by | Oct 3, 2024 | Uncategorized
It is Sunday morning and quiet throughout our house. The first morning light is slipping through our blinds, just enough for my husband to read his Bible and for me to write. The only thing I hear is our coffee percolating. Sunday mornings are easily the most peaceful time in our otherwise noisy, demanding schedule.
During the pandemic with churches closed, we learned to savor Sunday mornings as especially convivial and serene. After a couple quiet reading hours, my husband, Chris, would prepare breakfast. Our three children would tumble out of bed around 11 to pancakes or waffles, eggs, and bacon. Then Chris and I would head out for a walk around our neighborhood, waving at neighbors. On more ambitious weekends, we’d take to hiking trails.
When struck by convictions about missing church, Chris and I would wake the kids a bit earlier, around 10:30. Though they were only really losing 30 minutes’ sleep, they’d make a grumpy little show of it. We’d file into the living room, sit on our green couches, and take in some spirited preaching by a local megachurch pastor. Megachurches had an advantage during the pandemic, easily pivoting to sleek broadcasts while many smaller churches struggled to improvise.
After the pandemic faded away, though, we found our new routine difficult to break. Attending church in person now feels like a series of sacrifices. We have to wake the children at 9:30 to get them fed, dressed, and out the door on time. All this bustle means Chris and I get less peace, less quiet, less reading, and no leisurely morning walk. It’s 8:09 a.m. now, as I write this. To get to church this morning, I’ll have to stop writing in 30 minutes.
Reader, I don’t want to. I do not want to make these little sacrifices. Sunday mornings are restorative when they are quiet and leisurely. They are good for all of us.
Or so I once thought, but no longer.
The pandemic had far-reaching consequences in our society, especially for young people—including my children. My smallest had her kindergarten year disrupted so that when she finally returned to school in person, she struggled to make friends. My middle child’s online elementary school didn’t prepare her for the very different demands of middle school. And my high schooler spent too much time online, imbibing geopolitics and national news in ways that left him stressed and cynical.
Sundays at home did renew our individual energy and family life. But they also exacerbated our sense of disconnection from community life. Staying in meant we got more and more of our information from screens—which in turn presented the world as increasingly fractious.
By staying home as a family on Sundays, I realized, I was subtly and unintentionally telling my children that the world was too tiresome and too fraught to engage on the weekends. I was modeling the idea that we could retreat, even from life together with fellow Christians.
Our children took note. Initially, they complained that they saw less of our friends, but then they began to communicate a growing distress about public life. They told me their worries about school shootings, the prospect of a military draft, friends moving away, and disagreements within our extended family over politics. For a variety of reasons, each of my children grew more ambivalent about relationships in our family, church, and schools. Our withdrawal from church fed into other kinds of retreat. Looking back, this trajectory seems designed to produce a collective depression.
Upon reflection, the most spiritually formative time in my life bears some similarities to this one.
I was a couple of months shy of twelve years old when my littlest sister died from a heart condition. Shortly after she passed away, my dad built our family a new house. Moving into this house meant that I had to leave my school and church, which were too far from our new neighborhood. When I began seventh grade just a few months later, I was overwhelmed by grief and had no cousins, no church community, and no school friends around to help. I’d never been so profoundly alone before this experience and have never been so since.
Mercifully, we joined Westover Hills, a vibrant, 400-person congregation that embraced our family at the lowest point of our lives. Though our grief felt isolating, we still attended services every Sunday morning and night, and every Wednesday too. Soon, our family life was structured by our church participation. My dad joined the orchestra, my mom, the choir. I joined the youth group and my younger sister, children’s church.
When I look back now, I see my family was hobbling along, doing the best we could under the circumstances. But I also see choir members’ mauve robes with cranberry accents, their arms lifted and eyes closed in worship; deacons with broad shoulders and smiles; friends with cars, picking me up for a Friday youth game night. The people of Westover carried us through the most trying time of our lives with their faithfulness, their voluntary good cheer, their testimonies, and their prayers. They were not just our church but the church, helping us to keep our faith when our hearts were broken. I remain so grateful to them, and I always feel deep down that Westover Hills of the 1990s is the community I am truly from.
Westover came to mind when my husband recently announced that we really need to return to church, in person and for good. No more Sundays on the couch.
We committed to going to the same church we’d been watching online, at least for a while. We couldn’t risk losing momentum by going church shopping. We needed the structure, the regularity of church every Sunday in person. The megachurch would suffice.
This church is 22,000 strong, and in our service, there are about 5,000 people each week. This is a massive number of people. I feel like an ant when we walk in and even more so when we try to walk out, a process that brings the word “stampede” to mind. Two weeks ago, we waited 30 minutes to exit the parking lot.
There are so many little inconveniences in our Sunday mornings now, and they add up—to work. It is work to wrangle everyone, including myself, into the car, into the pew, and then back home again.
But we have a totally different experience of church in our actual pews. Our pastor preaches the same sermon in real time and online, so it isn’t the sermon that’s different. It’s the palpable participation of the congregation that makes the greatest difference.
In person, you can hear and see how the preaching lands with fellow believers. Three weeks ago, I heard a man say, “You better say that again”—emphatically, in a baritone staccato—when our pastor preached a salient point.
Another time, a person directly in front of me spent three minutes intermittently nodding her head in agreement during a section of preaching about surrender. She sat with her smallest girl right next to her, almost in her lap, and three boys right beside them. When our pastor landed a point, she nodded. He repeated or extended an idea, she nodded again. Later, the pastor asked, “How many people here have ever felt they are not worthy of a calling they feel God has placed on their lives?” Hands went up all around us.
A few weeks ago, more than 200 people were baptized. From our seats, we could see their bodies dipping into water on the main stage. We watched their faces in detail on the big screens, televised next to the words of the worship song we were all singing.Another person went down into the water; she came up smiling. She lifted her arms in triumph and the congregation swelled with cheers—a roar of celebration.
I would have seen none of this online: not the nodding, not the hands, not the vulnerability to say, I struggle with a sense of unworthiness. I might have seen the same person get baptized on my screen, but I wouldn’t have been there to raise my cheer with the congregation.
Now I realize, we make the event an event. The congregation, the laity, together, responds to ideas, to baptisms, to the need for prayer, and to the opportunity for praise. We model vulnerability and faithfulness for each other. Without our voices, our nodding heads, our cheers and encouragement, church does not happen. We don’t hear much about liturgy in a megachurch like this, but the word comes from a combination of Greek words for people and work. And it’s true, it takes work to get to church on Sunday and participate—but it is our work to do. Only we can do it.
Since recommitting to church in person, my children seem more sure of the world. They’re still aware of its troubles, but they have a visceral knowledge of what a life-giving community feels like and what it means to take heart, together, because Christ has overcome the world (John 16:33).
This is not knowledge I alone can give them. I can teach them, and a pastor can preach to them, but only a community of believers can cocreate the context in which our teaching and preaching make robust, embodied sense. Every time my children hear someone encourage the pastor, cheer on a fellow congregant, or lift their voices in earnest praise, they see that God has been faithful to real, live people. God grows more and more visible, more and more plausible, as they witness worship in real time.
As I look back on our season of withdrawal, I feel a new sense of responsibility. People go through trials, individually and as families. We reach breaking points. We sometimes weather grief and get stuck in sadness. It is the work of the laity to come together, to lift up the name of Christ, to receive God’s Word, to bear each other’s burdens (Gal. 6:2) and foster each other’s faith as they—we—heal and grow closer to God.
I want to do my part.
Erica Bryand Ramirez is a sociologist of religion who teaches Christian History at Baylor’s Truett Seminary. She lives in San Antonio with Chris and their three children.
The post No More Sundays on the Couch appeared first on Christianity Today.
by | Oct 3, 2024 | Uncategorized
For the first few minutes of Kendrick Lamar’s new song, I only half listened, nodding in time to the hypnotic beat while responding to emails on my laptop. Then came the line that made me sit up and stare bug-eyed at my husband, who was listening beside me on the couch.
“Did he say Lecrae?” We kept listening. A few minutes later, Kendrick said the name again. My mouth dropped open. When the song ended, we played it from the top, this time listening carefully.
The untitled track, released on Instagram on September 11, expresses the acclaimed rapper’s weariness and disgust with the contemporary hip-hop world and the music industry at large. In the song, Kendrick feels jaded by the machinations of the very system in which he has found exceptional success. He has received 17 Grammys, 29 BET Hip Hop Awards, and a 2018 Pulitzer Prize. His Drake diss track “Not Like Us” broke multiple streaming records, becoming so popular that, earlier this year at a sold-out Los Angeles arena, he performed the song to roaring applause five times in a row. Kendrick was recently announced as the headliner for the 2025 Super Bowl Halftime Show.
But instead of celebrating any of these successes, Kendrick spends all five minutes and six seconds of his new song venting his contempt for an industry full of people who “parade in gluttony” and “glorify scamming.” He describes a “culture bred with carnivores,” rife with liars, mercenaries, and cowards whose money emboldens them to make “nasty decisions.” His lyrics are equal parts searching and vengeful. In a repeated refrain, Kendrick pleads for God to give him life, peace, and forgiveness—to “draw the line” between himself and the peers whose wickedness he despises.
Elsewhere, his words turn violent, calling for the “village” to burn down, for heads to crack, for “agony, assault, and battery.” “I think it’s time to watch the party die,” Kendrick repeats again and again. Things are so irredeemably corrupt that he suggests the only solution is destruction, Great-Flood style.
The rapper doesn’t waver from his verdict until the final verse, where he asks the question that made me sit up and stare: “Sometimes I wonder what Lecrae would do.”
Lecrae, of course, is the Christian rapper Lecrae Devaughn Moore, whose career began in the early 2000s and whose frequent collaborators have included Andy Mineo, Trip Lee, Sho Baraka, and Jackie Hill Perry. Most of Lecrae’s early work is explicitly theological, with songs like “Don’t Waste Your Life” (“We’re created for him / Outta the dust he made us for him / Elects us and he saves us for him”) and “Tell the World” (“You hung there bleedin’/ And ya’ died for my lies and my cheatin’ / My lust and my greed, and / What is a man that you mindful of him?”) garnering him widespread acclaim in the evangelical world and ins with the likes of John Piper, Tim Keller, Tony Evans, and Judah Smith.
Later, with albums like Gravity (2012) and Anomaly (2014), Lecrae moved away from overtly theological lyrics, instead weaving his faith into songs about identity, relationships, race, and class. In more recent years, he’s written extensively about experiences with corruption, hypocrisy, and racism within the church that resulted in a severe crisis of both faith and mental health.
Still, the core of Lecrae’s music remains his relationship with God and the church. Although a highly successful artist in his own right—with BET Awards, Grammys, and several No. 1 Billboard hits—his audience has always been, perhaps always will be, much smaller than someone like Kendrick Lamar’s.
And yet—his influence matters. Lecrae and Kendrick struck up a friendship early in their careers after the latter released his theodicy-themed track, “Faith.” Kendrick has long been vocal about his relationship with Jesus, and though some have questioned his orthodoxy, his faith remains a central theme in his music.
“Sometimes I wonder what Lecrae would do / F— these n— up or show ’em just what prayer do?” Kendrick wonders. Faced with the same seemingly irredeemable industry, would Lecrae pursue some form of vigilante justice—visceral, instant, immediately satisfying—or the slow, patient route of prayer? Moments later, after a fresh round of denunciations, Kendrick repeats the question: “I mean—[I] wonder what Lecrae would do.”
Perhaps Kendrick has read Lecrae’s memoir, released in 2020, detailing the rapper’s struggles with childhood trauma, depression, and a crisis of faith after the evangelical church’s cold response to a string of police killings of unarmed Black men.
Or perhaps he’s listened to Lecrae’s 2022 track “Deconstruction,” in which the rapper describes hitting rock bottom until a midnight encounter with God broke through the fog of despair.
In both works, Lecrae details a process of healing marked by weakness and surrender, a slow, steady journey entirely dependent on the love of God and others. It’s a stark departure from the brute force and willpower Kendrick finds so attractive. And it’s clear that both Lecrae’s art and his life have been compelling enough to make Kendrick take notice.
As a writer whose work revolves around my Christian faith, I often find myself discouraged, imagining I am destined to obscurity. When peers publish bestsellers or have their books adapted into movies, I find myself wishing my work was more like theirs, addressing Zeitgeisty themes like race, sexuality, or climate anxiety from a primarily agnostic worldview.
Instead, I find myself compulsively writing about spirituality—specifically, the conundrum of being a rational person whose life trajectory has been shaped by supernatural experiences. Sometimes I even feel resentful at my religion, as though it’s a restriction on my art, relegating me to a lifetime of limited reach at best, and irrelevance at worst.
So to hear one of the most talented and decorated rappers alive name-check an artist whose work has revolved around Jesus was deeply heartening. What moves me is not the idea that someday my own work might be noticed by someone more famous. It’s the thought that a sincere, intelligent, and profound artist like Kendrick Lamar, someone who’s seen no end of good ideas and interesting art, might find something in straightforwardly Christian music that gives him pause, that makes him reconsider.
Art that gains this sort of traction must do more than present accurate theological facts or insist on the supremacy of a “Christian worldview.” It must be prophetic.
Prophetic art is art that reveals truths heretofore unrecognized, unseen, or inaccessible. To be recognized as prophetic is one of the highest forms of praise an artist can receive. It’s a word that’s been used to describe Kendrick Lamar, who cunningly folded a lament about toxic drinking culture into his “club-banger” track “Swimming Pools” and spares no one in his excoriating analysis of anti-Blackness in “The Blacker the Berry” (“You hate me, don’t you? / I know you hate me just as much as you hate yourself” and “So why did I weep when Trayvon Martin was in the street / When gang-banging make me kill a n— blacker than me? / Hypocrite!”)
I would argue that “prophetic” is a fitting description for Lecrae’s work as well. Throughout his career, Lecrae has used his music not only to preach the gospel but also to engage his audience with uncomfortable truths about everything from religious hypocrisy (“Bookstore pimpin’ them hope books / Like God don’t know how broke looks / And telling me that I’m gon’ reap a mil’ / If I sow into these low crooks”) to the entrenched racial biases that mar white America’s practice of Christianity (“Right before the fall of 2015, I was all off / It involved killing Michael Brown, had me feeling down / Tweeted ’bout it, Christians call me clown … spoke about my pain, I was met with blame / ‘Shame on you, ’Crae, stop crying, get back to Jesus’ name’”).
Prophetic work is more than just eloquent or insightful, and it doesn’t always find commercial success. It is born of an abiding connection to the Spirit of God—the type of connection that empowers us to create honestly and courageously, even at risk to our comfort and reputation. To make prophetic work is decidedly not to change ourselves to fit the Zeitgeist but to maintain fidelity to the unique questions, ideas, perspectives, and modes of expression God has placed within us—and to make our work unto the Lord, the source of all wisdom and prophecy.
Only then can we contribute something to culture that doesn’t already exist—something capable of causing the Kendrick Lamars of our own disciplines to wonder what we would do.
Christina is the author of the audio series The Last Two Years and the cofounder of Estuaries.
The post What Would Lecrae Do? appeared first on Christianity Today.
by | Oct 2, 2024 | Uncategorized
This piece was adapted from Russell Moore’s newsletter. Subscribe here.
My family is from one of the most hurricane-prone places in the United States—our hometown was virtually wiped from the map by Hurricane Katrina. Because of this, we spend hurricane season tracking each tropical depression with dread and then, often, relief, when the storm moves somewhere out of the path of the people we love.
This time, though, with Hurricane Helene, we exhaled too soon. Instead of hitting the coast, the hurricane devastated inland places we never expected to be vulnerable—such as Asheville, North Carolina; Valdosta, Georgia; and countless other communities flooded nearly out of existence, with people stranded without food, electricity, or cell service.
After the storm passed through, I spent some time searching through social media, trying to determine the well-being of people I know and love. As I did, I saw—as we all have—image after image of human suffering and neighborhood devastation.
And, since it was social media, I also saw a lot of the usual types using the disaster to vindicate their own negative polarization. Some posted that the massive disaster befalling Asheville was due to that city’s well-known progressive culture and politics. Others countered by saying that most of the North Carolinians left homeless by the flood were in “red” counties, so maybe this was God’s judgment on MAGA. And on and on it went, as it always does.
In the past, after almost every hurricane, we could usually count the hours until Pat Robertson or some other television evangelist would blame it on God’s judgment on something—sometimes as specific as New Orleans’s annual “Southern Decadence” parade, and sometimes as general as “America’s turn away from God.”
Nor was this limited to the political right. While our families were crawling out of the rubble of Katrina, now almost 20 years ago, Robert F. Kennedy Jr. (then on the left and well before his gadfly persona of today) quoted the prophet Hosea to suggest that the storm was retribution for Mississippi Gov. Haley Barbour’s opposition to the Kyoto Protocol for combating climate change: “For they that sow the wind shall reap the whirlwind.”
The trivialized venue of modern social media is unique, but the underlying sarcasm about “What did they do to deserve this?” is not. And the much more serious, much more sober fears and questions beneath that are not unique either. What does it tell us about God when human beings have their entire lives wiped away?
Kris Kristofferson, the singer/songwriter who died this week, wrote a song, “The Best of All Possible Worlds,” based off of unbelieving philosopher Voltaire’s book Candide. Kristofferson’s song references police brutality, systemic racism, and unjust treatment of the poor with a tongue-in-cheek praise to living “in this best of all possible worlds.” Kristofferson laughed, but Voltaire mocked, pointing his satire at Gottfried Wilhelm Leibniz’s defense of God’s justice in a cosmos of suffering and evil, that this is “the best of all possible worlds.”
While I believe Voltaire was wrong, Kristofferson was right to point out the kind of fatalism the philosopher saw as coming along with many attempts to justify God. We can yield to a shrugging “that’s the way it is” mentality that sees in every evil a signpost as to what God actually wants. That can lead to a “eat, drink, and be merry” hedonism, with a passive acceptance of all sorts of things that should be, at least, mourned, and, at best, changed.
The way Voltaire points, though, leads to the same form of pessimistic resignation in the long run. If the universe around us is random, chaotic, and meaningless, then we ought to read in it what is most ultimate: suffering, pain, and death.
Christians, Jews, and other theists have wrestled with the so-called “problem of evil,” including the problem of “natural evil,” for millennia. Some give greater emphasis to God’s sovereignty, with good biblical backing. Others emphasize the freedom and responsibility of human beings, along with a rejection of the idea that God could ever be the author of sin—also with very good biblical backing.
The question abides: How could a good and powerful God allow a world such as this one to exist? Why could he not stop the dam from breaking to keep that North Carolinian family’s house from being washed away? Is it because God was angry at them?
This is not just about hurricanes and earthquakes and tsunamis. Often, even in the quieter, less visible manifestations of very personal suffering, someone will wonder—even if they don’t say it—What has that person done to deserve this?
The Bible doesn’t ignore this question. God does not tell Job why, ultimately, he was allowed to suffer—nor does he give Job an answer as to why the universe is so seemingly filled with chaos and danger. God does, however, reject the easy answers of Job’s counselors, some of whom seek to read backward from the suffering an oracle about what God wants.
Jesus, likewise, condemns the suggestion that those who suffer at the hand of other people’s evil intentions or in the throes of some natural calamity are to blame for their calamity (Luke 13:1–5). He repudiates the religious leaders’ suggestion that a man’s congenital blindness was his or his parents’ fault (John 9:3). The chaotic natural forces around Jesus—whether wild animals or unclean spirits or boat-threatening storms—were calmed and redirected by the presence and voice of Jesus, the one who puts heaven and nature back together again.
When Christians speak of the existence of natural evil as a mystery, some balk that this is a way of evading the question. And yet every attempt—from that of nihilists to hyper-Calvinists to everyone in between—to answer the meaning of suffering bumps upon a mystery of some sort. The question is, what kind of mystery?
The mystery we see in the way of Jesus is one in which we hold together a tension: that of a God for whom not a sparrow falls apart from his awareness (Matt. 10:29–31) and for whom the death of a friend is received with weeping by Jesus himself (John 11:35).
Without a sense of the mystery of the wildness and fallenness of this present universe, the danger is that we come to see it as “normal.” Even worse is the danger that we would see in the bloodiness and violence of nature some picture of the way that God is. As Reinhold Niebuhr warned in the last century, “Our obsession with the physical sciences and with the physical world has enthroned the brute and blind forces of nature, and we follow the God of the earthquake and the fire rather than the God of the still small voice.”
The fact that we view the world around us with simultaneous awe, wonder, terror, and grieving is itself a signpost that there’s something missing from the merely natural. Jesus told us that earthquakes and other natural disasters would happen. He did not picture these as good but as the “birth pains” (Matt. 24:7–8, ESV throughout) of an old order that will be passing away, yielding to a new order beyond imagination.
The Bible itself tells us that these birth pangs are a creation in upheaval, “groaning together in the pains of childbirth until now” (Rom. 8:22). Our response is not to solve that nature-in-crisis the way we would an algebra equation. Our response is to groan right along with it as we wait, with a hope we cannot see, for all things to be where they belong: under the feet of a resurrected Christ and his joint heirs.
In the meantime, we do exactly what numerous people are doing right now: Clearing away the trees in front of people’s homes. Sitting alongside grieving families who have lost the ones they love. Serving food to those whose pantries are empty and whose local grocery stores are under water.
A hurricane doesn’t tell us who to hate. It reminds us who to love.
Russell Moore is the editor in chief at Christianity Today and leads its Public Theology Project.
The post A Hurricane Doesn’t Tell Us Who to Hate appeared first on Christianity Today.
by | Oct 2, 2024 | Uncategorized
Gen Z evangelicals don’t want to be known for their faith.
Instead, they want their talents, interests, hobbies, and education levels to be the ways they make a name for themselves.
They see their faith as a support during challenging times. Prayer is the second most common way that they cope with stress, tied with distracting themselves by watching or reading something.
And while they may often be regarded as an “anxious generation,” they are optimistic about the future. Four in five Gen Z evangelicals believe that they can make a meaningful impact in the world for succeeding generations.
Young Life offered CT an exclusive look at these evangelical breakouts from its recent release of The Relate Project, a study which examined the beliefs and aspirations of 7,261 young people between 13 and 24 years old.
The study covered eight countries: the US, the UK, Mexico, India, Kenya, Uganda, Ethiopia, and Tanzania. It surveyed adolescents of various faiths in July and August 2023. The sample of Christians from the study included those who identified as Protestant, Catholic, Orthodox, Coptic, or other.
Overall, it found that belief in God is integral in boosting Gen Z’s sense of purpose and well-being.
“Young people can experience flourishing apart from faith, but our research found that those without a faith frame (e.g., atheists, agnostics, and nones) report lower levels of flourishing,” the report stated.
Researchers also noted that cultural differences might account for variations in responses. For example, focus groups found that young adults in the four East African countries and India are generally more hesitant to talk to older adults because they fear incurring their disapproval.
For this story, “global” refers to the eight countries surveyed by Young Life.
Reputation and recognition
At least half of young evangelicals in the US and UK said that they wanted to be known for their talents (54%), as well as their interests or hobbies (52%).
Only around 1 in 3 (32%) wanted to be recognized for their religion or beliefs.
Survey results were similar in East Africa, India, and Mexico. Just under half (43%) of Gen Z evangelicals in these countries preferred to be known for their educational qualifications, while 2 in 5 (40%) wanted their talents to be recognized first.
The desire to be identified by their religion or beliefs ranked fourth (27%).
These findings are consistent with what Alexis Kwamy has observed about Gen Z believers in Dar Es Salaam, Tanzania, where he is based.
“This shift suggests a new way of integrating faith into daily life, where religious identity isn’t always openly expressed but is instead intertwined with personal achievements and social contributions,” Kwamy told CT.
Chris Agnew, a Pioneer Mission leader at Coastal Church in Portrush, Northern Ireland, agreed. “Religion is either a dirty word, or it’s a private thing,” he said. “Spirituality would be more warmly received, but it’s easier to say to someone [that] you’re good at singing or playing football than having a faith or engaging in church.”
Other leaders think that the survey findings are debatable.
“Young people introduced to Christ at an early age appreciate [being known for their] religious beliefs,” said Patrick Barasa, general secretary of campus ministry Focus Uganda. “It’s those that tend towards secularism that live according to interests.”
The traditional format of church participation may also contribute to how Gen Z evangelical identity is being formed, said Mary Olguin, general secretary of student ministry Compa (Compañerismo Estudiantil) in Mexico.
There is a perception that “a Christian is excellent based on how they serve (for example, by showcasing their talent in worship), rather than by their fruits,” she said.
Raychel Sanders, 21, is an avid runner and rock climber. But she has learned to also be comfortable building a public Christian identity.
As a freshman at Mississippi State University, she commented on the beauty and intricacy of creation during a conversation with an agnostic professor at school. She remembers he gave her a funny look.
Since that incident, however, Sanders has answered her professor’s questions about Christianity and shared her faith with him several times.
Beyond being recognized for her outdoor pursuits, she wants to be known for “having compassion on people for the sake of winning them to Christ, but without compromising on what is true,” she said.
Other young adults, like Ananya Rachel Mathew from Uttar Pradesh, India, asserted that one’s abilities can be used to represent and honor God.
“All our talents come as a gift from our Father above,” said the 21-year-old, who enjoys singing, dancing, and painting. “The Father who has bestowed our talents upon us [would] be pleased if we employed them to praise and glorify his name.”
Prayer and stress
Globally, prayer ranks second (43%) among Gen Z evangelicals as a coping mechanism for stress and is tied with distracting themselves by watching or reading something (43%). Listening to music is ranked first (62%), while reading or meditating on Scripture is ranked fifth from last (19%).
Gen Zers tend to lead a fast-paced life and may not make time for individual prayer, says Olguin in Mexico. “This dynamic often causes prayer, which is often perceived as a passive practice or not directly linked to their immediate achievements, to be relegated to the background or performed quickly and mechanically,” she said.
Yet Olguin noticed that more students attended Compa’s prayer meetings after the pandemic and believes this is because they enjoy praying in community.
Though public prayer may come naturally to young Mexican evangelicals, that’s not the case with the teenagers Bruce Campbell works with at his Northern Ireland–based youth ministry, Exodus.
“The most common fear I hear young people expressing in terms of prayer is their fear of praying out loud in a group setting,” he said.
Campbell has noticed a rising interest in listening to worship music among young Christians in his region, which he surmises may be linked to their increasing desire to seek emotive experiences.
“Although I see this as largely a positive thing, I am sometimes cautious of how this trend can lead to a less than costly discipleship,” Campbell said. “It’s much easier to chill to a Bethel album than to read the minor prophets or tell your friend about Jesus.”
Mental health concerns
Caring for their personal mental health and their communities’ mental well-being was a top priority for Gen Z evangelicals across the eight countries surveyed, ahead of other concerns like adequate job opportunities, climate change, and religious tensions.
In the UK, poor mental health “has reached almost pandemic proportions,” said Sonia Mawhinney, Young Life’s regional director for the UK and Ireland. The lack of professional help available has also placed “a heavy strain on both full-time and volunteer youth leaders to try to help young people in this mental health crisis,” she said.
At present, the ministry is exploring ways to partner with schools, churches, sports clubs, and government agencies across the region to provide support and care for young people.
“The thrust towards self-help and wellness in society at the moment can be confusing for young people,” said Agnew, one of the Northern Ireland–based leaders. He noted that it’s hard for Gen Z believers to figure out where Jesus comes into the picture.
“The challenge is to gently accompany people on their journeys, but also not allow anyone’s own struggles to remove the divine invitation to partner with God [in] what he’s doing in the world,” he said.
Building stronger intergenerational relationships is another important factor in addressing the mental health struggles that Gen Z believers face, leaders told CT.
“The silence around the topic of mental health from older generations is creating distance from our next generations,” said Tanita Maddox, Young Life’s associate regional director in Spokane, Washington. “[We ought to] be Jesus weeping at the tomb of Lazarus, even though Jesus knew he would raise Lazarus again.”
In March, Olguin and her team finished work on a manual titled Salud mental en la pastoral universitaria (mental health in campus ministry) that equips leaders working with Gen Zers in Mexico.
The manual, which covers topics like the theology of emotions and burnout syndrome, was created in collaboration with the International Fellowship of Evangelical Students’ (IFES) Logos and Cosmos Initiative. A second edition is currently in progress and is slated to publish next February.
Young Life Mexico, meanwhile, is conducting a study to examine the mental, physical, and emotional health of leaders and kids involved in the ministry, according to its regional director Pratt Butler.
Future impact
More than 4 in 5 (83%) of Gen Z evangelicals believe they can change the world for good.
Gen Zers with a religious affiliation feel more empowered to effect change, the Relate Project found. “Protestant and Orthodox Christians have the strongest sense of agency, while it is lowest in atheists, agnostics, and ‘nones,’” the report noted.
Evangelizing “to as many people around as possible” is how Mathew, the 21-year-old in India, envisions creating a meaningful impact on successive generations. “We are his people who have been ordained to carry out a very specific task—which is to spread his word to others who don’t know about our Lord,” she said.
Some leaders, however, think that one’s faith may not necessarily boost one’s level of influence, particularly if faith is merely regarded as a private, personal relationship with God.
“For our young people, action to make the world a better place is fragmented or disconnected from their Christian faith,” said Maddox, the Young Life US associate regional director. “[But] our relationship with God should push us to bring the Kingdom of Heaven here on earth by caring about the things God cares about, and acting on those things.”
This generation is very compassionate, said Mawhinney, the Young Life UK and Ireland director. “Young people are pleasantly astonished when they encounter what the Bible has to say about their passion for justice and creation care,” she said.
“When we teach them the full meta-narrative of Scripture and how God’s redemptive vision includes the necessity for love of neighbor and the world he made, young people are both surprised and inspired to see that their passion is in sync with God’s.”
Additional reporting by Surinder Kaur
The post Gen Z Evangelicals Want to Be Famous for Their Hobbies and Talents appeared first on Christianity Today.
by | Oct 2, 2024 | Uncategorized
The success of “In Christ Alone” established Keith Getty as one of the leading songwriters in what he refers to as the modern hymn movement. The popular breakout song—which has remained on Christian Copyright Licensing International’s Top 100 list for over 15 years—has come to represent the musical priorities and values of Getty Music, the organization founded by Getty and his wife and collaborator Kristyn.
Their team has since developed 38 of the 500 most-used songs in US and UK churches, and Getty Music draws thousands of music-minded Christians to its annual Sing! Conference.
At the Gaylord Opryland in Nashville last month, attendees could purchase tumblers and tote bags printed with “In Christ Alone.” The song’s singable, soaring melody, simple four-verse form, and lyrics that reflect on the life, death, and resurrection of Christ have made it the model modern hymn.
“The Gettys don’t mince words about what Christ did for us,” said Jim Ouse, a repeat Sing! attendee. The 82-year-old grandfather from Wilmington, North Carolina, came with his daughter and three of her six children. “The music is theologically rich.”
For some, the Gettys and their emphasis on modern hymns represent a countermovement in the mainstream contemporary worship music industry, which is currently dominated by worship artists from megachurches like Hillsong and Elevation. Attendees of Sing! talked about their preference for hymns because of their tendency to include text that covers a lot of theological ground, and they sometimes made a comparison to more repetitive, lyrically simple, or ambiguous contemporary worship music.
The crowd at Sing! was noticeably multi-generational; babies babbled throughout the conference sessions, school-age children stood on their chairs to see the stage, and a substantial percentage of the crowd was over the age of 65. Older and younger attendees milling around the conference center spoke of the importance of singing and having access to music that explicitly conveys Reformed theology. This year’s conference theme, “Songs of the Bible,” appealed to those who prefer songs with text that they can confidently trace to the Word of God.
“If we’re going to sing, I want to sing something from Scripture,” said Karen Pederson, a retired teacher and choir director from Tioga, North Dakota.
“This music is scripturally based,” said Derrick Bridges, a musician and worship leader in Nashville. “And it’s not too complicated; it’s easy to sing.”
The perception that the Gettys operate outside or on the fringe of the mainstream worship music industry is occasionally encouraged by Keith Getty, who jokingly refers to the “dumb six-line songs” to which he offers an alternative. Fans of the Gettys see their music as a needed antidote to shallow praise and worship in their churches. The lyrical density of the Gettys’ modern hymns is a signpost of depth, and many say that their commitment to “singing theology” is what brings them to Sing!
“The theology in the music is sound, Reformed, and historically rooted,” said Daniel Troy, a software developer and volunteer at the conference. “And it’s truly congregational. It’s singable.”
Sing!’s Reformed identity comes from the Gettys’ roots in Irish Presbyterianism, as well as the relationships they have forged with influential Reformed evangelicals like John Piper, Alistair Begg, and John MacArthur. The Gettys’ popularity has grown over the past 20 years alongside the “Young, Restless, and Reformed” movement, and the emphasis on singing the “songs of the Bible” is consistent with the Calvinist practice of psalm-singing, tracing back to the 16th century.
But a scan of the event’s sponsors and partners reveals a relatively ecumenical supporting ecosystem: The Voice of the Martyrs, Crossway, Cedarville University, Planning Center, and Museum of the Bible, to name a few.
The Gettys split their time between Northern Ireland and Nashville. Their first Sing! Conference was hosted in 2017 at Brentwood Baptist Church in Music City. The now-annual event at the Opryland convention center draws thousands for three days of congregational worship, preaching, and networking. This year, over 6,500 people attended in person, representing 50 US states and 32 countries. According to Getty Music, over 30,000 viewers tuned in to the conference livestream.
The Gettys’ emphasis on text-focused hymnody and incorporation of musical characteristics and genre markers from folk music, traditional Irish music, and bluegrass have helped them carve out a unique niche in the landscape of contemporary praise and worship music. Their varied style has also attracted devoted fans who are willing to travel to participate in an annual worship conference.
Graham Ellis, an 83-year-old concert organizer from Wales, said he came to volunteer at Sing! because he believes that the Gettys’ music is part of a project that all Christians can get behind: enriching the worship of the global church through music that teaches the Bible in a Bible-illiterate world.
“I want people to come and hear the Bible and to be ministered to,” said Ellis. “The Gettys’ goal is to teach the Scriptures, evangelize the world, and reach whole families.”
Elaine Koester, a retired Reformed minister from rural Indiana, said that the Gettys’ “excellent music with excellent theology” is what drew her to the conference. “The music and worship is all shaped by the Word of God.”
A recurrent feature of this year’s conference was the forthcoming Sing! Hymnal, which the Gettys are publishing with Crossway in 2025. A small prototype of the hymnal was provided to each attendee at this year’s conference, and when Keith Getty addressed the crowd at the opening of the first session, he said, “Please turn to number four in your hymnal.”
Thousands stood and turned to the hymn “All PeopleThat on Earth Do Dwell” (the final verse of the hymn is recognized by many as “The Doxology”) as a synthesized organ played the opening chords.
Baton in hand, Getty conducted the conference congregation, eventually joined by an orchestra. In addition to the hymnals in their hands, singers had access to the written notation and text on the projection screens. The second selection was “How Great Thou Art,” which the congregation sang with equal gusto.
Historically, “How Great Thou Art” and the tune “Old Hundredth” (to which “The Doxology” and “All Creatures That on Earth Do Dwell” are both set) are separated by centuries. The former took shape across the 19th and 20th centuries, eventually popularized in the US by Billy Graham’s crusades. The latter is a hymn tune first published in the 1551 Genevan Psalter.
At Sing!, these beloved hymns of the faith from different eras of church history are part of the same cultural project. They support the modern hymn movement by providing both a model and a musical lineage for new songs that are conceived of as “hymn-like” rather than as additions to the digital songbook of contemporary praise and worship music.
While most people on the platform at Sing! didn’t openly criticize contemporary worship music or its most popular creators, many attendees agreed the music of the Gettys and the songwriters on their team is a welcome departure from what they perceive as more “mainstream” worship music. Some of the endorsements in the sample Sing! Hymnal suggest that the Gettys are reviving a better or truer form of musical worship.
The Gettys “have been used by the Lord to provide theologically rich, singable music for the church in this generation,” wrote John MacArthur, pastor of Grace Community Church in California and Chancellor of Master’s Seminary, a prominently featured sponsor of the conference. “More than anyone else they have led in the long-awaited revival of hymns which have always been the true music of the church.”
In his endorsement, Alistair Begg, pastor of Parkside Church in Ohio (where the Gettys once served as worship leaders), called the hymnal “theologically sound and melodically enlivening.” Joni Eareckson Tada, founder of the Joni and Friends International Disability Center, wrote, “This hymnal will be a timeless collection of theologically rich songs that will set your heart soaring!”
Despite the implication that modern hymns have a monopoly on “theological richness,” the distinction between the modern hymn movement and the broader world of contemporary praise and worship is blurry, even at Sing!
The cohort of performers and cowriters gathered by the Gettys is not an exclusively modern hymn-focused group. On the second night of the conference, recording artist and author Andrew Peterson staged a performance of his selections from his concept album, Behold the Lamb of God. Sandra McCracken, a singer-songwriter who has collaborated with numerous popular worship artists like All Sons & Daughters, is also on the Gettys’ writing team.
On the final evening of the conference, special guest and contemporary Christian music giant Michael W. Smith appeared for a short on-stage conversation with Keith Getty followed by a performance of Smith’s “Agnus Dei.”
In many ways, “Agnus Dei” is a quintessential contemporary worship song, featuring two simple sections, “Alleluia, for the Lord God Almighty Reigns” and “Holy, holy are you Lord God Almighty / Worthy is the Lamb, Amen,” that can be repeated and varied in intensity.
The vocal line stretches the first syllable of “Alleluia” over multiple notes, a contrast to the text-focused, syllabic writing (one syllable per note) of the Gettys’ music. The song’s lyrics are from Revelation chapters 4 and 5, making it an easy fit for the theme, “Songs of the Bible,” but the selection was, nonetheless, a contrast—perhaps a nod to the potential for the modern hymn movement to act not as an antagonistic contrast to other popular worship music but as a partner.
In his sermon during the first plenary session, John Piper spoke at length about the relationship between heart and mind in musical worship. The influential pastor of Bethlehem Baptist Church in Minneapolis affirmed the importance of theologically sound text, with a caution against treating it as a goal in itself.
“I don’t want anyone to assume that Scripture is an end in itself, that truth is an end in itself, that lyrics are an end in themselves. They are servants of Godward emotions,” Piper said. “The mind exists to serve the heart … right thinking is never an end in itself.”
Singing words that expound theology, in Piper’s view, ought to be in service of turning one’s heart and affections toward God. At a gathering where so many in the crowd spoke of their commitment to “theologically rich” text, Piper’s sermon seemed directed against putting particular songs in a spiritual hierarchy.
For attendees like Stan Fitzenrider, the Gettys’ music isn’t appealing because he believes it’s “better” in some way but because it speaks to his emotions. The form and characteristics of hymns are more familiar to him and closely associated with his own faith journey.
“When my wife died a few years ago, this music really touched me,” said Fitzenrider, 73. “It brought me closer to God and helped me heal.”
The post The Gettys’ Modern Hymn Movement Has Theological Pull appeared first on Christianity Today.
by | Oct 2, 2024 | Uncategorized
In 1983, biblical scholar Robert Gundry was ousted from the Evangelical Theological Society.
Gundry, in his lengthy commentary on the Gospel of Matthew, had suggested that Matthew tailored stories about Jesus to his specific audience, sometimes in nonhistorical ways. Theologian Norman Geisler, who spearheaded the ouster, believed this “undermine[d] confidence in the complete truthfulness of all of Scripture.” Gundry disagreed with this assessment—he affirmed the doctrine of biblical inerrancy and argued the authors of Scripture were using accepted literary standards of their day. But he was expelled nonetheless.
Thirty years later, New Testament scholar Michael Licona found himself embroiled in a similar controversy. Licona had questioned the literal historicity of Matthew’s reference to saints rising from the grave after Jesus’ resurrection (Matt. 27:52–53). Here, too, Geisler led a campaign against the perceived threat to biblical inerrancy. As a result, Licona voluntarily resigned from Southern Evangelical Seminary and left his position at the North American Mission Board. (Today, he teaches at Houston Christian University.)
The doctrine of inerrancy may be a historically recent development, but some consider it essential to the faith. In fact, Geisler believed the inspiration and inerrancy of Scripture was “the foundation of all other doctrines.”
But what happens when cracks appear in that foundation? I can tell you: It’s unsettling.
During my transition from high school to college, I deconstructed the Catholic faith of my upbringing but eventually reaffirmed my belief in God and converted to Protestantism. One of the foundational building blocks of my reconstructed faith was the authority of Scripture—including my idea of inerrancy.
But then that idea was contested. Though Christians have been dealing with the topic of biblical contradictions since there was a Bible, I started earlier this year. My exposure to contradictions occurred on TikTok, where I found clips (like this one) of critical biblical scholars challenging my beliefs about what the Bible is and how it works. I learned about the two different lists of animals on the ark (Gen. 6:19–20 and 7:2–3), the potential discrepancy between 1 Chronicles and 1 Samuel about who killed Goliath, and the differing genealogies of Jesus Christ. In my high school apologetics class, I was taught that there are only apparent contradictions in the Bible, not real ones. But what if there actually are real ones?
Licona takes up this question as it relates to the Gospels in his new book, Jesus, Contradicted: Why the Gospels Tell the Same Story Differently—a shorter and more accessible version of his 2016 academic book, Why Are There Differences in the Gospels? From the beginning, he’s clear where the problem lies: “Contradictions offer a challenge to the historical reliability of the Gospels and to some versions of the doctrine of biblical inerrancy.” Yet he argues that they “do not necessarily call into question the truth of the Christian faith.”
The rules of ancient biography
The most skeptical position on inerrancy, as advanced by New Testament scholar Bart Ehrman, treats contradictions between Gospel accounts as a reason for doubting their accuracy altogether. If the authors can’t get the minor details right, why trust them at all?
On the flip side, attempts at harmonizing the Gospels have been a popular (though not unanimous) Christian response. While some harmonizations may be legitimate, others seem far-fetched (like Peter denying Jesus six times, not three) and risk “subjecting the Gospel texts to a sort of hermeneutical waterboarding until they tell the exegete what he or she wants to hear,” as Licona put it in his 2016 book. Harmonization in the wrong place may very well lead us astray—and damage our credibility.
A third camp sees Gospel differences as grounds for rejecting the inspiration and inerrancy of Scripture. This was my initial reaction as I wrestled with the biblical scholarship. The Bible, I believed, was the very Word of God, his speech in written form. But if God cannot err and the Bible has errors, then how could the Bible be divinely inspired at all? I began to think this collection of books by human authors might be just that: human.
Worse, the doubts spread. If what I had been told about the Bible was untrue, what else about Christianity was untrue? My conception of inerrancy and inspiration put my faith on shaky ground. But Licona lays out an alternative to this inflexible view of the Bible, hopefully preventing a good many Christians from falling away when they encounter contradictions too.
According to Licona, there’s a better way to handle Gospel differences, and it starts with understanding why they’re there in the first place. Licona provides a plausible explanation: Most of the differences between Gospels are due to literary conventions common to the genre of Greco-Roman (or “ancient”) biography and thus are not really contradictions or errors at all.
Importantly, ancient biography is not modern biography. Ancient biographies are playing by different rules and have different purposes. “Ancient biographers,” Licona explains, “sought to narrate sayings and deeds of the biographee that illuminated his character.” They’re portraits, not legal transcripts. The “essence” and “life” of a person are what matter, not precise details. Therefore, “Imposing modern expectations on ancient texts and authors is anachronistic since it assumes a standard not aligned with their objectives.” In ancient historiography, facts can be “reported with some elasticity.”
Matthew’s genealogy is a case in point. Luke and Matthew both contain genealogies for Jesus, but they don’t match. A popular explanation (though, as Licona points out, not among scholars) is that Matthew’s genealogy applies to Mary while Luke’s applies to Joseph. However, Matthew’s math suggests this is the wrong approach.
Despite claiming to include all the generations from Abraham to Jesus, Matthew omits multiple generations and uses “Jeconiah” twice (1:11–12). Why? He may be using a rhetorical device called “gematria,” where numbers are assigned to letters in the alphabet. In the Hebrew alphabet, the letters in “David” yield the number 14. By listing three sets of 14 generations, Licona argues, “Matthew appears to have arranged his genealogy artistically in order to communicate to his Jewish readers that Jesus is the Son of David, the Messiah.”
Understanding the rules of the game is essential to understanding what’s going on in the Gospels. Licona draws from ancient Roman compositional textbooks and Plutarch’s Lives to demonstrate six rules (or “compositional devices”) common to the genre:
Compression: presenting an event as occurring over a shorter time frame than its actual duration.
Displacement: removing an event from its original context and placing it in a different one.
Transferal: taking an action done by (or to) one person and attributing it to someone else.
Conflation: combining elements of two or more events but narrating them as one.
Simplification: omitting or altering details to abbreviate a story.
Literary spotlighting: only mentioning the person(s) in focus while being aware of others present.
When read in light of these compositional devices, many of the apparent contradictions between the Gospels disappear. Take the story about Jesus raising Jairus’s daughter from the dead: Is she about to die (as in Mark and Luke) or has she already died (as in Matthew)? While those with a preference for harmonization might posit that Jairus said both, this is more likely an example of Matthew compressing a story, as is his tendency.
For instance, in the story of Jesus healing the centurion’s servant, Luke records the centurion sending emissaries on his behalf (7:1–10), while Matthew cuts out the middlemen and has the centurion go himself (8:5–13). Likewise, Matthew compresses Mark’s account of the events following the triumphal entry (compare Mark 11:1–23 and Matt. 21:1–21). In Matthew’s version, Jesus appears at the temple once rather than twice, and the fig tree he curses withers immediately, not on the next day.
We find other examples of compositional devices at play in the Resurrection narratives. The Gospels differ in recording the number of women who visited the tomb, the number of angels at the tomb, and the number of male disciples who visited the tomb afterward. Are these errors, or merely examples of literary spotlighting?
The human element
While compositional devices clear up apparent contradictions and “errors”—calming concerns that differences between the Gospels undermine their historical reliability—they also raise issues for how we understand Scripture. They introduce a distinctly human element. The Gospel authors use sources. They paraphrase. They modify words and actions, even those of Jesus. Matthew and Luke improve upon Mark’s grammar, and Luke exhibits “editorial fatigue” (where he changes a story, but leaves leftover portions from the original, as with the parable of the talents).
Patterns like these flatly contradict the “divine dictation” view of inspiration—that the evangelists were heavenly stenographers taking down every word they received from the Holy Spirit. And though most evangelical Christians who affirm the inspiration and total inerrancy of Scripture would deny “divine dictation,” this model remains influential.
For example, the Chicago Statement on Biblical Inerrancy states that “the whole of Scripture and all its parts, down to the very words of the original, were given by divine inspiration” (emphasis added). The glaring question is “How?” While the authors concede, “The mode of divine inspiration remains largely a mystery to us,” their view of inerrancy implies a very small role for the human authors themselves.
There’s a danger in holding such a rigid view of inerrancy. If you cannot square what you believe about Scripture with what you read in Scripture, something has to give. And if you put this view of Scripture at the foundation of all your beliefs—as Geisler recommended—then the whole edifice might come tumbling down.
Licona calls his alternative “flexible inerrancy.” Under this view, “the Bible is true, trustworthy, authoritative, and without error in all that it teaches” (emphasis added). Whereas traditional inerrancy says the Bible cannot err in any way, including in the details, flexible inerrancy says the message of God is preserved despite human involvement in the composition and preservation of the biblical texts.
How is Scripture divinely inspired then? Licona proposes a theory:
God, having foreknown all possible worlds, chose to actualize the one in which the biblical authors would write what they did. On some occasions, God may have planted ideas, concepts, perhaps even the very words they would write. However, the human element is present throughout and includes imperfections.
This view isn’t entirely original. In 1999, Christian philosopher William Lane Craig argued that God orchestrated the circumstances whereby the biblical authors would write what they did, and in that sense guided the process. Similarly, Reformed theologian B. B. Warfield thought inspiration looked like “[bringing] the right men to the right places at the right times, with the right endowments, impulses, acquirements, to write just the books which were designed for them.”
The Bible doesn’t spell out how inspiration works, and we can only speculate, but such statements at least don’t contradict Scripture. For example, Licona conducts a word study of theopneustos (the word for “inspired” or “God-breathed” found in 2 Timothy 3:16) and finds, “Perhaps the closest way of describing the meaning of theopneustos is to say the thing it describes derives from God or that God is its ultimate and special origin.”
Due to the Bible’s ambiguity regarding inspiration and inerrancy, we ought not demand conformity to the most rigid conceptions of either. There should be room to question. And we should remember that there were followers of Jesus before there was a New Testament. If believing in traditional inerrancy is a litmus test for being a Christian, then Jesus’ disciples wouldn’t pass. Nor would Paul, or any members of the early church.
The Gospels as we have them accomplish what their authors intended. Though they may supply tinted windows into Jesus’ life and teachings, what we see is true and compelling. They show us who Jesus is, what he was like, and what he taught. They establish his authority and the beauty of his way of life.
If the words and deeds of Jesus as recorded in the Gospels had contradicted the living memory of Jesus, it’s unlikely they would have found such broad acceptance across the early churches. They were preserved because they taught readers how to be disciples—and they can do the same for us today, no matter our view of inerrancy.
Noah M. Peterson is a philosophy of religion graduate student at the University of Birmingham and the editor of a think tank based in Washington, DC.
The post The Bible Contains Discrepancies. That Doesn’t Make It Untrustworthy. appeared first on Christianity Today.
