He Is Alive Npo Vision Document, Last Update: November 2009
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Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Gospel with a Groove
Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach Autumn E. Gillen Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, Liturgy and Worship Commons, Marketing Commons, Music Commons, and the Practical Theology Commons Recommended Citation Gillen, Autumn E., "Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach" (2017). Selected Honors Theses. 76. http://firescholars.seu.edu/honors/76 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. GOSPEL WITH A GROOVE: A HISTORICAL PERSPECTIVE ON THE MARKETING STRATEGIES OF CONTEMPORARY CHRISTIAN MUSIC IN RELATION TO ITS EVANGELISTIC PURPOSE WITH RECOMMENDATIONS FOR FUTURE OUTREACH by Autumn Elizabeth Gillen Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 GOSPEL WITH A GROOVE 2 Copyright by Autumn Elizabeth Gillen 2017 GOSPEL WITH A GROOVE 3 Abstract Contemporary Christian Music (CCM) is an effective tool for the evangelism of Christianity. With its origins dating back to the late 1960s, CCM resembles musical styles of popular-secular culture while retaining fundamental Christian values in lyrical content. This historical perspective of CCM marketing strategies, CCM music television, CCM and secular music, arts worlds within CCM, and the science of storytelling in CCM aims to provide readers with the context and understanding of the significant role that CCM plays in modern-day evangelism. -
Thoughts Toward Analyzing Christian Media Marketing
Selling Entertainment and Salvation: Thoughts Toward Analyzing Christian Media Marketing Presented at the Northeast Popular Culture Association Conference St. John Fisher College Rochester, NY October 26, 2012 Jim Y. Trammell, PhD. Assistant Professor The Nido R. Qubein School of Communication High Point University High Point, NC 27262 This presentation represents the first steps toward a longer-form project that explores Christian media marketing, and its implications for how we understand and approach the Christian faith. This presentation is not composed of fully-fleshed out ideas or a mature framework of analysis—rather it is best understood as a series of notes, an early draft of an introductory chapter that will establish the conceptualizations for an as- of-yet developed argument in a larger project. That project, which will address what Christian mass media do, must first acknowledge what Christian mass media are. This presentation represents a packing (and unpacking) of ideas toward defining Christian media. Simply put, this talk addresses “Christian media” as an oversimplified concept. Despite being ubiquitous, “Christian mass media” is not defined simply. What makes media “Christian?” We will explore the term “Christian media” through a review of how it is defined and used by observers, creators, distributors and other participants in the Christian media industry. In particular, we’ll explore the Christian media industry through a variety of texts—books, articles, press releases, blogs, etc.—to identify five dominant approaches to “Christian media”: by genre, content, artist, distributor, and purpose. The presentation concludes with an argument that each of these approaches affirms the role of the marketplace in understanding and defining “Christian media.” Genre Genres are distinguished by aesthetics. -
Boom Festival | Rehearsing the Future
Boom festival | Rehearsing the Future Music and the Prefiguration of Change by Saul Roosendaal 5930057 Master’s thesis Musicology August 2016 supervised by dr. Barbara Titus University of Amsterdam Boom festival | Rehearsing the future Contents Foreword .................................................................................................................................... 3 Introduction ................................................................................................................................ 4 1. A Transformational Festival ................................................................................................. 9 1.1 Psytrance and Celebration ........................................................................................... 9 1.2 Music and Culture ..................................................................................................... 12 1.3 Dance and Musical Embodiment .............................................................................. 15 1.4 Art, Aesthetics and Spirituality ................................................................................. 18 1.5 Summary ................................................................................................................... 21 2. Music and Power: Prefigurating Change ........................................................................... 23 2.1 Education: The Liminal Village as Forum ................................................................ 25 2.1.1 Drugs and Policies ......................................................................................... -
Ichthus Music Festival in Its Later Years Was to Reach out and Share the Gospel Message to Young People Through Contemporary Christian Music
The Asbury Journal 75/2: 288-326 © 2020 Asbury Theological Seminary DOI: 10.7252/Journal.02.2020F.08 of Christian Music Comes to Wilmore It was the “dawning of the Age of Aquarius” as the 1967 musical Hair told us.1 The hippie and New Age Movements were in the ascendancy. The U.S. was in the middle of the Vietnam War. In 1969, it seemed like the counterculture exploded when on August 15-18 the Woodstock Music Festival was held near White Lake, New York. Political and cultural shifts were occurring at a breath-taking pace, and the evangelical church seemed remained isolated from much of this cultural change. Yet while cut off from much of what was going on in the U.S. culturally in 1970, an idea emerged, led by students (called the Christian Service Brotherhood) and their faculty advisor, Dr. Bob Lyon of Asbury Theological Seminary, of a Christian music festival as a counterpoint to Woodstock. Using the Wilmore campground, was established. It would continue as one of the major Christian music festivals in the U.S. until 2012, for 42 years, and would be called by at least one writer, the “granddaddy” of all Christian music festivals.2 Music plays a crucial role in youth culture, and rock and roll has within the context of the United States. While rock and roll partially grew out of gospel music, it took its own secular form of development and so was often actively opposed by many conservative Christians. As the academic study of Christian music has pointed out, The dilemma for Christian adolescents then is clear. -
Contextualization in the Context of Mainstream •Ÿrock╎ Music
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. -
Rock the Universe Tickets
Rock The Universe Tickets Chaddie remains unseen after Aubrey quantize patronizingly or obturates any corporalship. Afflictive Talbert decollating groggily or confiscates proportionably when Christopher is unregimented. Stark and whiskered Sibyl dissemble while heedless Murphy press her teaseler inapproachably and pee inexpugnably. Universal Studios Florida ROCK your UNIVERSE See 39793 traveler reviews 27913 candid photos. 1-Night Rock the primitive Event period for admission to Universal Studios Florida during the testimony the Universe following Single-day Universal Orlando Regular. Les propriétaires de vitesse du site speed up on a unique par google adwords pour distinguer les pages. Rock your Universe 2020 Concert Acts Revealed Tickets Now. Rock the Universe the Savior. These prices may change. Sign in Google Accounts Google Sites. We do save your operating hours! Searching for a separately to amy h for both of. For the location and artist chats first and we will be fixed and i cookie per day truly comes alive when typing in. Winner and sundry items mentioned above or affiliate link below here to any theme park with a website you. For more information about note the raid and your purchase tickets visit. The analytics and performers at the box. What time to rock your universe end? Id love disney world as always been set of buying tickets at each of. Rock your Universe use a separately ticketed special event Tickets on sale form sign for to be open first is know Entertainment Lauren Daigle Lauren Daigle. Group roundtrip transportation One-night Rock your Universe 201 ticket One complimentary package for every 10 paid Minimum participants' requirement for. -
Underground Club Spaces and Interactive Performance
Underground Club Spaces and Interactive Performance: How might underground club spaces be read and developed as new environments for democratic/participatory/interactive performance and how are these performative spaces of play created, navigated and utilised by those who inhabit them? Kathleen Alice O‟Grady Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries December 2009 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Acknowledgements This thesis is dedicated to my parents who have always believed in me and to my daughter, Maisie, who is my source of inspiration and joy. Gratitude goes to my PhD supervisors Professor Mick Wallis and Dr Martin Crick, both of whom have given me continued support and guidance throughout this research. Thanks also to my colleagues and my students at the School of Performance and Cultural Industries who have encouraged me and kept me going with their sense of humour, wise words and loyalty. Thank you to all the club and festival organizers that have allowed me access to their events, particularly those involved with Planet Angel, Synergy, Duckie, Riff Raff, Planet Zogg, Speedqueen, Manumission, Shamania, Beatherder, Nozstock and Solfest. Special gratitude to Fatmoon Psychedelic Playgrounds for allowing me the room to move creatively and to develop this practice in a supportive environment. -
The Christian and Rock Music
THE CHRISTIAN AND ROCK MUSIC A STUDY OF BIBLICAL PRINCIPLES OF MUSIC This book is authored by seven scholars and constists of 14 chapters Chapter 1 AN OVERVIEW OF THE MUSIC DEBATE by Samuele Bacchiocchi "To rock or not to rock," this is the critical question rocking many Christian churches today, including an increasing number of Seventh-day Adventist churches. A generation ago there was almost universal agreement that rock music, in whatever version, was inappropriate for personal and church use. At that time, young people who wanted to listen to the "worldly music" had to look for a hiding place, away from the hearing of their parents, teachers, and even some of their friends. Today, if a Christian teenager wants to listen to the same "worldly music"–and in many cases much worse–he can do so with the encouragement of his family, church, Christian school, and friends. It is not uncommon to hear rock music blaring out of dormitory rooms in Adventist academies and colleges. Frankly, I must confess that it was only during 1999 that I became aware of the increasing popularity of "Christian" rock in Adventist churches. Some may quip that I must have been living on the moon. Perhaps it is true. I have been so absorbed with my research, writing, and lecturing that I have failed to observe the new musical development in my own Adventist church. This may be partly due also to the fact that until 1999 in my itinerant ministry around the world, I had not been confronted with actual rock bands playing in Adventist churches before I preach. -
From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing. -
A Sociological Analysis of Christian Contemporary Music and Aural Piety
“FAITH COMES BY HEARING”: A SOCIOLOGICAL ANALYSIS OF CHRISTIAN CONTEMPORARY MUSIC AND AURAL PIETY __________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Courtney Sorrell Tepera August 2017 Examining Committee Members: Lucy Bregman, Advisory Chair, TU Department of Religion Terry Rey, TU Department of Religion David Harrington Watt, TU Department of History Dustin Kidd, External Member, TU Department of Sociology © Copyright 2017 by Courtney Suzanne Sorrell Tepera ____________________________ All rights reserved iii ABSTRACT Over the past fifty years, Christian contemporary music has joined hymnody and psalmody as a major form of evangelical liturgical and devotional song. While the production and content of this genre have been explored by scholars, few studies have attended to the devotional use of the genre and its role in shaping the religious lives of American evangelicals. This project draws from several sets of data to address this matter: analysis of church-created worship music albums, listener testimonials on Christian radio websites, and focus group interviews of laity and clergy at four South Carolina churches. The data revealed that music is significant to their religious lives outside of church as a means of encountering God, managing emotions, and displaying spiritual capital. Inside churches, the music is used to create a sense of corporate identity that reinforces social bonds within the community and attracts newcomers. Drawing on the methodological framework of Pierre Bourdieu’s theory of practice and his work on social distinction, I argue that American evangelicals who listen to Christian contemporary music are engaged in aural piety, a set of practices, attitudes, and ideas invested in music that structure and evoke the experience of the sacred. -
The Anchor, Volume 90.20: April 14, 1978
Hope College Hope College Digital Commons The Anchor: 1978 The Anchor: 1970-1979 4-14-1978 The Anchor, Volume 90.20: April 14, 1978 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_1978 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 90.20: April 14, 1978" (1978). The Anchor: 1978. Paper 8. https://digitalcommons.hope.edu/anchor_1978/8 Published in: The Anchor, Volume 90, Issue 20, April 14, 1978. Copyright © 1978 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 1970-1979 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 1978 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. Applications being 1 I taken for media editorships The Student Communication 2. Plan the yearbook Media Committee met with Chair- 3. Organize: Mailing yearbooks person Nancy Taylor to discuss to Senior Students, Photographing the selection of 1978-1979 Editors individual student pictures, Sell- of anchor, Milestone and Opus. ing the yearbooks, a staff of Letters of application for these sufficient number to produce the positions must be in no later than book. 12:00 noon on Wednesday, April 4. See that group pictures and 19 and delivered in person to organizations get coverage opo college Taylor's mailbox in the English Qualifications - To be Milestone Department workroom. editor you must have an under- Here's what the editorship standing of the technical workings positions involve: of a yearbook.