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Evangelical Women and the Unintended Consequences of Sports Ministry
Author: Annie Blazer
Publisher: NYU Press
When sports ministry first emerged in the 1950s and 1960s, its founders imagined male celebrity athletes as powerful salespeople who could deliver a message of Christian strength: “If athletes can endorse shaving cream, razor blades, and cigarettes, surely they can endorse the Lord, too,” reasoned Fellowship of Christian Athletes founder Don McClanen. But combining evangelicalism and sport did much more than serve as an advertisement for religion: it gave athletes the opportunity to think about the embodied experiences of sport as a way to experience intimate connection with the divine. As sports ministry developed, it focused on individual religious experiences and downplayed celebrity sales power, opening the door for female Christian athletes to join and eventually dominate sports ministry. Today, women are the majority of participants in sports ministry in the United States. In Playing for God, Annie Blazer offers an exploration of the history and religious lives of Christian athletes, showing that evangelical engagement with popular culture can carry unintended consequences. When sport became an avenue for embodied worship, it forced a reckoning with evangelical teachings about the body. Female Christian athletes increasingly turned to their own bodies to understand their religious identity, and in so doing, came to question evangelical mainstays on gender and sexuality. What was once a male-dominated masculinist project of sports engagement became a female-dominated movement that challenged evangelical ideas on femininity, marriage hierarchy, and the sinfulness of homosexuality. Though evangelicalism has not changed sporting culture, for those involved in sports ministry, sport has changed evangelicalism.
How music makes worship and how worship makes music in Evangelical churches Music is a nearly universal feature of congregational worship in American churches. Congregational singing is so ingrained in the experience of being at church that it is often misunderstood to be synonymous with worship. For those who assume responsibility for making music for congregational use, the relationship between music and worship is both promising and perilous – promise in the power of musical style and collective singing to facilitate worship, peril in the possibility that the experience of the music might eclipse the worship it was written to facilitate. As a result, those committed to making music for worship are constantly reminded of the paradox that they are writing songs for people who wish to express themselves, as directly as possible, to God. This book shines a new light on how people who make music for worship also make worship from music. Based on interviews with more than 75 songwriters, worship leaders, and music industry executives, Shout to the Lord maps the social dimensions of sacred practice, illuminating how the producers of worship music understand the role of songs as both vehicles for, and practices of, faith and identity. This book accounts for the human qualities of religious experience and the practice of worship, and it makes a compelling case for how – sometimes – faith comes by hearing.
لعل الاراء الواردة فى الصفحات التالية لت تؤلف " بعد " بما يكفى لتحوز تأييدا عاما : فاعتياد عد اعتبار شئ ما " خاطئاً" وقتا طويلا يعطيه مظهرا زائفا من " الصحة " ويثير فى بداية الامر احتجاجا شديدا دفاعا عن الاعاف والعادات . ولكن سرعات ما تهدأ الجبلة اذ الوقت كفيل بأن يهدى الى الصواب اناسا اكثر ممن يهديهم العقل .