................................................ 34 CHAPTER THREE .................................................................................................................... 47 “NO PASSPORT NECESSARY” ..................................................................................................... 47 “JUST A TRAINING ZONE, AN AREA TO WORSHIP HIM” .............................................................. 53 “BIBLE THEME PARK ADVENTURE” SHOPPING BAGS ................................................................ 65 CONCLUSION ........................................................................................................................... 75 BIBLIOGRAPHY ....................................................................................................................... 78 ii LIST OF FIGURES Figure 1. Crowd at Passion Drama ............................................................................................... 32 Figure 2. Crystal Waters Lake ...................................................................................................... 34 Figure 3. Front Entrance/ “Gates of Jaffa” ................................................................................... 35 Figure 4. Directional Sign ............................................................................................................. 36 Figure 5. Jerusalem Model ............................................................................................................ 38 Figure 6. Scriptorium .................................................................................................................... 39 Figure 7. Passion Drama (Roman Centurions beat Jesus) ............................................................ 41 Figure 8. Passion Drama (Roman Centurions drag Jesus) ............................................................ 42 Figure 9. Passion Drama (Christ’s return and defeat of Satan) .................................................... 43 Figure 10. Smile of A Child Adventure Land ............................................................................... 45 Figure 11. Miracle Moment .......................................................................................................... 54 Figure 12. Last Supper Communion with Christ .......................................................................... 55 Figure 13. Cross with Prayer Requests ......................................................................................... 57 Figure 14. Audience at Passion Drama ......................................................................................... 59 Figure 15. Tallit ............................................................................................................................ 66 Figure 16. Books ........................................................................................................................... 68 Figure 17. Silly Bandz .................................................................................................................. 69 Figure 18. Gift Shop Items............................................................................................................ 70 Figure 19. Erasers ......................................................................................................................... 71 Figure 20. Cardboard Jesus and Umbrellas .................................................................................. 72 Figure 21. American Flag and Cash Register ............................................................................... 73 Figure 22. TV, ATM, Cardboard Jesus ......................................................................................... 74 Figure 23. Sign on I-4 ................................................................................................................... 77 iii ACKNOWLEDGEMENTS Projects as extensive and all-consuming as these require help from many “outside sources.” First, this project would not have been possible without the support and encouragement of my thesis committee and Miami University’s Department of Comparative Religion. To my advisor, Peter W. Williams: thank you is an understatement. I am eternally indebted to you and I aspire to be as kind, generous, and intelligent a professor. By your example, I will always sing to my students. To James Bielo: thank you for encouraging me to see this project in the bigger picture of its place in the academy and my career, while never forgetting the smaller details – I have enjoyed our Kofenya meetings. To Jim Hanges: thank you for challenging me to make this work great and for humoring me during my time at the Old Manse. To Myev Rees, my friend-tor: thanks for discussing every idea and reading every draft. Your excitement, knowledge, and kindness have helped me more than you know. To Jim Bigari and Olivia Mote, my Miami cohort: thank you for listening, venting, and laughing. To the Holy Land Experience theme park: thank you for allowing me to conduct my research. To the Florida State University Graduate Symposium and the Popular Culture Association/American Culture Association National Conference: thank you for the honor of presenting my work to eager and excited colleagues. To my consultants: thank you for joining me on the “Bible Theme Park Adventure.” Jordan Mike Faith Alyssa Rosemary To Mike Graziano: thank you for your indispensible assistance from the first visit to the last page. To Faith and Jordan Doles: thank you for graciously permitting me to relive freshman year. Last, but definitely not least, to my family: Dani, Mom and Dad, thank you for the encouragement and the questions – I love you all. iv INTRODUCTION On February 5, 2001, the Holy Land Experience theme park opened in Orlando, Florida. This multisensory and performance-focused attraction exists, in part, as a Christian-based alternative to other “Disneyfied”1 amusements in central Florida. Along with its alternative appeal, the Holy Land Experience marks the intersection of evangelical Christianity, commodification, consumerism, and entertainment on the American cultural landscape. American culture creates an arena for such a religious invention to succeed. This attraction integrates sacred messages with popular culture by capitalizing on a contemporary theme park model. The Holy Land Experience is very much a product of the late twentieth and early twenty- first century American religious culture, but the intermingling of evangelical Christianity,2 commodification, and entertainment is not new. Rather, this amalgamation predates the founding of the United States of America. In this thesis, I discuss the historical lineage of American evangelical entertainment and consumerism, classify the Holy Land Experience as a contemporary form of evangetainment, and explore how evangelical Christianity is purchased at the theme park. Evangetainment is a term that, until now, has not
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