NAZARENE THEOLOGICAL SEMINARY
POP CULTURE AND LITURGY:
EVOKING THE HABITUS OF CHRISTIAN PEOPLE
A PASTORAL RESEARCH PROJECT SUBMITTED TO THE LIBRARY OF NAZARENE THEOLOGICAL SEMINARY
DOCTOR OF MINISTRY PROGRAM
BY
TIMOTHY J. BROOKS
SOUTH PORTLAND, ME
MAY 1, 2016
POP CULTURE AND LITURGY:
EVOKING THE HABITUS OF CHRISTIAN PEOPLE
Approved by:
______
First Reader
______
Research Consultant
______
Director, Doctor of Ministry Program
Date
TABLE OF CONTENTS
ACKNOWLEDGEMENTS………………………………………………………….……7
ABSTRACT……………………………………………………………………...….……8
CHAPTER 1: POP CULTURE AND THE HABITUS OF CHRISTIAN PEOPLE….....9
INTRODUCTION……………………………………………………….…….....9
PURPOSE……………………………………………………………………..…12
METHODOLOGY………………………………………………………………21
CONTEXT……………………………………………………………………….25
DEMOGRAPHICS OF THE CHURCH, COMMUNITY, AND PROJECT……30
LIMITATIONS…………………………………………………………………..32
CHAPTERS IN THIS PROJECT………………………………………………..35
CHAPTER 2: LITERATURE REVIEW………………………………………...………37
EXPERTISE AND THINKING………………………………………………....39
POP CULTURE………………………………………………………...………..42
CULTURAL LITURGIES…………………………………………………...…..47
LITURGICAL THEOLOGY…………………………………………………….55
SACRAMENTAL THEOLOGY……………………………………………...…63
CHRISTIAN FORMATION………………………………………………….…72
ECCLESIAL PRACTICES…………………………………………………..….75
CALL TO WORSHIP/SINGING…………………………………….….77
READING OF SCRIPTURE……………………………………….……78
CORPORATE PRAYER…………………………………………..…….78
RECEIVING OFFERING………………………………….…..………..79
GREETING TIME/PASSING OF THE PEACE……………………..…79
PREACHING…………………………………………………………....79
RESPONSE…………………………………………………………...…80
BENEDICTION………………………….………………………..……..81
OTHER PRACTICES……………………………………………………81
CONCLUSION…………………………………………………..………………82
CHAPTER 3: I UNDERSTAND, THEREFORE I PARTICIPATE………………….…84
PROJECT METHODOLOGY…………………………………………...………85
RESEARCH METHODOLOGY……………………………………….………..86
PROJECT INTERVIEW……………………………………….………………..91
SERMON SERIES………………………………………………………………93
CONCLUDING THE PROJECT……………………………………………....100
CHAPTER 4: SHIFTING ENGAGEMENTS WITH LITURGIES…………...……….103
PRE SERMON SERIES INTERVIEW………………………...………………103
SERMON SERIES……………………………………………………………..116
FOLLOW UP INTERVIEW……………………………………………………116
TWO NEW QUESTIONS…………………………………………….………..129
STORIES FROM THE CHURCH (POST PROJECT LUNCH)………...…….133
CONCLUSION…………………………………………………………………139
CHAPTER 5: THE CHRISTIAN HABITUS…………………………………...………140
LOOKING BACK……………………………………………………….……..141
ATTENDANCE……………………………………………………...…………142
RESPONSE………………………………………………….…………………143
EFFECTIVENESS………………………………………….………………….145
MISTAKES AND WEAKNESSES……………………………………………145
LOOKING FORWARD………………………………………………………..147
EIGHT THESES THAT EMERGED FROM THE PROJECT…………….…..148
UNPACKING THESE EIGHT THESES……...…………………...…………..148
NEW ENDEAVORS…………………………………………………………...158
ISSUES FOR THE LARGER CHURCH……………………………...……….160
FINAL CONCLUSIONS……………………………………………...………..161
APPENDIX A (SERMON TRANSCRIPTS)…………………………………………..164
SERMON #1…………………………………………………………...……….164
SERMON #2……………………………………………………………………171
SERMON #3………………………………………...………………………….178
SERMON #4…………………………………………………...……………….186
SERMON #5……………………...…………………………………………….195
SERMON #6……………………………………………………………………204
SERMON #7………………………………………………...………………….216
SERMON #8…………………………………………………………...……….223
APPENDIX B (ORDERS OF WORSHIP)……………...……………………………..235
APPENDIX C (SONG LYRICS OF SONGS SUNG IN SERMON)…………….……243
“BEVERLY HILLS”………………………………………………….………..243
“GLORY DAYS”……………………………………………………...……….244
“IMAGINE”………………………………………………………..…………..246
“I’M GONNA BE [500 MILES]”…………………………………….………..247
“BOULEVARD OF BROKEN DREAMS”…………………………..………..249
“FIREWORK”………………………………………………………...………..251
“BAD BLOOD”………………………………………………….……………..253
“MY WAY”…………………………………………………………………….255
APPENDIX D (PROJECT INTERVIEW QUESTIONS)………………….…………..256
APPENDIX E (CONSENT FORM)……………………………………………………257
APPENDIX F (INTERVIEW RESPONSES PRIOR TO SERMON SERIES)………..258
APPENDIX G (INTERVIEW RESPONSES POST-SERMON SERIES)……………..273
APPENDIX H (RESPONSES FROM THE CONGREGATION)……………..………296
BIBLIOGRPAHY…………………………………………………………...………….303
Acknowledgements
This project could not have been accomplished without the patience, kindness, and cheerleading of my wife Charryse. I am so thankful to do life with her. My children Claire and Mackenzie also were very patient when daddy needed to leave town or “do homework,” as opposed to playing basketball or riding bikes. Nobody is blessed with three better ladies in their family than I am.
Dr. Brannon Hancock was as helpful a first reader as I could imagine and better than I deserve. He sparked creative thinking, tirelessly copy edited, and responded to manic text messages for the better part of a year and a half. He has been a joy to share similar passion for both pop culture and worship.
Dr. Dean Blevins and Dr. Judi Schwanz were incredibly helpful readers who spurred me on to excellence in the closing stages of this project. Dr. Doug Hardy has been a helpful and collegial D.Min director throughout my time in the program.
Many people demonstrated generosity through different means to help make this project a reality: my mother Mary Brooks, Randie and Marla Blom(my wife’s parents), the people of South Portland Church of the Nazarene, the people of Victory (FL) Church of the Nazarene, the people of Norwood Church of the Nazarene, pastoral staff members that handled my work while I was gone in classes, Dylon Brown who helped me consider pop culture images, and the Lofland family for housing me during NTS intensives.
If there is anything that concluding a Pastoral Research Project and Doctor of Ministry teaches a student it is that accomplishments are never individual. Many people take time and make sacrifices to help you succeed. I am beyond thankful to all of those who have been present in my life as I worked toward the completion of this project.
Abstract
Pop culture and worship are liturgies with powerand potential to shape our character and desires. This project examines the formative influence of secular culture and Christian worship on the people of South Portland Church of the Nazarene. The research centered on a didactic sermon series on understanding pop culture and worship.Texts in liturgical theology, sacramental theology, Wesleyan theology andpop culture providethe foundation for this project. Prior to and following the sermon series, one-on-one interviews were conductedwith selected congregants of the church, and the entire congregation was invited to share their feedback on the project in an “all church lunch.” The project demonstrated that the people interviewed were not fully aware of what was forming them,butwere also interested in the concept of liturgy – both cultural and liturgical.
Chapter 1
Pop Culture and the Habitus of Christian People
Introduction
The devil has had all the best liturgies.[1]
In a recent sermon series at my local church, South Portland [Maine] Church of the Nazarene, I was working through the seven deadly sins. One week the topic was lust, so a tangible tension filled the air. Rather than beginning with “what you have done,” as I felt to be so regularly the case in my youth, I made an exegetical decision (both of the text[2] and community) to begin by pointing to the sort of sexuality that is paraded today in pop culture. I, therefore, began by sharing my distaste for a song that I figured we could all share distaste for: “Blurred Lines” by Robin Thicke.
“Blurred Lines”came to the forefront of American consciousness and discourse when Thicke performed the song at the 2013 MTV Video Music Award show. That performance is most remembered for Miley Cyrus’s demonstration of “twerking” to the world. While the world was reacting either in horror or celebration at Miley Cyrus simulating a sex act on stage (albeit clothed), many overlooked the song itself, which at face value, seems to be about nothing more or less than date rape:
If you can't hear what I'm trying to say
If you can't read from the same page
Maybe I'm going deaf
Maybe I'm going blind
Maybe I'm out of my mind
Everybody get up
Ok, now he was close
Tried to domesticate you
But you're an animal
Baby, it's in your nature
Just let me liberate you
You don't need no papers
That man is not your maker
And that's why I'm gon' take a
Good girl
I know you want it
I know you want it
I know you want it
You're a good girl
Can't let it get past me
You're far from plastic
Talk about getting blasted
I hate these blurred lines
I know you want it
I know you want it
I know you want it
But you're a good girl
The way you grab me
Must wanna get nasty
Go ahead, get at me
Everybody get up
What do they make dreams for
When you got them jeans on
What do we need steam for
You the hottest bitch in this place
I feel so lucky,
Hey, hey, hey
You wanna hug me
Hey, hey, hey
What rhymes with hug me?
Hey, hey, hey
Hey!
[Bridge]
[Hook]
Hustle Gang Homie
One thing I ask of you
Lemme be the one you back that ass up to
From Malibu to Paris boo
Had a bitch, but she ain't bad as you
So, hit me up when you pass through
I'll give you something big enough to tear your ass in two
Swag on 'em even when you dress casual
I mean, it's almost unbearable
In a hundred years not dare would I
Pull a Pharcyde, let you pass me by
Nothin' like your last guy, he too square for you
He don't smack that ass and pull your hair like that
So I'm just watching and waitin'
For you to salute the true big pimpin'
Not many women can refuse this pimping
I'm a nice guy, but don't get confused, this pimpin'
Shake your rump
Get down, get up-a
Do it like it hurt, like it hurt
What you don't like work
Hey!
Baby, can you breathe
I got this from Jamaica
It always works for me
Dakota to Decatur
No more pretending
Cause now you're winning
Here's our beginning
I always wanted a good girl.[3]
Most everyone in church that day under the age of 50 knew that song, yet the replies after service were shocking: “I had never listened to the lyrics before!” “My goodness, that song is a great song to go to spin to, I had no idea!” “It’s on my workout playlist at home.” “Man, I had always just heard the cool beat…”
A song about date rape, or at the very least attempting to coerce or pressure someone not interested in sex into sex, had made its way into the daily playlist of many holiness Christians who were completely unaware of what they were listening to.
This project was in no way about moralizing pop culture or shaming Christians. It was, on the other hand, about helping Christians become aware of their world, their habits, and their worship. Through this project, I wanted to help the people of South Portland [ME] Church of the Nazarene become more aware of the forces that are forming their lives, both within and outside the church. The goal was to have them see what is forming their habitus so that they could become more intentional about their engagement with worship and pop culture.
Purpose
This project takes a particular look at the habitus of the people of South Portland [ME] Church of the Nazarene. It is my observation that people are being formed at a gut/instinctual level by their engagement with pop culture: it is shaping us into who we are. And, this is affecting our worship, as we now long to be entertained at church. However, worship is meant to be fundamentally formational as well. Therefore, I explored the connections between the formational power of worship and pop culture: both in terms of how they are able to compliment each other and in terms of how pop culture can usurp, even for the best Christians, the power of worship for formation of Christian living. This focusing on both pop culture and liturgy is meant to help church people recognize how strong the lure of pop culture is to define their habitual life, how Christian worship can take the role of primary formational event in our life, and how the church can learn how to engage meaningfully with pop culture and not just assume it needs to be avoided.
Pierre Bourdieu, the French sociologist and philosopher, defineshabitus as an “embodied history, internalized as a second nature and so forgotten as history.”[4]Drawing from Bourdieu and other French philosophers, James K. A. Smith takes this idea of habitus and runs with it.Smith points to the formation of a soldier as a colloquial example;a farm boy, he notes, joins the military not because it makes sense based on the evidence, but because he has practiced patriotism his entire life. He has come to recognize its symbols as meaningful, and chooses that it is worth the possibility of giving his life to it. This is a decision formed out of one’s habitus.[5]
Once in the military, the habitus is transformed through practice. Boot camp is liturgical; a new kind of person is made through a specific set of prescribed acts. It takes practice to become a soldier. It takes practice to become a Christian as well. And it is in the seemingly mundane acts of worship that Christians are most strongly and properly formed, at the level that causes us to be rather than to simply think or believe. It takes practice, symbols, liturgies, and narratives regularly forming us at a gut or subconscious level to change the fundamental way we engage with our world.
Maurice Merleau-Ponty speaks of what the body “knows,” and he calls this perception. He is saying that we do not abstractly think our way through the world, but neither are we passive victims of impressions, controlled by instinctual reflexes. Our bodiesare the vehicles of being in the world, and bodies carries with them an embodied knowledge.[6]
Smith tells the story of engaging the writing of Wendell Berry’s book, Bringing it to the Table. The book is about farming, eating, and stewardship. Smith seems to be assenting to the theses of Berry’s work. When he is finished reading, he sets the book down and remembers that he is eating in a food court at Costco. This scene is precisely the context that Berry is attempting to cut against: food that is full of preservatives, mass-produced, shipped, etc. Smith argues that his mindless trip to Costco – and the habitus that undergirds this trip – overrides his intellectual assent to Berry’s work.[7]
This project seeks to probe these connections more intentionally. It was my desire as pastor of a particular people to help them think about howpop culture is trying to form them into a particular kind of people. Upon helping them understand the kind of person that culture is subtly forming them to be, I then worked out how to counter-form those cultural liturgies through narratives and worship that is more theologically and biblically rooted. It will start with awakening our intellect, while attempting also to woo the habitus into more robust Christian formation. This is an exercise in the counter-formation – through hearty worship – of a people generally unaware of a battle for their habitus.
As Christians, we are interested in the way that the Holy Spirit – whom we affirm as formational – affects the practices of our body. How do we go about allowing ourselves as Christians to be formed in our way of life that is inscribed in our “habit-body?” Or, how can we intentionally allow the Spirit to orient our being in the world?[8] These are the interesting questions that Smith has posed, that influence the more nuts-and-bolts attempts to tease these theories out in my project.
The work in this project contends that the habitus of a person cannot be changed or reformed until they recognize it has already been formed and is already being formed. Therefore, it makes the task of this project to affect the subconscious by engaging the conscious. This paper argues that the average church attendee at South Portland [ME] Church of the Nazarene does not even realize that their habitus is being formed by either pop culture or Christian liturgy. Therefore, by helping them see what their habitus is, and how it is formed, they will be more discerning about the world they participate in, therefore allowing the work of worship to become the primary act or work that forms them.
This project, however, did not intend to return the Church of the Nazarene, or any Christian person in particular to the dark days of avoiding the theater or “secular” music. Quite the contrary, through this project, I sought to encourage a more intentional and redemptive relationship to pop culture.
It is important, at this point, to define pop culture. When articulating pop culture to the church during the project, I did so through the help of Marcel Danesi, who helps us understand that pop culture isa means of organizing and stabilizing communal life through specific beliefs, rituals, rites, performances, art forms, symbols, language, clothing, food, music, dance, and any other mode of human expressive, intellectual, and communicative behavior that is associated with a group of people at a particular period of time.[9] Pop culture can encapsulate music, theater, television programs, cell phone apps, movies, fads, fitness (P90X, Cross Fit), social media, dating websites, and more.
Pop culture, in itself, is not the problem. The problem is Christians too often engaging it lazily (as per the personal story story of “Blurred Lines”) and bringing that same lazy disposition to their worship. It becomes so that there is no intention in formational practices. As the habitus is subconscious in nature, so is our engagement with the world. Success in this study is measured by the very Christian people of South Portland [ME] Church of the Nazarene seeing the narratives of redemption, resurrection, hope, joy, love, and salvation in pop culture, and found those narratives as clearly in such seemingly mundane liturgical acts as standing in line for communion, shaking hands with one’s neighbor in church, and singing a song with the gathered congregation.
In our local setting, it is common to utilize pop cultural narratives in order to illustrate a Christian concept or biblical text. It has had profound impact. In a recent sermon series, our church dug deep into its heritage – well past where Nazarenes are usually comfortable exploring – and studied The Apostles’ Creed. We stood weekly and recited it together, affirming our common faith.
Nazarenes that I have served have tended to get squeamish about The Apostles’ Creed for a number of reasons, but most strongly in the affirmation of “…the holy, catholicchurch.” This required significant exegetical work, both biblically and congregationally. In order to look past the Roman Catholic Church, and instead toward the eschatological church, we turned to a scene in The Lion King.
The Lion King is a familiarnarrative in contemporary American society. Famously, the movie begins with an Elton John song entitled “The Circle of Life.” The scene is set in an African savannah, with all varieties of animals making a common pilgrimage. A discerning listener will note what the song is hinting at: that these animals making the pilgrimage are normally inclined to eat one another! Yet their focus is on something else, something that supersedes even their evolutionary appetites.
That something else is the presentation of Simba, the long awaited child of the king. He has been born to King Mufasa and his mate Sarabi. Word has made its way through the kingdom, and all animals are focused on the celebration, and their journey toward that celebration.
Before the congregation of animals, Simba is anointed king. When the child king is presented, all of the animals bow, and then celebrate. It is a festival. Nothing matters but the king, and all of the animals – who yesterday were hunting and avoiding one another – stand unified with their eyes on the king, hearts full of hope and thanksgiving.