GAR201n Introduction to the Arts
AIM, Fall 2012
Course Resources
Professor Kent Sanders
1
Why Study Art?
Introduction
Defining Art
Fears & Reservations
Defining Art
Several Things I Believe About You…
Getting the Most out of This Course
2
The Power of Art
Introduction
1. Art Reflects __________________
2. Art Fires Our __________________
3. Art Stirs Our __________________
4. Art Fuels __________________
5. Art Creates __________________
6. Art Inspires __________________
7. Art Fuels Our __________________
Observations
3
Suggestions for Visiting the Saint Louis Art Museum
Before Your Visit:
1. Learn the layout of the museum. (See museum map under the “Plan Your Visit” section of
the website: http://slam.org.)
2. Take a virtual tour of the museum: http://www.sacreative.com/demos/virtualmovie/
3. Check out the online collections:
http://stlouis.art.museum/emuseum/code/eMuseum.asp?lang=EN (click on “Collections”
on the left side for various periods).
During Your Visit
1.
2.
3.
4.
Dress comfortably.
Visit the front desk; there are brochures about galleries and helpful personnel.
Plan your walking route.
Plan restroom breaks! There is only one men’s and one women’s, restroom, and are hard
to find.
5. Visit every section. You don’t have to stay in every section, but at least see what’s there.
6. Keep an open mind. There are things you won’t like. Don’t decide in advance what you
do/don’t like until you experience it for yourself.
7. Talk to museum personnel; don’t be afraid to ask questions.
8. Take your time; don’t rush. You will find some unexpected treasures.
9. Read about the artwork information cards.
10. Check out the featured Exhibitions: http://saintlouis.art.museum/calendar.php (free on
Fridays).
11. Visit the museum gift shops (Sculpture Hall, and Section 216).
12. Consider listening to music during your visit (with headphones). I’ve read the classical
music works well; it would be interesting to try.
After Your Visit: Write your reflection paper (see questions in syllabus)
Some of my favorites (show on website):
* Egyptian mummies (Egyptian art section)
* Van Goghs (European art section)
* Paul Cornoyer, The Plaza After the Rain (American art section)
* Alfred T. Bricher , Twilight in the Wilderness (American art section)
Sources: Hoving, Thomas. Art for Dummies. Foster City, CA: IDG Books Worldwide, Inc., 1999.
4
Art & the Bible
Introduction
Art & Old Testament
1. Artistic Expression in the OT
1) Discernment or ____________ (bina, 1 Chron. 25.7)
2) Technical skill or ____________ (hokma, 1 Chron. 28.21)
3) ____________ (harash, Gen. 4.22)
4) Invent or ____________ (hashab, Ex. 35.35)
5) ____________ (da’at, 1 Sam. 16.16)
6) Intelligence or ____________ (sekel, 2 Chr. 30.22)
7) Artistic skill or ____________ (tebuna, I Kgs. 7.14)
2. The Place of Beauty and Art in the OT
5
3. Art in the Temple and Tabernacle
1) Visual Art
i.
____________ (Ex. 29.9,11)
ii. ____________ (Ex. 31.1-11)
iii. ____________ (Ex. 31.1-11)
iv. ____________ (1 Kgs. 5.18; 6.7)
v. Textiles, including weaving and ____________ (Ex. 26.1; 28.6)
vi. ____________ (1 Chr. 22.15)
vii. ____________ art (Ex. 30.25)
2) Music
i.
____________ (1 Chr. 25.7)
ii. Making and playing musical ____________ (1 Chr. 16.7; 2 Chr. 34.12)
iii. New ____________ (Ps. 33.3; 96.1)
iv. ____________ (Ps. 149.3)
v. ____________ (Jer. 9.17)
3) Other Forms of Expression
i.
____________and design (Ex. 31.4; 35.35)
ii. ____________ in worship (2 Chr. 30.22)
iii. Wisdom and ____________ (Prov. 1.2-7; Dan. 1.17)
iv. God’s law, including oration and ____________ (Ezra 7.6)
v. ____________ and ____________, including imagery and various poetic and literary
devices and features (Ps. 23; 114)
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vi. ____________ and symbolic action (Ex. 12-14)
vii. Imagination and ____________ (implied through references in visual art and music)
4. An Old Testament Theology of Art and Worship
1) As the Creator, God deserves a response from us in worship that includes our
____________ ____________, including artistic expression (Ps. 150).
2) The arts reflect God’s ____________— his holiness, beauty, majesty, power, etc. We
are made in the image of God (Gen. 1.26), and when we create art we are manifesting
our “likeness” of him.
3) Any sense of beauty within humans originates with God’s ____________ and
____________ (Ps. 27.4).
4) The diversity of artistic expression reflects God’s creative ____________.
5) Artistic expression allows us to explore and express the ____________ world—God’s
divine nature and transcendence.
6) The arts belong to God, since he created us with the capacity to ____________
____________through art.
7) Central to the nature of art is the potential to ____________ and ____________
worship (Ex 26.1).
5. Artistic Expression in Worship
1) ____________ — new and old songs to inspire worship and reinforce Christian teaching
and doctrine
2) ____________ — including painting, drawing, sculpture, textiles and ceramics
3) ____________ — film, television and other media outlets
4) ____________ — oratory and stage drama to help re-enact God’s story
5) ____________ — stories, poems, prose, letters to convey biblical truth
6) ____________ — to celebrate the involvement of the whole person in worship
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7) ____________ — especially design that helps foster congregational participation in
worship
8) ____________ and ____________ — to express a reality that transcends our physical
world and prevent art from being used to express the “physical” world only
9) ____________ — for example: color to create moods for worship and underscore
theological truth, and the use of numbers as in the OT and NT, which symbolically teach
God’s truth
Art & the New Testament
1. Music
1) Congregational singing
2) Hymns
3) Passages of poetry which are probably hymn texts:
2. Other References to Art and Creativity in the NT
8
Summary: The Arts in Biblical Perspective
1. God regards the arts as ____________.
2. The arts are essential to human ____________.
3. Artistic ____________ has value in itself.
4. Being an artist can be a ____________ or vocation.
5. Arts have a central place in the ____________ of God.
6. There is no prescribed ____________ for the artist.
7. Art can be ____________.
Conclusion
1. Francis Schaeffer: “The arts and the sciences do have a place in the Christian life—they are
no peripheral. For a Christian, redeemed by the work of Christ and living within the norms
of Scripture and under the leadership of the Holy Spirit, the Lordship of Christ should
include an interest in the arts. A Christian should use these arts to the glory of God, no just
as tracts, mind you, but as things of beauty to the praise of God. An art work can be a
doxology in itself.”
2. Discussion Questions:
1) What role has art played in your life? What experiences have you had recently where
you have been moved by something artistic?
2) Do we tend to prefer certain kinds of art in the church, and shun other kinds? How
might this affect some Christian artists who have certain artistic gifts but feel their
contribution is not valued or acknowledged?
3) Do you feel there are any art forms that should not be used in a church worship setting?
If so, what are they and why shouldn’t they be used?
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Introduction to Architecture
Introduction
What is Architecture?
1. Definitions
2. Three Fundamental Principles of Good Architecture
Five Important Structures
1. Stonehenge (Salisbury Plain, South England) – 3,000 B.C.
2. The Great Pyramid (Giza, Egypt) – 2,500 B.C.
3. Parthenon (Athens) – 447-436 B.C.
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4. Hagia Sophia (Istanbul, formerly Constantinople, center of Byzantine empire) – 532-537 A.D.
5. Fallingwater (Bear Run, Pennsylvania)
Architecture and Worship
1. Architecture communicates your values
2. Architecture communicates your theology
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The Art of Worship Music
Introduction
Thesis: Music is our most powerful ______________ tool in corporate worship and we must use
it with ______________ and ______________.
The Purpose of Music in Worship
1. It’s a biblical ____________.
2. It connects with our ____________.
3. It glorifies ____________.
4. It communicates ____________.
5. It is an ____________ tool.
6. It allows ____________.
Harnessing the Power of Music in Corporate Worship
SONG SELECTION
1. Plan worship songs ______________.
2. Evaluate the ______________ of the lyrics.
3. Use songs that people ______________.
4. Use songs that people can ______________.
5. Pare down your ______________ list.
6. Expect ______________ in preferences.
7. Use time and tempo ______________.
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8. Creatively re-arrange ______________ songs.
9. Pay attention to ______________ keys:
WORSHIP LEADING
1. The worship leader should ______________ speak when appropriate.
2. Include ______________ when appropriate.
3. Consider the physical ______________ of the congregation.
4. Keep rehearsals ______________.
Suggestions for Learning New Worship Songs
1. Present the song first in other ______________ and places in the service.
2. Build the song into your regular ______________.
3. Don’t use too many new ______________ at once.
4. Plan your use of new ______________ for 6 months or a year.
5. Ask for input on new worship songs from ______________.
6. Listen to new ______________ music.
7. Worship leaders MUST ______________ the song.
8. Explain the ______________ of the song in a meditation or as a sermon illustration.
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Worship Song Evaluation
TITLE
10,000 Reasons
By Matt Redman
Theology
Singability
Melody
How He Loves
By David Crowder
In Christ Alone
By Stuart Townend
I Am Free
By Jon Egan
(Newsboys)
Jesus Messiah
By Chris Tomlin
Key questions:
Theology: Does it convey biblical truth?
Singability: Can the average person sing it?
Melody: Does it have a pleasing, interesting melody?
Artistry: Is the song written and structured well? (Do people like it?)
Style: Does it fit the style of our church?
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Artistry
Style
Resources for Worship Ministry
This is by no means a complete or exhaustive list of helpful worship resources, but rather a collection of
books, magazines and other items which have been personally helpful to me. These are the "best of the
best" which I have used over the years. The most helpful items are marked with an asterisk ( * ).
BOOKS
Theology & Biblical Studies
* David Peterson, Engaging with God: A Biblical Theology of Worship
* Robert Webber, Worship Old & New, rev. ed.
Lynn Hieronymous, What the Bible Says About Worship
* Marva Dawn, A Royal "Waste" of Time: The Splendor of Worshiping God and Being Church for the
World
Marva Dawn, Reaching Out Without Dumbing Down
Andrew E. Hill, Enter His Courts with Praise! Old Testament Worship for the New Testament
Churches)
* Gordon D. Fee & Douglas Stuart, How to Read the Bible for All Its Worth: A Guide to Understanding
the Bible
Leland Ryken, James C. Wilhoit, Tremper Longman III, Dictionary of Biblical Imagery
Bibles
The NIV Worship Bible (Zondervan)
* Eugene Peterson, The Message
Character, Community and Team Building
* Rory Noland, The Heart of the Artist: A Character-Building Guide for You & Your Team
* Patrick Lencioni, The Five Dysfunctions of a Team
Vocal & Instrumental
Bob Barrett, “The Worship Band’s Guide to Excellence” series: Contemporary Music Styles, Reading
and Writing Chord Charts, Synthesizers in Praise and Worship (www.encouragingmusic.com)
Christopher Beatty, Maximum Vocal Performance, Vocal Workout
* Doug & Tami Flather, The Praise and Worship Team Instant Tune-Up
Arts & Drama
* Ken Gire, Windows of the Soul
* Harold M. Best, Unceasing Worship: Biblical Perspectives on Worship and the Arts
Alison Siewart, et al. Drama Team Handbook
* Steve Pederson, Drama Ministry
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Songwriting
* Tommy Walker, Songs from Heaven: A Personal Look at Writing Worship Songs
(www.getdownrecords.com)
Jim Peterik, et al. Songwriting for Dummies
Jimmy Webb, Tunesmith: Inside the Art of Songwriting
Steve Gillette, Songwriting and the Creative Process
Sheila Davis, The Craft of Lyric Writing
General Interest
* Warren W. Wiersbe, Real Worship: It Will Transform Your Life
John MacArthur, Jr., The Ultimate Priority
* Matt Redman, The Heart of Worship Files
* Tom Kreauter, Worship Is…What?! Rethinking Our Ideas About Worship
* Robert Webber, ed., The Complete Library of Christian Worship (7 vols.)
Hoyt L. Hickman, et al., The New Handbook of the Christian Year
* Bob Briner, Roaring Lambs
Brian Wren, Praying Twice: The Music and Words of Congregational Song
George Barna, et al. Experience God in Worship
* Sally Morganthaler, Worship Evangelism
Robb Redman, The Great Worship Awakening
Tom Kraeuter, Guiding Your Church Through a Worship Transition
Worship Leading
* Tom Kreauter, Keys to Becoming an Effective Worship Leader, Developing an Effective Worship
Ministry, The Worship Leader’s Handbook
Andy Park, To Know You More: Cultivating the Heart of a Worship Leader
Chris Falson, Planted by the Water: The Making of a Worship Leader
* Phil Barfoot, The Ultimate Idea Book for Music Ministry (www.wordmusic.com)
Sound and Media
Quentin J. Schultze, Hi-Tech Worship? Using Presentational Technologies Wisely
* Jon Eiche, Guide to Sound Systems for Worship
Lonnie Park, Church Sound Systems
Leadership
* J. Robert Clinton, The Making of a Leader: Recognizing the Lessons and Stages of Leadership
Development
* John Maxwell, The 21 Irrefutable Laws of Leadership and Developing the Leader Within You
* Disney Institute, Be Our Guest: Perfecting the Art of Customer Service
* Henri Nouwen, In the Name of Jesus
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Future Generations
* Robert Webber, The Younger Evangelicals: Facing the Challenges of the New World
Colleen Carroll, The New Faithful: Why Young Adults are Embracing Christian Orthodoxy
Copyright
* Cheryl Besenjak, Copyright Plain & Simple (2nd ed.)
The Public Domain (www.nolo.com)
Getting Permission (www.nolo.com)
JOURNALS & MAGAZINES
CCM (http://www.ccmmagazine.com)
* Christian Musician (http://www.christianmusician.com/)
Church Production (http://www.churchproduction.com)
* Worship Leader (http://worshipleader.com/)
* Leadership Journal (http://www.christianitytoday.com/leaders/)
* Worship! (http://www.worshipmag.com/)
Your Church (www.yourchurch.net)
Church & Worship Technology
Relevant (www.relevantmag.com)
Performing Songwriter (www.performingsongwriter.com)
WEBSITES
General
http://www.worshipmap.com/
http://creativeworship.com/
* http://www.moreworshipideas.com/
http://www.freewebs.com/worshipjesus/worshipresources.htm
http://www.productionresources.org/kabuki/kabuki_home.html
http://www.christianmusician.com/
http://www.churchideas.com/
http://wordmusic.com/copyright/
* http://www.worshiptogether.com
Copyright
http://songfile.com/
http://harryfox.com/
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Miscellaneous
* http://www.youthspecialties.com/
* http://www.io.com/~kellywp/ (LECTIONARY)
Music
http://www.the-sheet-music-store.com/
http://www.thehornsaretooloud.com/
http://www.gospelcom.net/baloche/
* http://www.charts4churches.com/
http://halleonard.com/
http://www.pwarchive.com/
http://www.igracemusic.com/igracemusic/hymnbook/home.html
http://www.vocal-arts.net/
http://www.praisecharts.com
Media
* http://mediaforministry.com/
http://worshipfilms.com/
http://www.christmasbackgrounds.net
* http://www.churchmedia.net/home/
http://www.easterbackgrounds.com/
http://highwayvideo.com/
http://www.screenvue.com/
http://ultimatepowerpoint.com/
http://www.worshipmedia.com/
Resources
http://bellsouthpwp.net/s/f/sfamral/index.html
http://www.geocities.com/Athens/Delphi/9823/
http://praise.net/worship/
* http://www.sacramentis.com/
http://www.freewebs.com/worshipjesus/worshipresources.htm
Songwriting
* http://www.rhymezone.com/
http://christiansongwriting.org/
Guitar
http://chordfind.com/
http://www.gospel.mcmail.com/
http://www.praiseguitar.com/
* http://www.guitarnotes.com
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Drama
http://www.drama4church.com/links.html
http://www.carey.ac.nz/drama/Linkpages/links.html
For Worship Leaders & Planners
* Tommy Walker (www.getdownrecords.com)
* Paul Baloche (www.leadworship.com)
Willow Creek (www.willowcreek.com)
Saddleback (www.encouragingmusic.com)
* Worship Together (www.worshiptogether.com)
* Charts for Churches (www.charts4churches.com)
Integrity (www.integritymusic.com)
Vineyard (www.vineyardmusic.com)
CONFERENCES
Purpose-Driven Music Conference (www.encouragingmusic.com)
* Willow Creek Arts Conference (www.willowcreek.com)
* Worship Un-Conference
CD, VIDEO & DVD RESOURCES
CD
Song Discovery (through Worship Leader magazine) (www.worshipleader.com)
Hear Harmony (www.hearharmony.com)
DVD
* New Song Café guitar instruction webisodes (www.worshiptogether.com)
"Dwell" - Vineyard CD with music instruction DVD included (www.vineyardmusic.com)
* Paul Baloche, Leading Worship: Creating Flow, Music Styles instructional DVD’s
(www.leadworship.com)
Video
"God of Wonders" video songbook by Paul Baloche (www.leadworship.com)
"Worship Team Dynamics" by Randy & Terry Butler (www.vineyardmusic.com)
* Paul Baloche guitar instruction videos (www.leadworship.com)
Dave Chumchal guitar instruction (www.vineyardmusic.com)
Ed Kerr, Keyboards in Contemporary Praise and Worship (www.kerrtunes.com)
Tommy Walker, Creating a Flow in Worship and Pastor’s Role on the Worship Team
(www.getdownrecords.com)
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* Lindell Cooley, Conversations With a Worship Leader and Conversations with a Worship Band (both are
4-part series) (www.musicmissions.com)
Scott Martin, To “Air” Is Human (2 vols.) (303.778.6163)
PRINTED SONGBOOKS
Graham Kendrick, The Source vols. 1 & 2
The “How To” Songbook (www.worshiptogether.com)
* Hosanna! Music songbooks (vols. 1-18) (www.integritymusic.com)
* Worship Songs of the Vineyard (vols. 1-8)
* Maranatha! Music Praise Chorus Songbooks (beige, purple, red, green covers)
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The Anatomy of a Movie
Introduction
Most Movies Are About Redemption



Ultimately, almost all movies at the basic level intend to
communicate something about the way we should or should not
live.
The redemptive message in a movie is communicated through nine structural elements.
Several examples: Citizen Kane, Changing Lanes, First Blood, The Wizard of Oz, Raiders
of the Lost Ark, Forrest Gump, The Shawshank Redemption
Nine Structural Elements of a Movie
1. ____________: What the movie is all about—the “message or “moral of the story.”
2. The ____________: The main character, whom the story is about.
3. The Hero’s ____________: The hero’s strong desire which drives the story. Often this
desire becomes an obsession.
4. The ____________: The opponent to the hero and his goal, representing a contrasting
worldview. The adversary can be an individual, force or nature.
5. ____________ Flaw: The internal flaw of the hero that hinders them from reaching the
goal. The hero can either overcome or be undone by this flaw (eg. Anakin Skywalker).
6. The Apparent ____________: The key to the middle of the story, in which the adversary
appears to defeat the hero.
7. Final ____________: The final test or “gauntlet” between the hero and adversary,
usually at the end of the story.
8. Self-____________: A moment usually at the end of the story when the
hero learns what they have been seeking is not what they really needed.
9. ____________: A short epilogue that shows the result of the hero’s
change or lack thereof.
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Introduction to Citizen Kane
RKO Pictures, 1941 (Black & White)
The Origins of Citizen Kane

Orson Welles was well-known from his stage and radio work (“The War of the Worlds”)
and was given free reign to make a picture with RKO studies. (He was 25 years old at
the time.) He collaborated with writer Herman Mankiewicz on a film originally called
The American.

The inspiration was William Randolph Hearst, tycoon of newspapers, radio stations,
magazines and news. He built a castle in San Simeon, CA and furnished it with remains
from nations from around the world. Citizen Kane is a mockery of Hearst, whose
mistress was Hollywood actress Marion Davies. Heart tried collaborated with rival
studio heads to try and destroy the film.

Welles was keen about the power of audio. He hired Gregg Toland (cinematographer)
to capture a distinct visual style that included the use of “deep focus” photography. The
picture would look and sound like nothing else that had come before.
Structure & Plot

Citizen Kane recounts the rise and fall of Charles Foster Kane from the varying
perspectives of those who knew him. The structure of the film is circular, not linear. It
opens with mock newsreel footage and gives an overview of Kane’s life. (This “News on
the March” sequence is a nod to the March of Time newsreels used at the time. The
story moves from person to person, skipping around in time, much like our memories.

The plot is simple: Kane’s dying word is “rosebud,” and the reporter Mr. Thompson is
assigned the task of finding out what it means. “By flashing back through the eyes of
many witnesses, Welles and Mankiewicz created an emotional chronology set free from
time.” (Ebert, The Great Movies, 112)

The story is filled with wonderful special effects (many still look convincing today) and
great moments
o the shots of Xanadu (Kane’s castle)
o the newspaper staff “coming to life” from a still photo
o the “mis-en-scene” of young Kane in the window of his boyhood home, playing
in the snow as his parents sign away his future
o the camera sweeping over and into the nightclub
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Cast









Joseph Cotton (“Jed Leland” – Kane’s best friend)
Everett Sloan (“Mr. Bernstein” – Kane’s business wizard)
Ray Collins (“Gettys” – the corrupt political boss)
Agnes Moorehead (“Mary Kane” – Kane’s mother)
William Allan (“Mr. Thompson” – the reporter searching for “Rosebud”)
George Coulouris (“Walter Parks Thatcher” – Kane’s warden)
Ruth Warrick (“Emily Monroe Norton Kane” – Kane’s first wife)
Dorothy Comingore (“Susan Alexander Kane” – Kane’s second wife and “opera star”)
Orson Welles (“Charles Foster Kane” – played by Welles as both a young and old man)
Theme


Charles Foster Kane gained the world but lost his soul (Eccl. 1.1: “Vanity of vanities…all is
vanity…)
Matt. 16.26: “For what will it profit a man if he gains the whole world and forfeits his
soul? Or what shall a man give in return for his soul?”
A Viewer’s Guide to Citizen Kane
* Source: Roger Ebert, The Great Movies (2003)

“Rosebud” is the most well-known word in the history of cinema. By the end of the film
you know what it represents, but what does it mean?

Deep focus. This style of shooting allows every element to be in focus on the screen.
This means the filmmakers must pay close attention to how everything is arranged
within the scene.

Optical illusions. Note the height of the windows (that dwarf Kane) in Thatcher’s office,
and the huge fireplace in Kane’s home later in the film. Both are larger than they seem
at first.

Visible ceilings. The cinematographer Toland devised a method of using cloth ceilings
that allowed low-angle shots that looked up to the ceiling. Nearly all movies before
Citizen Kane didn’t show ceilings because lights and microphones were placed here. The
microphones are hidden in the cloth ceilings.

Matte drawings. The opening and closing shots of Kane’s castle uses artists’ drawings
(with lighting behind) placed behind real foreground elements. (Note also in the
opening shots the light in Kane’s window stays the same but the angle of the castle
changes.)
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
Invisible furniture moving. Note the early scene in Mrs. Kane’s boarding house where
the camera tracks through where the table should be. (Note the wobbling hat also.)

The long flash-forward in the film. Two decades pass between Thatcher’s “Merry
Christmas” and “Happy New Year.”

From model to reality. Note the nightclub scene, which moves from a model roof to a
real set. The transition is hidden by a lightning flash the first time (the second time, by a
dissolve).

Crowd scenes. There are no real crowds during the newsreel political rally or Kane’s
rally later on. The sounds and special effects simply make it look so.
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The World Needs You
Movement #1: The Artist’s Suitcase
1. I am… ____________.
2. I am… part of a ____________.
3. I am… a ____________.
4. I am… ____________.
5. I am… ____________.
6. I am… ____________.
7. I am… ____________.
Movement #2: Leading Artists in the Church
Who Are Artists?
1. ____________
2. ____________
3. ____________
4. ____________
5. ____________
6. ____________
What Artists Need from Leaders
1. ____________
2. ____________
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3. ____________
4. ____________
5. ____________
6. ____________
7. ____________
Movement #3: Can the Arts Change the World?
Is It Only Art?
How Does Art Change the World?
1. Art releases ____________.
2. Art calls the world to ____________.
3. Art inspires the world to ____________.
4. Art touches our deepest ____________.
5. Art marks the seasons of ____________.
6. Art ____________ us to one another.
7. Art shows our ____________.
How Does Art Make Disciples?
1. We are freed to use their ____________.
2. We developed ____________ with one another.
3. We ____________.
4. We connect with ____________.
5. We connect with ____________ around the world.
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Student Presentation Guidelines
Each student will prepare an art analysis presentation in one of the following areas: 1) visual
art, 2) music or 3) film. The goal of the project is to analyze a work of art according to its
spiritual themes. Your 10-12 minute presentation (followed by a brief Q & A session with the
class) should use the following outline: General Information, Artistic Merit, Spiritual Themes,
and Application. Use Powerpoint, pictures, handouts, and any other audio or visual aids
necessary. You may work alone, or choose a partner.
Your analysis will be graded according to the following criteria:
General information
Artistic merit
Spiritual themes
Application
Use of media
TOTAL
20%
20%
20%
20%
20%
100%
1. General information. Provide introductory information on the artist and work of art. What
circumstances and situations prompted the creation of the work of art?
1) For a painting, sculpture or architecture: Describe the journey of the piece of art. How
did it come about? Was it commissioned by someone? How long did it take to
complete? What were the challenges of producing the work? Did it cause any
controversies?
2) For an album: Include past albums, previous hits, notable successes, release dates and
any other relevant information that helps us better understand the work.
3) For a film: Give information on the director, screenwriter(s) and principal actors.
Describe the journey from idea to finished film. Include the studio, release date, and
any other relevant information that helps us better understand the film (filming
locations, behind-the-scenes controversies, etc.)
2. Artistic merit. How was the work of art judged by contemporaries, critics and people in
general? What artistic qualities ensure its place as a lasting work of art? What unique place
does the work of art fill; what would be missing if it had not been created? What is its value
for us today?
3. Spiritual themes. How does the work of art reflect (or lack) spiritual themes? How can it be
used to illustrate (whether in a positive or negative way) themes or ideals consistent with
the Christian faith? Would it be appropriate to use this film in a church setting? Why or
why not? Spiritual themes may include: Character, Meaning, Evil/Death, Faith, Love,
Community, Hope, Loss, Christ/God/Religion, etc.
27
4. Application. What can we learn not only from the work of art, but the process and
circumstances by which it was created? What does it have to say to us today? What can
we learn through the life of the artist(s) who created it? How can the work of art be used in
a contemporary ministry setting?
5. Use of media (audio-visuals). Be creative; don’t just tell us about the work of art—show us!
For visual art (painting, sculpture, architecture), show us images of the artwork and the
artist (and other relevant material). For music, show us images of the artist, album cover,
lyrics or other relevant materials. Play clips from a song or two. For a film, show a brief clip
to illustrate a point. Every student is required to use Powerpoint and provide a handout.
(Include your sources on your handout.) Don’t assume that we know anything about the
work of art you are presenting.
Selecting Your Material
Below are a number of suggestions for works of art. You are not limited to these works; they
are only suggestions.
Visual Art (Painting, Sculpture, Architecture)
Artist
Isidorus/Anthemius.
Filippo Brunelleschi
Leonardo Da Vinci
Michelangelo Buonarroti
Michelangelo Buonarroti
Leonardo Da Vinci
Michelangelo Buonarroti
Rembrandt van Rijn
Vincent Van Gogh
Edvard Munch
Frank Lloyd Wright
Pablo Picasso
Title
Hagia Sophia
Dome of the Basilica di Santa
Maria del Fiore
The Last Supper
Pieta
David
Mona Lisa
Sistine Chapel
The Return of the Prodigal Son
Starry Night
The Scream
Fallingwater
Guernica
Description
Architecture
Architecture
Date
532-37
1436-50
Painting
Sculpture
Sculpture
Painting
Painting
Painting
Painting
Painting
Architecture
Painting
1495
1498-1500
1501-04
1503-06
1508-15
1662
1889
1893
1935
1937
Description
Classical
Date
1791
For further ideas see:
http://www.artcyclopedia.com
http://www.artcyclopedia.com/mostpopular.html
Music
Artist
Mozart
Title
Requiem
28
Miles Davis
John Coltrane
The Beatles
Stevie Wonder
Bob Dylan
Bruce Springsteen
Andrew Lloyd Webber
U2
Amy Grant
Rich Mullins
Johnny Cash
Kind of Blue
A Love Supreme
Sgt. Pepper’s Lonely Hearts Club
Band
Songs in the Key of Life
Slow Train Coming
Nebraska
The Phantom of the Opera
The Joshua Tree
Lead Me On
A Liturgy, A Legacy and a
Ragamuffin Band
American IV: The Man Comes
Around
Jazz
Jazz
Classic Rock
1959
1964
1967
Jazz/Funk
Folk
Folk/Rock
Musical
Rock
Cont. Christian
Cont. Christian
1976
1979
1982
1986
1987
1988
1993
Country
2002
For further ideas see
http://www.rollingstone.com/news/story/5938174/the_rs_500_greatest_albums_of_all_time
Film
Director
Victor Fleming
George Lucas
Peter Weir
Harold Ramis
Steven Spielberg
Robert Zemeckis
Peter Weir
David Fincher
Andy & Larry Wachowski
Andrew Adamson
Brad Bird
Sam Raimi
Title
The Wizard of Oz
Star Wars
Dead Poets Society
Groundhog Day
Schindler’s List
Forrest Gump
The Truman Show
Fight Club
The Matrix
Shrek
Ratatouille
Spider-Man 3
Description
Classic Musical
Fantasy
Drama
Comedy
Drama
Drama
Comedy
Drama
Science Fiction
Animated
Animated
Action
Date
1939
1977
1989
1993
1993
1994
1998
1999
1999
2001
2007
2007
For further ideas see:
http://imdb.com/chart/top
http://artsandfaith.com/t100/
http://www.afi.com (for 100 great films—you must register at the site)
Guidelines
1. The professor owns many of the CD’s listed under “music,” so feel free to borrow one if you
are interested in one of those listed. For those doing music or film, a good place to start
29
your research is the internet. For film, please see www.imdb.com. For music, please check
artist websites. Note: although Wikipedia can be a helpful resource, do not use it as an
official source. It is not reputable for academic research.
2. For those doing a music or film analysis, please listen to the whole album or watch the
entire movie in one sitting to experience the full effect. This is the way the artist(s)
intended it to be experienced.
3. The best approach for an effective presentation is to have a set of written notes or an
outline you will follow when speaking. Do not simply read your notes to us—we can do that
on our own. Instead, be familiar enough with your material that you only need to
occasionally refer to your notes.
4. Remember to keep an open mind about your subject. It may not be your particular style or
something you would normally be interested in, but part of our maturity in evaluating the
arts is learning to appreciate something we may not personally like.
5. Your analysis should follow a four-part outline: general information, artistic merit, spiritual
themes, and application. Your analysis should follow a three part outline: general
information, key features, and cultural significance. Budget your time wisely; you have a
total of 10-12 minutes for the entire presentation. You don’t need to tell us every available
fact about your topic; rather, choose important information and stories that will best
communicate your point. Learn to summarize.
6. Your Powerpoint presentation should not include vast amounts of text. Powerpoint should
be used to supplement your verbal presentation, not duplicate or replace it. Powerpoint
should include items such as: a timeline of the artist’s life, key facts about the work of art,
images of the artist and work of art, key quotations, a movie poster or album cover, or
other relevant material. In addition, do not embed media (music/video) into your
Powerpoint presentation. Run other media through a separate file or program.
7. You may include a handout for the class. This might be a written outline of your
presentation or a printout of your Powerpoint slides (3 slides per page). Include your
sources on the handout so everyone can explore your topic further if they choose. I will be
glad to make copies of your handouts for the class if you email it to me ahead of time
(ksanders@slcconline.edu).
8. I will be happy to take a look at your presentation ahead of time to give you feedback. You
may send it to me at ksanders@slcconline.edu. If at all possible, please email your
Powerpoint files and any copies you need ahead of time to be better prepared. I will be
glad to make copies of your handouts for the class.
30
9. Practice your presentation verbally, along with the Powerpoint slides. This will help you be
more relaxed and better prepared. During the presentation, stand, speak up and be
confident.
10. A computer, projector, DVD player, VHS player and sound system will be available to use for
your presentation. Please bring a flash drive, CD (with files or music), DVD, VHS or whatever
other media you need. For those doing a music analysis, use only 1-2 clips from the album
(there is no need to play the whole song). For those doing a film analysis, consider showing
the movie trailer (usually included on a DVD) or one relevant clip from the movie. If using
DVD, please cue the movie using the DVD “scene selection” or chapters to locate the clip.
Note: do not use music or film clips that contain material that is overly explicit in sexuality,
violence or language. The Professor reserves all judgment in regard to material that is
appropriate to present in class.
31
STUDENT LEARNING RESOURCES (BIBLIOGRAPHY)
Required
Crouch, Andy. Culture Making: Recovering Our Creative Calling. Downers Grove: IVP, 2008.
ISBN: 0830833943
Schaeffer, Francis. Art and the Bible: Two Essays. 2nd ed. Downers Grove: IVP, 2007. ISBN:
083083401X.
Sanders, Kent. Introduction to the Arts Course Resources Packet, Fall 2012 AIM Session.
Available for purchase in the SLCC bookstore, or at http://.profsanders.wordpress.com.
Art History & Surveys
Arnold, Dana. Art History: A Very Short Introduction. Oxford: Oxford University Press, 2004.
Bohm-Duchen, Monica. The Private Life of a Masterpiece. Berkeley: University of California
Press, 2001.
Freeman, Julian. Art: A Crash Course. Vancouver: Raincoat Books, 1998.
Hoving, Thomas. Art for Dummies. Foster City, CA: IDG Books, 1999.
Kemp, Martin, ed. The Oxford History of Western Art. Oxford: Oxford University Press, 2004.
Krausse, Anna C. The Story of Painting: From the Renaissance to the Present. Konemann, 1995.
Piper, David. The Illustrated History of Art. London: Bounty Books, 2004.
Robinson, Walter. Instant Art History: From Cave Art to Pop Art. New York:
Fawcett/Columbine, 1995.
Strickland, Carol. The Annotated Mona Lisa. A Crash Course in Art History from Prehistoric to
Post-Modern. 2nd ed. Kansas City: Andrews and McMeel, 2007.
Schaeffer, Francis. How Should We Then Live? Wheaton, IL: Crossway, 1976.
Vasari, Giorgia. The Great Masters. NP: Beaux Arts Editions, 1986.
Williamson, Beth. Christian Art: A Very Short Introduction. Oxford: Oxford University Press,
2004.
32
Wright, John W., gen. ed. The New York Times Guide to Essential Knowledge. New York: St.
Martin’s Press, 2004.
Online Resources:
Artcyclopedia: http://www.artcyclopedia.com
Saint Louis Art Museum. http://www.slam.org
Smithsonian American Art Museum. http://american.si.edu
Biblical & Theological Perspectives on Art
Begbie, Jeremy S. Voicing Creation’s Praise: Towards a Theology of the Arts. Edinburgh,
Scotland: T&T Clark, 1991.
Veith, Gene Edward, Jr. The Gift of Art: The Place of the Arts in Scripture. Downers Grove, IL:
IVP, 1983.
Briner, Bob. Roaring Lambs: A Gentle Plan to Radically Change Your World. Grand Rapids:
Zondervan, 1993.
Dyrness, William A. Visual Faith: Art, Theology, and Worship in Dialogue. Grand Rapids:
Baker Academic, 2001.
Gaebelein, Frank E. The Christian, The Arts, and Truth: Regaining the Vision of Greatness.
Portland, OR: Multnomah, 1985.
Gire, Ken. Windows of the Soul: Experiencing God in New Ways. Grand Rapids: Zondervan,
1996.
Groothuis, Doug. The Soul in Cyberspace. Grand Rapids: Baker, 1997.
Mattingly, Terry. Pop Goes Religion. Nashville: W Publishing Group, 2005.
Rookmaker, H. R. Modern Art and the Death of a Culture. Wheaton, IL: Crossway, 1994.
Ryken, Leland, Culture in Christian Perspective: A Door to Understanding & Enjoying the Arts.
Portland: Multnomah, 1986.
Ryken, Leland. The Liberated Imagination: Thinking Christianly About the Arts. Colorado
Springs, CO: Waterbrook Press, 1989.
33
Schaeffer, Franky. Addicted to Mediocrity: 20th Century Christians and the Arts. Westchester,
IL: Cornerstone Books, 1981.
Seerveld, Calvin G. Rainbows for the Fallen World. Toronto: Tuppence Press, 2005.
Taylor, David O., ed. For the Beauty of the Church: Casting a Vision for the Arts. Grand Rapids:
Baker, 2010.
Turner, Steve. Imagine: A Vision for Christians in the Arts. Downers Grove, IL: IVP, 2001.
Veith, Gene Edward, Jr. State of the Arts: From Bezalel to Mapplethorpe. Wheaton, IL:
Crossway, 1991.
Viladesau, Richard. Theology and the Arts: Encountering God through Music, Art and Rhetoric.
New York: Paulist Press, 2000.
Webber, Robert, ed. The Complete Library of Christian Worship. Vol. 1, The Biblical
Foundations of Christian Worship. Peabody, MA: Hendrickson, 1993.
Webber, Robert, ed. The Complete Library of Christian Worship. Vol. 4, Book 2, Music and the
Arts in Christian Worship. Peabody, MA: Hendrickson, 1993.
Online Resources
Church and Culture. http://www.churchandculture.org
Image Journal. http://imagejournal.org/
Piper, John. “The Rebellion of Nudity and the Meaning of Clothing.”
http://www.desiringgod.org/ResourceLibrary/TasteAndSee/ByDate/2008/2737_The_Re
bellion_of_Nudity_and_the_Meaning_of_Clothing/
Piper, John. “Nudity in Drama and the Clothing of Christ.”
http://www.desiringgod.org/ResourceLibrary/TasteAndSee/ByDate/2006/1884_Nudity_
in_Drama_and_the_Clothing_of_Christ/
Architecture
Ballantyne, Andrew. Architecture: A Very Short Introduction. Oxford: Oxford University Press,
2002.
Dietsch, Deborah. Architecture for Dummies. New York: Wiley, 2002.
34
Field, D. M. The World’s Greatest Architecture Past & Present. Edison, NJ: Chartwell Books,
2007.
French, Hilary. Architecture: A Crash Course. New York: Watson-Guptill, 1998.
Hocker, Christopher. Architecture: An Illustrated Historical Overview. Hauppauge, NY: Barron’s,
2000.
Kieckhefer, Richard. Theology in Stone: Church Architecture from Byzantium to Berkeley.
Oxford: Oxford University Press, 2004.
Kilde, Jeanne Halgren. When Church Became Theatre: The Transformation of Evangelical
Architecture and Worship in Nineteenth-Century America. Oxford: Oxford University
Press, 2002.
Strickland, Carol. The Annotated Arch: A Crash Course in the History of Architecture. Kansas
City, MO: Andrews McNeel, 2001.
Torgerson, Mark A. An Architecture of Immanence: Architecture for Worship and Ministry
Today. Grand Rapids: Eerdmans, 2007.
White, James F. Protestant Worship and Church Architecture: Theological and History
Considerations. Eugene, OR: Wipf and Stock, 1964.
Online Resources
Metzger, Paul Louis. “Walls Do Talk.”
http://www.christianitytoday.com/global/printer.html?/le/buildingleaders/equipping/w
allsdotalk.html
Wardell, Bruce. “A Short History of Church Building.”
http://www.brucewardell.com/pdf_docs/BRW_chrch_hist.pdf
Worship & Music
Best, Harold. Unceasing Worship: Biblical Perspectives on Worship and the Arts. Downers
Grove, IL: IVP, 2003.
Baloche, Paul, Jimmy Owens and Carol Owens. God Songs: How to Write and Select Songs for
Worship. Lindale, TX: leadworship.com, 2004.
Falson, Chris. Planted By the Water: The Making of a Worship Leader. San Marino, CA: The
Orchard, 1998.
35
Flather, Doug & Tami. The Praise and Worship Team Instant Tune-Up. Grand Rapids:
Zondervan, 2002.
Kraeuter, Tom. Developing an Effective Worship Ministry. Hillsboro, MO: Training Resources,
1993.
Kreauter, Tom. Keys to Becoming an Effective Worship Leader. Hillsboro, MO: Training
Resources, 1991.
Navarro, Kevin J. The Complete Worship Leader. Grand Rapids: Baker, 2001.
Noland, Rory. The Heart of the Artist: A Character-Building Guide for You & Your Ministry
Team. Grand Rapids: Zondervan, 1999.
Park, Andy. To Know You More: Cultivating the Heart of a Worship Leader. Downers Grove,
IL: IVP, 2002.
Read, Ken E. Created to Worship. Joplin, MO: College Press, 2002.
Scheer, Greg. The Art of Worship: A Musicians Guide to Leading Modern Worship. Grand
Rapids: Baker, 2006.
Segler, Franklin M. and Randall Bradley. Christian Worship: Its Theology and Practice. 3rd ed.
Broadman & Holman, 2006.
Siewert, Alison, ed. Worship Team Handbook. Downers Grove, IL: IVP, 1998.
Turner, Steve. Imagine: A Vision for Christians in the Arts. Downers Grove, IL: IVP, 2001.
Online Resources
Lead Worship (Paul Baloche). http://www.worshiptogether.com
Pandora Podcast Blog. http://blog.pandora.com/podcast/
Rolling Stone. The 500 Albums of All Time.
rollingstone.com/news/story/5938174/the_rs_500_greatest_albums_of_all_time
Worship Leader Journal. http://www.worshipleader.com
Worship Together. http://www.worshiptogether.com
Worship Ideas. http://www.worshipideas.com
36
Drama & Theatre
Johnson, Todd E. and Dale Savidge. Performing the Sacred: Theology and Theatre in Dialogue.
Grand Rapids: Baker, 2009.
Pederson, Steve. Drama Ministry. Grand Rapids: Zondervan, 1999.
Siewert, Alison. Drama Team Handbook. Downers Grove, IL: IVP, 2003.
Online Resources
Bramlett, Eric. “Theatre in the Church: Alive, Well?”
http://www.willowcreek.com/emailHTML/Equip/2009_02/article2.html
Drama Ministry. http://www.dramaministry.com
Drama Share. http://www.dramashare.org
Dramatix. http://www.dramatix.org
Dave Marsh. http://www.davemarsh.com
Free Christian Scripts. http://www.thewestcoast.net/bobsnook/
Pederson, Steve. “A Dramatic Addition to Worship.”
http://www.buildingchurchleaders.com/articles/2005/051005a.html
Pederson, Steve. “Drama in the Church: Alive and Well?”
http://www.willowcreek.com/emailHTML/Equip/2009_02/article1.html
Film & Media
Anker, Roy M. Catching Light: Looking for God in the Movies. Grand Rapids: Eerdmans, 2004.
Barsotti, Catherine M. and Robert K. Johnston. Finding God in the Movies: 33 Films of Reel
Faith. Grand Rapids: Baker, 2004.
Ebert, Roger. The Great Movies. New York: Broadway Books, 2003.
Ebert, Roger. The Great Movies II. New York: Broadway Books, 2005.
Gire, Ken. Reflections on the Movies: Hearing God in the Unlikeliest of Places. Colorado
Springs, CO: Cook, 2000.
37
Godawa, Brian. Hollywood Worldviews: Watching Films with Wisdom and Discernment.
Downers Grove, IL: IVP, 2002.
Jewett, Robert. Saint Paul at the Movies: The Apostle’s Dialogue with American Culture.
Louisville, KY: Westminster/John Knox Press, 1993.
Johnston, Robert K. Reel Spirituality: Theology and Film in Dialogue. Grand Rapids: Baker
Academic, 2000.
Medved, Michael. Hollywood vs. America. New York: HarperPerennial, 1993.
Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business.
New York: Penguin, 1985.
Vaux, Sara Anson. Finding Meaning in the Movies. Nashville: Abingdon, 1999.
Online Resources
American Film Institute. http://www.afi.com
The Arts & Faith Top 100 Films. http://artsandfaith.com/t100/
The Classification and Ratings Administration (CARA). http://www.filmratings.com
Ebert, Roger. “The Great Movies: Citizen Kane (1941).”
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19980524/REVIEWS08/401
010334/1023
________. “A Viewer’s Companion to ‘Citizen Kane.”
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040101/COMMENTARY/
401010335
Internet Movie Database. http://www.imdb.com
Roger Ebert (film reviews). http://www.rogerebert.com
White, James Emery. “What Not to Watch.” http://www.churchandculture.org/Blog.asp?ID=99
38
Reading Worksheet Questions
Questions for Art & the Bible by Schaeffer
1. Schaeffer asserts that “. . . the Lordship of Christ should include an interest in the arts. A
Christian should use these arts to the glory of God, not just as tracts, mind you, but as things
of beauty to the praise of God. An art work can be a doxology in itself.” How would you
reconcile this view with much contemporary evangelical worship, where the music, drama
and other art forms often play a more utilitarian role of simply supporting the theme of the
sermon?
2. The author makes several intriguing observations about the architecture and beauty of
Solomon’s temple. For instance, he says, “The temple was covered with precious stones for
beauty. There was no pragmatic reason for the precious stones. They had no utilitarian
purpose. God simply wanted beauty in the temple. God is interested in beauty.” In a
similar context he later adds, “Surely this has something to say to us about architecture, and
we ought to asking the Lord how we can produce this kind of praise to God today.” If you
were an architect designing a church building, how might you put this principle into
practice?
3. Schaeffer says, “Some years ago a theologian at Princeton commented that he did not mind
saying the creeds, providing that he could sing them. What he meant was that so long as he
could make them a work of art he didn’t feel that he had to worry about the content. But
this is both poor theology and poor aesthetics. A lyric can contain considerable theological
content.” How would you evaluate contemporary church music and its success in
communicating theological content?
4. “Christian art is the expression of the whole life of the whole person who is a Christian.
What a Christian portrays in his art is the totality of life. Art is not to be solely a vehicle for
some sort of self-conscious evangelism.” Give a recent example of two “Christian” works of
art (music, movie, book, etc.) that have either violated or upheld this principle.
39
Questions for Culture Making by Crouch
* Questions are written by Al Hsu and Nate Barksdale, from the study guide available at
http://www.culturemaking.org.
PART 1
Chapter 1
1. Select an everyday object or cultural phenomenon. As a case study, examine it through the
lenses of the five questions for diagnosing culture (pp. 29–30). (For some examples, visit
http://www.culture-making.com/five_questions.)





What does this cultural artifact assume about the way the world is?
What does this cultural artifact assume about the way the world should be?
What does this cultural artifact make possible?
What does this cultural artifact make impossible (or at least very difficult)?
What new forms of culture are created in response to this artifact?
2. If culture is inescapable and “there is no withdrawing from culture”, what implications does
this have for our lives as Christians?
Chapter 2
1. What different spheres and scales of culture do you participate in? In what cultures are you
at home and wield influence, and in what cultures do you feel out of place?
2. What different places have you lived? How do their cultures differ?
Chapter 3
1. The author says, “The faster a given layer of culture changes, the less long-term effect it has
on the horizons of possibility and impossibility” (p. 56). What are examples of short-term
changes with little lasting impact? of cultural changes that take longer to accomplish but
with more long-term significance?
2. Where do you see Christians grasping for “silver bullets” (p. 59) of Christian influence?
Chapter 4
1. Consider the four strategies on pages 68-70 of condemning culture, critiquing culture,
copying culture and consuming culture. How have you or others done each of these?
40
2. What is an example of a cultural activity you’ve participated in that, like playing the piano,
took diligent, disciplined practice before you could get to experience the creative, fun
aspects that initially drew you to it?
Chapter 5
1. CCM (Christian Contemporay Music) provides an example of Christians copying what was
going on in popular culture—though with the necessary changes to allow for what the
author calls the “Jesus quotient.” In what ways has this cultural strategy been problematic?
In what ways has it been effective? Can you think of examples where CCM has actually
represented a different cultural posture (condemnation, critique, cultivation)?
2. Do you agree with the author that today’s evangelicals largely exhibit a posture of simply
consuming whatever the broader culture has to offer? Think of some examples of your own
cultural consumption that you take for granted. How do you think earlier generations of
American Christians might have responded to the same cultural offerings?
PART 2
Chapter 6
1. What were the builders of the Tower of Babel trying to undo with their culture? How was
God’s response both a curse and an act of mercy?
2. How does the author argue for the truthfulness of the “primordial” first chapters of
Genesis—and what does he seem to mean by truthfulness? Do you agree or disagree with
him?
Chapter 7
1. What are some examples of how God responds to humankind’s early cultural disasters with
acts of cultural grace? What does that imply about the nature of culture?
2. What are some of the ways Israel enacted each of the six “cultural postures” during its
history—condemning, critiquing, copying, consuming, cultivating, creating?
Chapter 8
1. What do Jesus’ genealogies suggest about his relation to culture?
2. How was Jesus a culture creator with respect to his approach to teaching? meals? the
temple?
41
Chapter 9
1. “The book of Acts is a book of cities.” (p. 147). How does that shape the culture, and
cultural impact, of early Christianity?
2. Give some examples of the early church’s cultural creativity that enabled—as the
quotations from sociologist Rodney Stark show—the massive growth of Christianity in its
first three centuries.
Chapter 10
1. In general, are the descriptions of the Holy City more likely to make your “eyes widen with
expectation or glaze over with boredom” (p. 163)? Why do you think that is? Did reading
this section change your reaction?
2. The author suggests that some cultural artifacts will be excluded from the City as dead ends
or half-baked mediocrities. List three or four examples of cultural offerings that you suspect
are irredeemable.
Chapter 11
1. What might be some of the differences between a book called Christ and Culture and one
called Jesus and the Cultures?
2. What are some of the dangers of moving from a concept of “Christ transforming culture” to
one of “Christians transforming culture”?
PART 3
Chapter 12
1. What’s the problem, according to sociologists, about the very idea of trying to change the
world?
2. What are one or two cultural goods in your own everyday life (things you’ve received,
purchased or created) that have had unintended consequences?
Chapter 13
1. Think of a few ways in which the elites can serve the powerless that are, though service,
nonetheless also “the way of the world”—leaving the powerless dependent and needy.
2. Pick two cultural realms—one small-scale (like your home, workplace or neighborhood),
and another large-scale (like a nation, industry or demographic group). Now ask, and try to
42
answer, the “most basic questions” (p. 214) suggested for those who believe God is on the
move in human culture:





What is God doing in these two cultural realms?
What is his vision (in the realms from the previous question) for the horizons of the
possible and impossible?
Who are the poor who are having good news preached to them?
Who are the powerful who are called to spend their power on behalf of the powerless?
Where is the impossible becoming possible?
Chapter 14
1. What do you think about the author’s statement that practically none of us can become
celebrities like Princess Diana, but each of us can become saints like Mother Teresa (with
faces to match)? Does this thought seem realistic? attractive? challenging? sobering?
2. Why, of money, sex and power, is power “by far the most slippery and most dangerous” (p.
222). Do you agree? Is this true for everyone or just for certain people?
Chapter 15
1. What is the ratio the author is describing as “the 3, the 12 and the 120”?
2. Who are your “3”? Are you part of more than one 3 in different realms of culture-making?
Are your current 3 different than the creative community you were part of a few years ago?
than you imagine being a part of in a few year’s time?
Chapter 16
1. The author says the most important question for discerning our calling is “Where do you
experience grace—divine multiplication that far exceeds your efforts?” (p. 257). What’s
your answer to that currently? Have there been times in your life where the answer would
have been different?
2. Why, according to Mother Teresa (p.261), was suffering so important to her and her
followers’ ministry?
43