Editor's note: Since the 1990s, European and American churches have deeply reflected on the traditional development models of churches. On this basis, missional churches spring up. The trend has gradually spread to Asian countries such as South Korea and Singapore.
In recent years, the trend has caught the attention of theological scholars in China, who are exploring how it can be applied to local situations.
Recently, Dr. Dongri Wu who holds Ph.D. from Yonsei University, South Korea invited Professor Suk Whan Sung from Presbyterian University and Theogical Seminary to speak on "cultural ministry" from the perspective of the missional church. (See episode 1 here)
Professor Suk Whan Sung first stated that the missional church's theory is based on a new look at the connection between popular culture and Christianity or the church. This is based on a reflection of the relationship between Christianity and culture. This reevaluation leads to a renewed concept that expands the scope of practice beyond the limited and visible spaces of the church or venue for religious activities. It broadens the scope of ministry.
As Christians, how should we perceive popular culture?
Professor Sung introduced that popular culture is a highly debated topic within the Evangelical sector. Some conservative churches believe that Satan controls popular culture. As a result, they strongly disapprove of young people wearing earrings, getting tattoos, singing pop songs, or watching popular movies. One notable example is Lady Gaga's 2012 concerts in Asian countries like South Korea and the Philippines. Many Christians organized prayer meetings, hoping for the concerts to encounter difficulties. Some Christians interpreted the wind's tearing apart of a banner during the concert in South Korea as divine judgment.
All these reactions stem from the belief that popular culture hinders spiritual life and clashes with Christianity. Consequently, many Christians have developed a completely negative and resistant attitude toward popular culture. This attitude was manifested in the "culture war" that emerged in the Western world in the 1990s.
"Therefore, we need to rethink aesthetics from a theological perspective. The concept of beauty must be disentangled from religious and political influences. Beauty cannot be divorced from ethics in theology, and adherence to God's Word sets a standard of beauty that transcends mere physical appearance."
"Christians are familiar with the idea that faith and action should not be divorced. Our lives should not be isolated from art, either. Enjoying beauty is not the exclusive domain of artists; the general public can also appreciate and savor art in their everyday lives. As Christians, we bear a responsibility to manifest our faith in various realms such as art, fashion, beauty, and beyond. By doing so, we can potentially reflect the glory of Christ in popular culture,“ he added.
After God created human beings, He blessed them and said, "Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky, and over every living creature that moves on the ground.” To some extent, this could be our cultural mission.
Nonetheless, there has been a misconception among humans that only individuals of nobility, wealth, and status are entitled to appreciate the high arts. The profound transformations triggered by the Industrial Revolution and the Enlightenment during the 18th century, particularly in the aftermath of World War I and II, marked the onset of a new era of popular culture across Europe. Those who believed they held the exclusive right to participate in the high arts and who considered themselves to be noble, wealthy, and of status disapproved of this transformation.
Such sentiments exist not only among the general public but also within Christian communities. For example, the Puritans in England, upon settling in America and recovering economically and socially, began to reminisce about the classical culture they had enjoyed in England, considering it more noble and true art, while adopting a depreciative attitude toward popular culture. This perspective led to a division of culture and art into low and high forms, a division mirrored in academia. For instance, cultural critic Matthew Arnold classified culture into two categories. According to his opinion, the general public and blue-collar workers were deemed incapable of understanding art.
"Unfortunately, we in Asia have inherited this aspect of Western Christianity's legacy. It is evident that during the 19th century, many evangelical movements had a profound impact on indigenous peoples in colonies through colonization. This has resulted in some negative consequences. For example, many oil paintings and other art forms categorized as high art have Christian origins. While Western missionaries aimed to spread the gospel, many of them regarded local cultures as inferior and Western culture as superior."
This concept in modern philosophy has also caused negative effects. Consider René Descartes' famous statement, "I think, therefore I am," which implied that a thinking person becomes the standard for judging the world. Unfortunately, during that era, the dominant majority consisted of individuals who were Western, white, male, and centered around Christianity. Those who didn't fit into these four categories were labeled as 'others' and subjected to observation and definition by the dominant group. This limited perspective has become widespread in contemporary global culture.
In this ideological framework, when the gospel reached the East and Asia, local churches in these regions were inadvertently affected. They began to regard Western culture as superior, subsequently undervaluing their own indigenous cultures. Unintentionally, they created a division between high arts and popular culture and embraced a dualistic perspective.
We cannot deny the zeal of missionary groups from the West who were enthusiastic about spreading the gospel and had compassion for souls during that era. However, it is also likely that they were unaware of the contamination of the vessels carrying the gospel. It is imperative for Asian churches to discern and overcome this issue. It wasn't until after World War II, especially following the tragic Holocaust where six million Jews were killed, that Europe came to a deep awakening. They realized it was biased to base their value system on the values of the Western, male, white, Christian population.
"Suffering often paves the way for God's blessings. Both Joseph and Jonah experienced intense suffering. A source of great shame for us is the history of colonization in many Asian nations. Paradoxically, God utilized Western colonization experiences to expose their own shortcomings. Through these experiences, God humbled the West and shattered their pride."
Paul Tillich, in his wisdom regarding culture, proclaimed that all cultures have the potential to glorify God. While we may not be scholars in aesthetics, we hold the right to appreciate beauty in our own unique way. In fact, culture permeates every aspect of our lives.
How should Evangelicals reconsider popular culture?
The professor continued that over the past few centuries, the world has experienced profound transformations. It has transitioned from a dominantly Western, white, and male-centric paradigm to one that is non-Western, non-white, and increasingly influenced by women. This transformation aligns with the essence of post-modernism. Many things, including the terrible effects of war, the growth of cultural anthropology, the rise of pluralistic thinking, the return of grassroots cultures, and the empowerment of working class people, women, and students, have changed how we understand culture and hence how we see the world.
Two significant methods for studying culture emerged in the 20th century: culturalism, which the UK led, and the Frankfurt School, which Germany led. The Frankfurt School's perspective, similar to the cultural view of evangelicals, underscores the differentiation between popular culture and high culture. In contrast, culturalism in the UK does not endorse such a division but rather places emphasis on the everyday and popular facets of culture. From this cultural viewpoint, both highbrow opera and popular music originated in the UK and are relevant to people's daily lives.
"As evangelicals, we need to integrate the study of both. British cultural studies devote significant attention to the everyday and the expressive, and this is what we can learn from. However, we should remain cautious of the negative influences stemming from consumerism."
How should churches today interact with popular culture and postmodernism?
Popular culture and postmodernism exhibit various commonalities. Postmodernism surfaced in the 1970s, and significant events, like the Vietnam War, acted as catalysts for the feminist movement. Martin Luther King's civil rights movement also empowered African Americans. In essence, postmodernism can be regarded as a cultural shift in the Western world.
Professor Sung said, "Would embracing popular culture bring renewal to the church? For instance, when discussing the emergence of the Jesus Movement, we must acknowledge the prominent countercultural hippie movement of that era. In the 1960s, the hippie movement surfaced in the United States as a cultural rebellion. Hippies were known for their spirit of defiance against convention and established norms. They spent nights reveling by the seaside and were often perceived as demon-possessed in the eyes of traditional churches. However, during that period, Chuck Smith, the senior pastor of Calvary Chapel in California, who outwardly appeared conventional, placed significant importance on church reformation. He welcomed individuals from the realm of rock music into the church and adapted rock lyrics into hymns, which laid the foundation for contemporary Christian music (CCM). This aligns with Niebuhr's point: Christianity should be a catalyst for cultural transformation."
Creativity cannot be disregarded when ministering to postmodern young individuals in the church.
While rationality is the focus of modernism, imagination is the driving force for innovation among postmodern youth. Regrettably, conservative evangelicals tend to undervalue imagination. Churches often instruct believers to unquestioningly follow, leaving no room for them to engage in thoughtful reflection. As a result, many young people are averse to attending church because they perceive it as a stifling environment for their aspirations. Numerous second-generation Christians, raised in the church, begin to seek a sense of freedom outside of the church.
"It cannot be ignored that the church's future is intertwined with its youth. Some church members might view today's youth as immature and incompatible with the church. In fact, the church should adopt an inclusive rather than exclusive stance. It should function as a platform where young people can freely explore their relationship with God, nurture their dreams, and bask in His grace."
Conclusion: The concept of "cultural ministry" and the practice of "cultural worship"
"Asian churches today must reevaluate their understanding of culture. They should no longer be confined to the modern Western, white, male-dominated paradigm but rather recognize the characteristics of postmodernism and rejuvenate popular culture. It is equally important to explore Eastern perspectives in the postmodern era and manifest the essence of the gospel through Asian culture," Professor Sung urged.
"The church has to address the desires of the public as conveyed through popular culture. It is the church's mission to transform the destructive, transgressive, lonely, unjust, and contradictory elements prevalent in popular culture into a revitalized popular culture that caters to people's needs," he stressd.
Hence, the church can explore the realm of "cultural ministry," which extends beyond one single cultural project. Cultural ministry encompasses all cultural activities aimed at expanding the gospel through the execution of cultural actions. Essential components of cultural ministry include cultural communication, creative ingenuity, and social justice. Ministers engaged in cultural ministry should embody qualities of gentleness, effective communication, and imaginative creativity, addressing the demands of the 21st century while testifying to God's kingdom in innovative ways.
Korean churches began contemplating their interaction with popular culture after the year 2000. Cultural ministry stands out as a practical response based on Christian ethics and public theology. Within these practices, "cultural worship" holds theological significance.
"Cultural worship" embodies an act of faith that intersects the eternal within the finite constraints of time and space. It is the practice of worshiping the transcendent God within a limited space. Whether it be in the United States, the United Kingdom, South Korea, or China, people worship the same God. The contexts are different from country to country.
"How do we worship God in our unique space? The point is encountering God not only in the church building but in our everyday lives, such as workplaces, families, or even during activities like square dances. For instance, within the chapel of the renowned Yonsei University in South Korea, Jesus is depicted as a shepherd leading Korean disciples to preach the gospel throughout. The visionary perspective contemplates how Jesus might appear if his birthplace were Korea rather than Jerusalem. Sadly, Asian churches often fail to consider how to encounter God within their distinct contexts, instead imitating the worship practices of Western churches."
"We must integrate the core principles of cultural ministry into our worship practices. Worship is a versatile concept with numerous possible expressions... We need to discern the character of the community we are serving and understand why God has placed us in this specific community at this time. Envision this. With such a perspective, the community becomes a place of shared culture," he concluded.
- Translated by June I. Chen
编者按：
20世纪90年代以来，欧美教会开始深刻反思传统的教会发展模式，在此基础上兴起使命教会，并逐渐扩展到韩国、新加坡等亚洲国家。
最近几年，中国也开始有神学研究者关注使命教会的趋势并探讨如何应用到中国本土处境之中。
日前，吴东日博士邀请Sung, Suk Whan, professor of Presbyterian University and Theological Seminary，进行了分享，其中内容涵盖使命教会模式的理论和神学基础、国际不同国家和地区具体的案例和经验、后新冠数码时代的潜力和应用等。
Sung, Suk Whan说道，在对基督与文化的关系进行反思的基础上，使命教会的理论基础还包含重新检视大众文化和基督教/教会的关系，在观念上来到更新，由此展开以文化为广泛的实践空间，而不是只是着眼于有限可视的礼拜堂或活动场所，从而拓宽服事范围。
作为一个基督徒，如何看待大众文化？
如何看待大众文化，是在福音派中非常有争议的一个话题。比较保守的教会的看法是认为大众文化都是撒旦控制的，所以一些教会非常讨厌年轻人带耳环、做纹身、唱流行歌曲、看畅销电影等。其中，很经典的一个案例是2012年，Lady Gaga来亚洲的韩国和菲律宾等地开演唱会，很多基督徒一起开祷告会希望演出不顺利，而当时在韩国演唱现场发生了风吹裂了横幅，有基督徒觉得这就是审判。
林林总总，原因都在于不少基督徒认为大众文化妨碍属灵生命、与非基督教格格不入，从而让基督徒对大众文化是彻底否定和抵制的态度，上世纪90年代在西方兴起的文化战争（Culture War）就是这种态度的反映。
因此，我们需要从神学理念上重新探讨美学。美的概念是需要超宗教化和政治化，神学认为美离不开伦理的，比起外貌漂亮，是否遵行神的话才是美的标准。
基督徒很熟悉的一句话是信心和行为不能分离，我们的生活也不能和艺术分离。不是只有艺术家才可以享受美，大众群体在生活中看到和享受到艺术。作为基督徒，我们有责任在艺术、时尚、美丽等领域彰显信仰。正是在这个前提下做基督徒，才有可能在大众文化中彰显基督的荣耀。
上帝在创造好人类后，对人说：“神就赐福给他们，又对他们说，要生养众多，遍满地面，治理这地。也要管理海里的鱼，空中的鸟，和地上各样行动的活物。”这在一定程度上也可以说，是我们的文化使命。
但是，我们人类误以为有品位、金钱和地位的人才能享受到高尚文化，但是18世纪后的工业革命、启蒙运动带来近代社会的巨大变化，特别是一战二战后，整个欧洲掀起大众文化的新阶段。这对曾经自认为自己有品位、金钱和地位可以享受高尚文化的群体来说，是不能接受的。
不仅大众群体，基督教里面也有这样的情结。譬如，英国的清教徒在美国扎根、经济和生活环境恢复后，开始回忆在英国享受的古典文化，认为更高雅，才算是艺术，对于大众文化则是持贬低的态度。正是这种态度，让文化和艺术也分了贵贱。学术圈也有类似的观念，比如文化批评学者英国的阿诺德把文化分为两类，认为群众和劳动人群是不懂艺术的。
遗憾的是，这也成了我们亚洲所传承的西方基督教的DNA的一部分。毋庸讳言的是，19世纪很多福音运动是通过殖民的方式在殖民地强加给当地的人民的，导致这样的负面因素也存在。比如很多油画等所归类的高尚的文艺作品都是有基督教背景的，所以虽然当时来自西方的传教士群体要传福音，但不少人的态度是把当地的文化当做是卑贱的文化，把西方的文化当做高尚的文化。
近代哲学上也有这样的理念带来的消极作用。比如笛卡尔著名的那句名言“我思故我在”——我作为人能够思想，就成为判断这个世界的标准。但非常可惜的是，当时人的范畴是西方、白人、男性、基督教的这种中心观，除了这四种之外，所有其他的是是“他者”，是被观察、被定义的对象，而这种并不完整的认识成了近代世界文化的主体。
所以在这样的思想当中，福音传到了东方和亚洲，这些地区的教会也不自觉地被影响，导致认为好像西方文化是高尚的，从而贬低自己的本土文化，并且不自觉地把高尚艺术和大众文化分开，对此持二元论的一种看法。
我们不能否认身处当时时代大背景下、来自西方的传教士群体们对福音的热心和对灵魂的怜悯，但可能当时他们也并不知道自己装载福音的器皿受了这样的污染，所以亚洲的教会需要分辨并且需要克服这个问题。所以在二战后欧洲因为战争特别是竟然发生杀害了600万犹太人的惨剧后才深刻醒悟，原来之前自以为的西方、男人、白性、基督教得价值观并不是合理的。
苦难之后有上帝的祝福。对于约瑟和约拿，他们经历了刻骨的苦难。亚洲不少国家的历史里面都经历了殖民，对于我们来说这是一个很大的耻辱，但非常矛盾和惊人的是：上帝通过西方自己殖民的经历让西方知道自己的不足——上帝借着他们殖民的经历反而打消了他们的骄傲。
关于文化，田立克（Paul Tillich）说所有的文化都可以荣耀神。我们虽然没有学过美学，但是我们有权利用我们的方式去欣赏美，其实我们生活中所有的都是文化。
福音派需要如何重新看待大众文化？
近几百年来，世界在发生着深刻的变化，曾经西方、白人、男性为主导，变成了非西方、非白人、女性为主导——这就是后现代主义的兴起所表现出的特征。战争悲剧、文化人类学的认知扩散、多元性思考、底层文化的存在感、工人与女性还有学生年轻群体的兴起，这些带来了文化认知的转换，也由此引发了世界观的转换。
20世纪研究文化有2个主要的不同流派：英国主导的文化主义和德国主导的法兰克福学派。法兰克福学派的主张和福音派的文化观很多相似，强调大众文化和高尚文化的分。但是英国的文化主义主张的不是两者分离，而是文化的日常性和大众性，所以正是在这种文化观下，高雅的歌剧和大众的流行乐都是在英国产生的，都是和人们的日常生活相关。
“我们福音派需要综合两者的研究。英国的文化研究非常关注日常和表达，是值得我们学习的，但是另一方面消费主义导致的负面也是需要谨慎地。”
今日教会需要如何参与大众文化和后现代主义的相遇？
大众文化和后现代主义有很多同频性。后现代主义1970年代兴起，随后发生的越战等激发了女权运动，并且马丁路德金的民权运动也兴起黑人，后现代主义从某种意义上看也是西方的一种文化变革。
是否拥抱大众文化，也会带来教会的更新。比如说起著名的耶稣运动的兴起，不得不提当时最有名的嬉皮士文化。1960年代，美国出现了反抗文化的嬉皮士(Hippie)运动，这个人群最明显的特点是很有叛逆精神，反抗传统和体制，他们当时在海边彻夜的放纵，传统教会觉得这些人是被撒旦占据了。但是当时美国加州加略山教会(Calvary Chapel)，主任牧师查克•史密斯牧师虽然长相看上去是很传统的白人风格，但却非常重视教会改革。他把参与摇滚的人接纳到教会，把摇滚的歌词改变成赞美诗的歌词，这就是当代基督教音乐（CCM）的开始。这也就是尼布尔强调的：基督教要成为文化的改造者。
教会服事后现代的年轻人：不可忽视想象力
近现代主义很强调理性，但是后现代主义得年轻人的想象力当做是一个革新的力量。遗憾的是，很多保守的福音派不喜欢想象力，教会也教导信徒只要顺从就可以了，不需要提问。很多保守的教会不给信徒留下想想的空间和空白，所以年轻人不喜欢去教会，因为觉得到了教会就停止了他的梦想。所以，很多教会里面长大的二代反而慢慢到外面去追求自由。
不可忽视的一个事实是，教会没有年轻人就没有未来。在教会当中，有人觉得现在的年轻人变得很幼稚、格格不入，但是教会也是要接纳，而不是要排斥，所以教会要成为一个平台，让年轻人在这里可以自由地梦想上帝，享受恩典。
结论：文化牧会的理念和文化礼拜的实践
所以，亚洲教会今日需要更新对文化的认识，不再只是困于近现代式的西方、白人、男性、基督教主导的思想，而是要抓住后现代主义的特征，拥抱和更新大众文化，尤其需要探讨后现代时代东方思考的需要，并且如何透过亚洲文化表现出福音的本质。
教会需要回答大众文化承载的大众欲望，并且有使命去改变大众文化中弥漫的破坏、越轨、孤独、不义、矛盾的形象，用更新的大众文化去满足大众欲望。
所以，教会可以尝试做“文化牧会”，它不同于只是教会开展的一项文化事工或者项目。文化牧会是指通过实施文化活动并借此扩张福音领域的所有文化行为。文化牧会的要素包含文化的沟通，卓越的创造性，社会的公正性，文化牧会的牧者应该温柔，沟通，发挥创造性想象力，从而回应21世纪要求，以新形象见证神的国度。
2000后，韩国教会开始思考如何应对大众文化，文化牧会是其中一种实践方式，这是在基督教伦理学和公共神学的基础上的一种尝试。其中，一种很重要的方式就是“文化礼拜”，这是有神学含义的。
文化礼拜是一种永恒的存在在时空的有限中相遇的信仰行为，是在我们有限的空间中敬拜超越的上帝，不管是美国、英国，还是韩国、中国，敬拜的都是同一位上帝，但每个国家处境不一样，如何在自己的空间敬拜上帝？核心是不仅仅只是在礼拜堂，我们在生活的处处，比如职场、家庭、甚至跳广场舞时想着怎么追求与上帝相遇。比如，韩国最著名的延世大学的礼拜堂里面的耶稣是韩国人的牧养，带着门徒到处传福音，建造者他们想象耶稣如果不是降生在耶路撒冷，降生在韩国会是怎样的装扮。可惜的是，亚洲教会常常很少思考在特定处境下如何与上帝相遇，很多时候只是模仿西方教会的礼拜形式。
“我们需要在礼拜中赋予文化牧会的意义。礼拜可以是非常多元的方式……我们要思考自己所服事的社区是怎么样的一个共同体，我们就知道上帝为什么这个时间差派我们到社区。想象一下，如果教会有这样的想法，社区就会成为共享文化的社区。”
使命教会专题研讨系列（二） 从大众文化与教会谈“文化牧会”
Editor's note: Since the 1990s, European and American churches have deeply reflected on the traditional development models of churches. On this basis, missional churches spring up. The trend has gradually spread to Asian countries such as South Korea and Singapore.
In recent years, the trend has caught the attention of theological scholars in China, who are exploring how it can be applied to local situations.
Recently, Dr. Dongri Wu who holds Ph.D. from Yonsei University, South Korea invited Professor Suk Whan Sung from Presbyterian University and Theogical Seminary to speak on "cultural ministry" from the perspective of the missional church. (See episode 1 here)
Professor Suk Whan Sung first stated that the missional church's theory is based on a new look at the connection between popular culture and Christianity or the church. This is based on a reflection of the relationship between Christianity and culture. This reevaluation leads to a renewed concept that expands the scope of practice beyond the limited and visible spaces of the church or venue for religious activities. It broadens the scope of ministry.
As Christians, how should we perceive popular culture?
Professor Sung introduced that popular culture is a highly debated topic within the Evangelical sector. Some conservative churches believe that Satan controls popular culture. As a result, they strongly disapprove of young people wearing earrings, getting tattoos, singing pop songs, or watching popular movies. One notable example is Lady Gaga's 2012 concerts in Asian countries like South Korea and the Philippines. Many Christians organized prayer meetings, hoping for the concerts to encounter difficulties. Some Christians interpreted the wind's tearing apart of a banner during the concert in South Korea as divine judgment.
All these reactions stem from the belief that popular culture hinders spiritual life and clashes with Christianity. Consequently, many Christians have developed a completely negative and resistant attitude toward popular culture. This attitude was manifested in the "culture war" that emerged in the Western world in the 1990s.
"Therefore, we need to rethink aesthetics from a theological perspective. The concept of beauty must be disentangled from religious and political influences. Beauty cannot be divorced from ethics in theology, and adherence to God's Word sets a standard of beauty that transcends mere physical appearance."
"Christians are familiar with the idea that faith and action should not be divorced. Our lives should not be isolated from art, either. Enjoying beauty is not the exclusive domain of artists; the general public can also appreciate and savor art in their everyday lives. As Christians, we bear a responsibility to manifest our faith in various realms such as art, fashion, beauty, and beyond. By doing so, we can potentially reflect the glory of Christ in popular culture,“ he added.
After God created human beings, He blessed them and said, "Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky, and over every living creature that moves on the ground.” To some extent, this could be our cultural mission.
Nonetheless, there has been a misconception among humans that only individuals of nobility, wealth, and status are entitled to appreciate the high arts. The profound transformations triggered by the Industrial Revolution and the Enlightenment during the 18th century, particularly in the aftermath of World War I and II, marked the onset of a new era of popular culture across Europe. Those who believed they held the exclusive right to participate in the high arts and who considered themselves to be noble, wealthy, and of status disapproved of this transformation.
Such sentiments exist not only among the general public but also within Christian communities. For example, the Puritans in England, upon settling in America and recovering economically and socially, began to reminisce about the classical culture they had enjoyed in England, considering it more noble and true art, while adopting a depreciative attitude toward popular culture. This perspective led to a division of culture and art into low and high forms, a division mirrored in academia. For instance, cultural critic Matthew Arnold classified culture into two categories. According to his opinion, the general public and blue-collar workers were deemed incapable of understanding art.
"Unfortunately, we in Asia have inherited this aspect of Western Christianity's legacy. It is evident that during the 19th century, many evangelical movements had a profound impact on indigenous peoples in colonies through colonization. This has resulted in some negative consequences. For example, many oil paintings and other art forms categorized as high art have Christian origins. While Western missionaries aimed to spread the gospel, many of them regarded local cultures as inferior and Western culture as superior."
This concept in modern philosophy has also caused negative effects. Consider René Descartes' famous statement, "I think, therefore I am," which implied that a thinking person becomes the standard for judging the world. Unfortunately, during that era, the dominant majority consisted of individuals who were Western, white, male, and centered around Christianity. Those who didn't fit into these four categories were labeled as 'others' and subjected to observation and definition by the dominant group. This limited perspective has become widespread in contemporary global culture.
In this ideological framework, when the gospel reached the East and Asia, local churches in these regions were inadvertently affected. They began to regard Western culture as superior, subsequently undervaluing their own indigenous cultures. Unintentionally, they created a division between high arts and popular culture and embraced a dualistic perspective.
We cannot deny the zeal of missionary groups from the West who were enthusiastic about spreading the gospel and had compassion for souls during that era. However, it is also likely that they were unaware of the contamination of the vessels carrying the gospel. It is imperative for Asian churches to discern and overcome this issue. It wasn't until after World War II, especially following the tragic Holocaust where six million Jews were killed, that Europe came to a deep awakening. They realized it was biased to base their value system on the values of the Western, male, white, Christian population.
"Suffering often paves the way for God's blessings. Both Joseph and Jonah experienced intense suffering. A source of great shame for us is the history of colonization in many Asian nations. Paradoxically, God utilized Western colonization experiences to expose their own shortcomings. Through these experiences, God humbled the West and shattered their pride."
Paul Tillich, in his wisdom regarding culture, proclaimed that all cultures have the potential to glorify God. While we may not be scholars in aesthetics, we hold the right to appreciate beauty in our own unique way. In fact, culture permeates every aspect of our lives.
How should Evangelicals reconsider popular culture?
The professor continued that over the past few centuries, the world has experienced profound transformations. It has transitioned from a dominantly Western, white, and male-centric paradigm to one that is non-Western, non-white, and increasingly influenced by women. This transformation aligns with the essence of post-modernism. Many things, including the terrible effects of war, the growth of cultural anthropology, the rise of pluralistic thinking, the return of grassroots cultures, and the empowerment of working class people, women, and students, have changed how we understand culture and hence how we see the world.
Two significant methods for studying culture emerged in the 20th century: culturalism, which the UK led, and the Frankfurt School, which Germany led. The Frankfurt School's perspective, similar to the cultural view of evangelicals, underscores the differentiation between popular culture and high culture. In contrast, culturalism in the UK does not endorse such a division but rather places emphasis on the everyday and popular facets of culture. From this cultural viewpoint, both highbrow opera and popular music originated in the UK and are relevant to people's daily lives.
"As evangelicals, we need to integrate the study of both. British cultural studies devote significant attention to the everyday and the expressive, and this is what we can learn from. However, we should remain cautious of the negative influences stemming from consumerism."
How should churches today interact with popular culture and postmodernism?
Popular culture and postmodernism exhibit various commonalities. Postmodernism surfaced in the 1970s, and significant events, like the Vietnam War, acted as catalysts for the feminist movement. Martin Luther King's civil rights movement also empowered African Americans. In essence, postmodernism can be regarded as a cultural shift in the Western world.
Professor Sung said, "Would embracing popular culture bring renewal to the church? For instance, when discussing the emergence of the Jesus Movement, we must acknowledge the prominent countercultural hippie movement of that era. In the 1960s, the hippie movement surfaced in the United States as a cultural rebellion. Hippies were known for their spirit of defiance against convention and established norms. They spent nights reveling by the seaside and were often perceived as demon-possessed in the eyes of traditional churches. However, during that period, Chuck Smith, the senior pastor of Calvary Chapel in California, who outwardly appeared conventional, placed significant importance on church reformation. He welcomed individuals from the realm of rock music into the church and adapted rock lyrics into hymns, which laid the foundation for contemporary Christian music (CCM). This aligns with Niebuhr's point: Christianity should be a catalyst for cultural transformation."
Creativity cannot be disregarded when ministering to postmodern young individuals in the church.
While rationality is the focus of modernism, imagination is the driving force for innovation among postmodern youth. Regrettably, conservative evangelicals tend to undervalue imagination. Churches often instruct believers to unquestioningly follow, leaving no room for them to engage in thoughtful reflection. As a result, many young people are averse to attending church because they perceive it as a stifling environment for their aspirations. Numerous second-generation Christians, raised in the church, begin to seek a sense of freedom outside of the church.
"It cannot be ignored that the church's future is intertwined with its youth. Some church members might view today's youth as immature and incompatible with the church. In fact, the church should adopt an inclusive rather than exclusive stance. It should function as a platform where young people can freely explore their relationship with God, nurture their dreams, and bask in His grace."
Conclusion: The concept of "cultural ministry" and the practice of "cultural worship"
"Asian churches today must reevaluate their understanding of culture. They should no longer be confined to the modern Western, white, male-dominated paradigm but rather recognize the characteristics of postmodernism and rejuvenate popular culture. It is equally important to explore Eastern perspectives in the postmodern era and manifest the essence of the gospel through Asian culture," Professor Sung urged.
"The church has to address the desires of the public as conveyed through popular culture. It is the church's mission to transform the destructive, transgressive, lonely, unjust, and contradictory elements prevalent in popular culture into a revitalized popular culture that caters to people's needs," he stressd.
Hence, the church can explore the realm of "cultural ministry," which extends beyond one single cultural project. Cultural ministry encompasses all cultural activities aimed at expanding the gospel through the execution of cultural actions. Essential components of cultural ministry include cultural communication, creative ingenuity, and social justice. Ministers engaged in cultural ministry should embody qualities of gentleness, effective communication, and imaginative creativity, addressing the demands of the 21st century while testifying to God's kingdom in innovative ways.
Korean churches began contemplating their interaction with popular culture after the year 2000. Cultural ministry stands out as a practical response based on Christian ethics and public theology. Within these practices, "cultural worship" holds theological significance.
"Cultural worship" embodies an act of faith that intersects the eternal within the finite constraints of time and space. It is the practice of worshiping the transcendent God within a limited space. Whether it be in the United States, the United Kingdom, South Korea, or China, people worship the same God. The contexts are different from country to country.
"How do we worship God in our unique space? The point is encountering God not only in the church building but in our everyday lives, such as workplaces, families, or even during activities like square dances. For instance, within the chapel of the renowned Yonsei University in South Korea, Jesus is depicted as a shepherd leading Korean disciples to preach the gospel throughout. The visionary perspective contemplates how Jesus might appear if his birthplace were Korea rather than Jerusalem. Sadly, Asian churches often fail to consider how to encounter God within their distinct contexts, instead imitating the worship practices of Western churches."
"We must integrate the core principles of cultural ministry into our worship practices. Worship is a versatile concept with numerous possible expressions... We need to discern the character of the community we are serving and understand why God has placed us in this specific community at this time. Envision this. With such a perspective, the community becomes a place of shared culture," he concluded.
- Translated by June I. Chen
Missional Church Expert: 'Cultural Ministry' Can Reflect the Gospel in Asian Context
