CONFLUENCE OF THE ARTS AND THEOLOGY By RICHARD ALAN BERRY B.A. McMaster University, 1979 M.Div., Acadia University, 1983 A Thesis submitted to the Faculty of Theology, Acadia Divinity College, In partial fulfillment of the requirements for the degree of Doctor of Ministry Acadia Divinity College, Acadia University Spring Convocation, 2014 © By Richard Alan Berry 2014 ii This thesis by RICHARD ALLAN BERRY was defended successfully in an oral examination on 1st April 2014. The examining committee for the thesis was: Dr. Anna Robbins, Chair Dr. Maxine Hancock, External Examiner Dr. Carol Anne Janzen, Thesis Supervisor Dr. William Brackney, Internal Examiner This thesis is accepted in its present form by Acadia Divinity College, the Faculty of Theology of Acadia University, as satisfying the thesis requirements for the degree of Doctor of Ministry. iii I, RICHARD ALLAN BERRY hereby grant permission to the Head Librarian at Acadia University to provide copies of this thesis, on request, on a non-profit basis. Richard Allan Berry Author Dr. Carol Anne Janzen Supervisor 1 April 2014 Date (This page is blank on purpose.) iv TABLE OF CONTENTS CONFLUENCE OF THE ARTS AND THEOLOGY ........................................................... 1 Table of Contents .................................................................................................................. iv Figures .................................................................................................................................... v Abstract ................................................................................................................................. vi Acknowledgments ............................................................................................................... vii Introduction ............................................................................................................................ 1 Background Context for the Arts ....................................................................................... 2 Purpose of Thesis ............................................................................................................. 14 Chapter 1: Touchstones From the Strength of the Arts ........................................................ 19 Immersion into Situatedness ............................................................................................ 20 Open-ended Exploration of Mystery ................................................................................ 28 Relational Authenticity ..................................................................................................... 35 Suspended Belief .............................................................................................................. 41 Cathartic Confluence ........................................................................................................ 48 Imagination Framework ................................................................................................... 56 Chapter 2: Postmodernity and Receptivity to the Arts ......................................................... 64 Postmodern origins ........................................................................................................... 64 Postmodern developments in theology ............................................................................. 72 Wholistic theology of faith and action ............................................................................. 86 Postmodern Sensitivity to other Worldviews ................................................................... 93 Postmodern Spirituality and the Arts ............................................................................. 101 Chapter 3: Touchstones in Jesus' Teaching ........................................................................ 111 Jesus' teaching style ........................................................................................................ 111 Exchange with Nicodemus - The Seen and the Unseen ................................................. 114 Situatedness of the Context - Nicodemus with Jesus ..................................................... 116 Relational authenticity in Jesus’ words to Nicodemus ................................................... 119 Open-ended Talk of Mystery ......................................................................................... 121 Suspended Belief of Samaritan Woman ......................................................................... 132 Cathartic Confluence Brings Healing and Change ......................................................... 134 Imagination Framework ................................................................................................. 135 Chapter 4: Methodology - The Arts and Theology in Confluence ..................................... 141 Lectio Divina .................................................................................................................. 147 Visio Divina ................................................................................................................... 154 Interviews ....................................................................................................................... 157 Touchstones .................................................................................................................... 161 Chapter 5: A Proposal for the Collaboration of Artists and Theologians .......................... 192 Landmarks on the way forward ...................................................................................... 197 Appendix One - Visio Divina Creating Art ........................................................................ 221 Appendix Two - The Learning Cycle Quadrants ............................................................... 226 Bibliography ....................................................................................................................... 231 Sources Consulted .............................................................................................................. 236 v FIGURES Figure 1 Bernini's David ................................................................................................................................................................ 22 Figure 2 Michelangelo's David .................................................................................................................................................... 22 Figure 3 Wind and Spirit ................................................................................................................................................................ 27 Figure 4 Land and Sea .................................................................................................................................................................... 35 Figure 5 Rock Faces .......................................................................................................................................................................... 40 Figure 6 The River ............................................................................................................................................................................. 44 Figure 7 The Bridge .......................................................................................................................................................................... 47 Figure 8 Confluence .......................................................................................................................................................................... 54 Figure 9 Confluence of the Seen and the Unseen ................................................................................................................. 61 Figure 10 Touchstones .................................................................................................................................................................... 63 Figure 11 Modern Axes ................................................................................................................................................................... 68 Figure 12 Modern Axes - Conservative and Liberal ........................................................................................................... 71 Figure 13 Modern Axes Blended in Postmodernism .......................................................................................................... 72 Figure 14 Postmodern Priorities ................................................................................................................................................ 85 Figure 15 Touchstones and Postmodern Priorities ......................................................................................................... 110 Figure 16 Samaritan Woman ................................................................................................................................................... 140 Figure 17 Balkanized Groups .................................................................................................................................................... 144 Figure 18 Collaborative Culture .............................................................................................................................................. 145 Figure 19 Contrived Collegiality .............................................................................................................................................