Postmodernism & Worship

Before I get into today’s topic, I thought I would begin by answering a question I raised a couple of days ago. A few days ago I wondered how postmodern/emergent communities – with there emphasis on community – would avoid the pitfall that many existing churches fall into where community becomes an inwardly focused phenomenon. Stanley Grenz answered the question for me when he wrote in his book “A Primer on Postmodernism”, that postmodernists have “a corporate understanding of truth” (14). This means (at least in theory) that postmodernists would never be able to sit back and be self satisfied with their current communal make-up since at any given time many voices/perspectives would be missing. These missing voices/perspectives would then limit their understanding of truth. This hunger for truth/God would then motivate them to continue to turn outward and bring missing voices/perspectives into the community’s conversation. Now let me turn to the topic of the day. Yesterday, I said that I would explore postmodern theory and its affect on the worship life of the community. For the sake of time and space today, let me do that in two areas: architecture and visual arts. The modernist approach toward architecture is predicated upon the value of efficiency. Anything that is perceived of as extraneous is often eliminated. Not so for postmodernists. Their value of things like beauty and space cause them to abandon efficiency and turn their attention on affect. The implication on postmodernist worship leaders is a very freeing one. Instead of focusing on issues such as seating capacity and flow of service, facilitators are now encouraged to explore options that can enhances worship experiences through the creation of things like worship stations and free space. A similar dynamic is at work in the field of visual arts as well. Modern artists tended to emphasize consistency both in terms of subject and style. This is apparent, for instance, in most existing churches’ banners that emphasize one particular theme and style. Postmodernists challenge such an approach by intentionally engaging contrasting themes and styles within works. That’s one reason why collages are a favorite of many postmodernists. This sense of freedom would give postmodern/emergent worship facilitators greater freedom to explore both a variety of approach to a service theme and use a variety of styles (or even mediums) within the worship space. Grenz’s second chapter does a good job of encouraging similar reflection on a variety of other areas such as technology, music, and movies/television. I would recommend that chapter to all. Tomorrow I’ll look at the theological underpinnings of the modernist and postmodernist movements through the lens of Grenz’s fourth, fifth, and sixth chapters. I’m hoping this exploration will spur ideas for pastors about how to help their congregations navigate this difficult transition. Til next time…