Daniel J. Kim<\/p>\n
In this article, I would like to propose a missiological strategy regarding the means of creative arts as cultural bridge to global mission. The focus of this thesis will be to establish the basic biblical theological framework for understanding the nature of art and its implications for mission. The outline of the thesis is as follows: (1) cross-cultural language of art; (2) theological basis for art;(3) redemptive necessity in art; and (4) transformative mission of art.<\/p>\n
CROSS-CULTURAL LANGUAGE OF ART<\/strong> Since the turn of this century, Korea has been experiencing a sort of cultural revolution especially among the younger generation. The movement known as \u201cKorean Wave\u201d (\u201cHallyu\u201d in Korean) refers to the global diffusion and influence of the Korean culture. What initially began with the spread of K-pop and K-drama across Asia in the late 1990\u2019s and the early 2000\u2019s, the Korean Wave has now become a global phenomenon primarily due to transmission of cultural ideas through the internet and social media. The impact of the movement was clearly impressed on the global mind, for example, through Psy\u2019s \u201cGangnam Style\u201d dance which became an international sensation when its video viewing became viral through the YouTube. Today, the Korean Wave refers to a wide range of influence, not only in terms of K-pop music\/dance, TV dramas, movies, sports, and entertainment, but also in terms of language, literature, fine arts, fashion, cuisine, and other aspects of the traditional Korean culture. [3]<\/a><\/p>\n In recognizing this phenomenon, the Korean government has committed to strategically promote the movement as a cultural legacy and diplomatic agency. President Park Geun-hye in her 2013 inauguration speech hailed the Korean Wave as the \u201cnew cultural renaissance\u201d which would transcend barriers in terms of language and ethnicity, and even overcome differences in terms of ideology.[4]<\/a> The implication is that as South Korea invests heavily in cultural industry and engages more in cultural exchanges with North Korea, a natural bridge may be established even toward unification.<\/p>\n In the light of such cultural-historic prospect, what then would be the implications of such a movement for mission? First, it needs to be acknowledged that Korean missionaries are experiencing much favor in global community than ever before, thanks to the widespread propagation and overwhelming popularity of the Korean Wave. It is a common testimony among Korean missionaries that at the disclosure of their Korean identity, people everywhere would gravitate toward them primarily out of their personal interest in Korean celebrities, dramas, or fads.<\/p>\n This craze regarding anything \u201cKorean\u201d would serve as a most convenient ground for missionaries to begin gradually ushering people into the gospel truth. In other words, in this 21st century, \u201cHallyu\u201d has naturally been established as a cultural bridge for Korean missionaries or businessmen to cross over to the nations and connect with the natives in order to engage in their appropriate ministries or businesses.<\/p>\n This is similar to the case of Paul and the early Christian missionaries of the first century who benefited from the Koine Greek language and the Roman road system which provided the common linguistic-cultural bridge and the necessary infrastructure for them to traverse through the entire Roman Empire and to interact with people of diverse cultures and ethnicities. For the 21st century missionaries, Korean as well as other nationalities\u2014who are living in this age of globalization known for its economic, technological, and communication network, as well as cultural (and specifically, artistic) cross-assimilation\u2014there seem to be unlimited opportunities for trade and communication, both material, aesthetic, and spiritual.<\/p>\n Second, it needs to be recognized that now the typical barrier or burden in mission related to language learning may be greatly alleviated. The general notion in missionary training has been that one should become quite proficient in the native language before one can effectively reach out to such people. As a result, besides the basic theological, missiological, and spiritual training, the missionaries in general tend to focus intensely on learning the language and culture of the targeted people group.<\/p>\n According to Ralph Winter\u2019s E-Scale (E-0, E-1, E-2, E-3) of evangelism, the missionary must cross the necessary cultural distances in order to effectively witness to others. Here, E-0 refers to mono-cultural evangelism of unsaved members within church congregation. E-1 refers to mono-cultural evangelism of neighboring community. E-2 signifies cross-cultural evangelism to close, yet different cultures. Finally, E-3 refers to full cross-cultural evangelism to very different cultures.[5]<\/a> Corresponding to the ascending level of difficulty in evangelism, the emphasis in the past has been on an intensified linguistic\/cultural training, as well as strategic methodology. This, of course, would mean that a sufficient delay is necessary in order to properly equip the missionaries especially in terms of language.<\/p>\n Language learning and cultural assimilation are no doubt essential part of training of any missionaries. But we need to open ourselves to other means which can supplement (and occasionally transcend) these conditions in actual missionary approaches. Art is one of those exceptional means. As a matter of fact, from a philosophical perspective, art may be considered a language of its own.[6]<\/a> As R. G. Collingwood,the philosopher, once commented: \u201cWhat kind of thing must art be, if it is to have the two characteristics of being expressive and imaginative? The answer is: Art must be language.\u201d[7]<\/a><\/p>\n Art has a way of connecting people at a deeper level, whether emotional, aesthetic, or spiritual. When people establish a connection at such a depth, they naturally become more motivated to engage in linguistic and cultural training. In other words, the more you feel connected with people at an emotive level, the more you would desire to know about them, both in terms of historical and cultural backgrounds. This emotive language can be readily found in the creative arts of all types: music, dance, mime, drama, media, design, fashion, and cuisine, among others.<\/p>\n Most art categories, however, tend to be non-verbal in terms of expression, and thus become the means of communication which may require more than words. Ronald Carter comments:<\/p>\n \u2026 creativity in spoken language is never simply a matter of words. Words are accompanied by body language and the use of gestures, eye-contact and gaze, as well as uses of silence, and different kinesic and proxemic constraints. And the communication is often even more acute in the case of the listener who, while not speaking much, may contribute even more (creatively) to a communication through channels of non-verbal feedback.[8]<\/a><\/p><\/blockquote>\n Along this line of thinking, Maeve Louise Heaney considers music\u2014as representative of all artistic expressions\u2014to be the necessary language and mode of communication especially relevant to the postmodern generation, which may be described as \u201cafter-word\u201d[9]<\/a> generation.<\/p>\n My conviction is that music is not only an apt but a privileged mode of communication of Christian faith in the contemporary cultural situation. \u2026 Could music be a new \u201clanguage\u201d that certain fibers of our being, no longer containable in the philosophical and theological frameworks we have understood expressed them in for centuries, are pushing to the surface in the quest for expression and recognition? Could this not be one way in which the Spirit of God seeks to \u201cbreakthrough\u201d in postmodern culture, which Steiner so eloquently describes as the time of the \u201cafter-word\u201d when words are just not enough?[10]<\/a><\/p><\/blockquote>\n Moreover, in the realm of visual arts, like music and literature, it is particularly the language of sensuousness with its powerful seductive quality which becomes \u201ca necessity of the human spirit as elemental as spirit and hunger and something so central that not to know it deprives one of part of one\u2019s humanity.\u201d[11]<\/a><\/p>\n Furthermore, there seems to be a natural connection between art and spirituality, whereas the language of sensuality and sensitivity may be the common language of both soul and spirit. In other words, art may be considered spiritual in the sense that it can be deepened through spirituality so as to become a channel of spirituality. Rudolf Steiner, the philosopher of science and mysticism, stated it well:<\/p>\n The starting point for a new life of art can come only by direct stimulation from the spiritual world. We must become artists, not by developing symbolism or allegory, but by rising, through spiritual knowledge, more and more into the spiritual world.[12]<\/a><\/p><\/blockquote>\n THEOLOGICAL BASIS FOR ART<\/strong> You are worthy, our Lord and God, to receive glory and honor and power, for you created all things, and by your will they were created and have their being. (Rev. 4:11)<\/p><\/blockquote>\n In Chapter 5, John focuses specifically on the central figure of the once-slain Lamb of God, Christ the Redeemer:<\/p>\n And they sang a new song: \u201cYou are worthy to take the scroll and to open its seals, because you were slain, and with your blood you purchased men for God from every tribe and language and people and nation. You have made them to be a kingdom and priests to serve our God, and they will reign on the earth.\u201d (Rev. 5:9-10)<\/p><\/blockquote>\n The Book of Genesis begins with a grand statement of God\u2019s work of creation: \u201cIn the beginning, God created the heavens and the earth\u201d (Gen. 1:1). It further elaborates the fact that God created the universe by his creative Word and his activating Spirit. \u201cNow the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters\u201d (Gen. 1:2). This imagery may be likened to a cosmic mother bird covering her young and nurturing them to maturity. John H. Sailhamer comments:[14]<\/a><\/p>\n The image of the Spirit of God hovering over the waters is recalled in Deuteronomy 32:11 by the metaphor of God as an eagle \u201chovering\u201d (yerah\u0113p) over the nest of its young, protecting and making their nest fit for them.<\/p><\/blockquote>\n The Holy Spirit was thus brooding over this non-existent state which is described as \u201cformless,\u201d \u201cempty,\u201d and \u201cdark.\u201d Then when God spoke forth his creative Word\u2014\u201cLet there be light\u201d (Gen. 1:3; cf. Jn.1:1-3)\u2014light came into existence. In other words, it is when the Word was spoken, the Spirit dynamically birthed the cosmic elements into existence, and brought forth all the dimensions of light, space, time, matter, and energy. It is then the very nature of God to create ex nihilo (out of nothing) through his Word and Spirit.<\/p>\n Moreover, when God created humans, He did so in a personal and meticulous way\u2014according to Genesis 2\u2014as a potter would form the clay. \u201cThe LORD God formed the man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being\u201d (Gen. 2:7). \u201cHe took one of the man\u2019s ribs and closed up the place with flesh. Then the LORD God made a woman from the rib he had taken out of the man\u201d (Gen. 2:21-22). These are imageries of God in the likeness of an expert sculptor or potter who would meticulously carve out and mold the image of his creatures.<\/p>\n Thus, God in all his creative and sustaining works in human life, history, and nature is likened to a master artisan and craftsman. Such artistry of God is well described by Vivien Hibbert:<\/p>\n The Lord is the consummate artist. He is a sculptor and potter who made His own clay and a painter who created all the colors (Gn. 1-2; Jer. 18:1-6); a musician who formed every sound and gave us ears to hear with, a dancer, and singer (Zeph. 3:17; Rev 1:10); a poet (Job 38-41); a writer who has written the greatest best-seller of all time\u2014the Bible (2 Tim. 3:16); a story teller and actor (Jesus used parables in the Gospels to convey mysteries\u2014Hos. 12:10, Amp.); an architect (Ps. 90:2; Is. 44:24); a worker of needle and thread\u2014He has woven a garment of light for Himself (Ps. 104:2), and has provided a golden wedding garment for His Bride (Ps. 45:9, 13-14); a creator of culinary delights (Ex. 16:31; Num. 11:7-8; Pss. 3:8; 119:103; Song 2:3); and a perfumer (Ps. 45:8; Song 1:3; 3:6; 5:1; 5:13). In all of these, He is without compare. There is none who can match His artistry, excellence, and genius.[15]<\/a><\/p><\/blockquote>\n It is thus significant that when God created humans, he created them in his own image: \u201cSo God created man in his own image, in the image of God he created him; male and female he created them\u201d (Gen. 1:27). What then are the human attributes which are likened to God\u2019s own image? Regarding the concept and meaning of the so-called \u201cimage of God\u201d (imago Dei), interpretations seem to abound. The general understanding is that humans, like God, are rational, emotional, spiritual, moral, and relational. The nearest biblical context also indicates an authoritative element to the image of God: \u201cLet them rule over the fish of the sea and birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground\u201d (Gen. 1:28). Another text indicates a servanthood or stewardship element to the image of God: \u201cThe LORD God took the man and put him in the Garden of Eden to work it and take care of it\u201d (Gen. 2:15). Moreover, there are texts which seem to indicate a creative element attributed to the image: \u201cHe brought them (animals) to the man to see what he would name them; and whatever the man called each living creature, that was its name\u201d (Gen. 2:19). \u201cThe man said \u2026 \u2018She shall be called \u2018woman,\u2019 for she was taken out of man.\u201d (Gen. 2:23). In other words, God has created human beings in his own image to be authoritative, accountable, resourceful, and creative.<\/p>\n The creation story, then, is filled with comments which address the very creative nature of God and the creative nature of humans as image of God. Perhaps the only thing that humans are not capable of imitating God is the ability to create ex nihilo, which of course is the exclusive right and power of God the Creator. Only God is able to create something out of nothing. We humans can only create something out of something that has already been created. In other words, technically speaking, we cannot actually create anything, nor recreate anything in a redemptive sense. If we are acknowledged as creative beings, then we are creative only in the sense that we imitate or mirror God\u2019s own mind and heart in his creation and recreation. We could only work with the materials and resources given to us to produce such artistic products. We are creative only to the degree that God allow us to be creative. We cannot presume to create independently of God\u2019s provisional means. Because he has given us the inner attributes (intellect, emotion, spirit, morality, aesthetics), as well as the external resources (material, energy, technology), we are able to make usage of them to creatively produce a variety of artistic works, whether composing a song, poem, or thesis, or choreographing a dance, mime, or drama, or designing an artwork, clothing, or building.<\/p>\n There are, of course, various levels of degree and scope of creativity, and the closer we approach the essence-level and\/or cosmic-scale of creation, we may somehow be participating in the creatio ex nihilo process of God.<\/p>\n His divine power has given us everything we need for life and godliness through our knowledge of him who called us by his own glory and goodness. Through these he has given us his very great and precious promises, so that through them we may participate in the divine nature \u2026 (2 Pet. 1:3-4).<\/p><\/blockquote>\n If Genesis 1-2 depicts the foundational nature of creativity, the rest of the Scripture illustrates a wide range of art in diverse forms. We may find precedents for design arts in Noah\u2019s blueprint for the ark (Gen. 6) and Moses\u2019 blueprint for the tabernacle, the sacrifice, and the priesthood (Exo. 25-30). Design artists (architects, graphic designers, interior designers, and fashion designers, among others) can find their inspiration in Bezalel and Oholiab, who were specially gifted by God to design and craft the tabernacle, the ark, and all the furnishings, as well as the priestly garments (Exo. 31, 36-39).<\/p>\n Then the LORD said to Moses, \u201cSee, I have chosen Bezalel \u2026 and I have filled him with the Spirit of God, with skill, ability and knowledge in all kinds of crafts\u2014to make artistic designs for work in gold, silver and bronze, to cut and set stones, to work in wood and to engage in all kinds of craftsmanship. Moreover, I have appointed Oholiab \u2026 to help him. Also I have given skill to all the craftsmen to make everything I have commanded you. (Exo. 31:1-6)<\/p><\/blockquote>\n The precedents for music and dance may be found in the various ministries of prophetic individuals whose inspired words were often accompanied by singing and dancing. Miriam was known for singing a prophetic song of deliverance and leading the women in a celebratory dance after the Israelites experienced the miraculous crossing of the Red Sea (Exo. 15-16). Samuel was known for his association with the procession of prophets who played all kinds of musical instruments (lyres, tambourines, flutes, harps) while prophesying (1 Sam. 10). Elisha was known for having a harp accompanist while he prophesied before King Jehoshaphat (2 Ki. 3). David, undoubtedly, was the most passionate singer and dancer before the presence of the Lord. David was known for his numerous Psalms which comprise a diverse repertoire of songs of worship, thanksgiving, and lamentation. He was also known for his passion for God as he danced with all his might before the Lord\u2019s presence as the ark was being restored to Jerusalem (2 Sam. 6). Moreover, David was instrumental in mobilizing a company of singers and instrumentalists for the future temple worship during his son Solomon\u2019s reign (1 Chr. 15-16, 25).<\/p>\n David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. \u2026 All these men were under the supervision of their fathers for the music of the temple of the LORD, with cymbals, lyres and harps, for the ministry at the house of God. Asaph, Jeduthun and Heman were under the supervision of the king. Along with their relatives\u2014all of them trained and skilled in music for the LORD\u2014they numbered 288. (1 Chr. 25:1, 6-8).<\/p><\/blockquote>\n Precedents for mime and drama may be found in the prophetic acts and gestures of the biblical prophets, who sometimes used mime (silent gestures\/movements) to communicate God\u2019s word, especially when the people and the nation were hardened in their hearts and ears of hearing God\u2019s word. The following are a number of significant prophetic mimes\/dramas in the Scripture, among many.[16]<\/a><\/p>\n Hosea\u2019s married an adulterous woman, Gomer, signifying God\u2019s relationship to the unfaithful Israel (Hos. 1:23), and named accordingly the children born to Gomer to signify God\u2019s judgment (1:4, 6, 9). Moreover, the precedents for literary art may be found in the poetic materials of Job, Psalms, Song of Songs, and the prophetic books, as well as the narrative stories throughout the Scripture. Among these, the book of Psalms stands out both for its poetic as well as pietistic nature. John Calvin regarded the Psalms as \u201can anatomy of all parts of the soul,\u201d[17]<\/a> providing an excellent guide for expressions of all range and fabric of feelings and emotions before God in prayer and worship.<\/p>\n Interestingly, there are also biblical precedents for multi-media art. For example, the Book of Revelation depicts a most fantastic vision of the heavenly throne-room and the cataclysmic scenarios of the end-time through the means of audio-visual presentation (of a mystical order). The visionary experiences of John may be likened to a highly upgraded version of virtual reality\u2014in which the boundary between techno images and actual reality are increasingly becoming blurred. Significantly, what the modern media art is questing for\u2014imaging and perfecting\u2014is already a perfected reality from a biblical eschatological worldview.<\/p>\n The above sampling of biblical motifs on creative arts clearly demonstrates that the Scripture is indeed a book of illustration of diverse expressions of art. This is only natural since the ultimate author of the Scripture is none other than God the Creator, and the Scripture bears witness to the story of God\u2019s people who have been created in the image of God to be creative like him.<\/p>\n REDEMPTIVE NECESSITY IN ART<\/strong> For since the creation of the world God\u2019s invisible qualities\u2014his eternal power and divine nature\u2014have been clearly seen, being understood from what has been made, so that men are without excuse. For although they knew God, they neither glorified him as God nor gave thanks to him, but their thinking became futile and their foolish hearts were darkened. Although they claimed to be wise, they became fools and exchanged the glory of the immortal God for images made to look like mortal man and birds and animals and reptiles. Therefore God gave them over in the sinful desires of their hearts to sexual impurity for degrading of their bodies with one another. They exchanged the truth of God for a lie, and worshipped and served created things rather than the Creator\u2014who is forever praised. Amen. (Rom. 1:20-25).<\/p><\/blockquote>\n Thus art, like everything else in this fallen world, need to be converted and redeemed. What is called for, then, is the transformation or sanctification of art. It is the final typology, \u201cChrist the transformer of culture,\u201d which represents the view of Augustine and the Reformers, particularly John Calvin. Here, human culture, as a creation of God, was initially good. But subsequently, every part of creation, including human culture, became corrupted by the fall. So Christ came to redeem all creation, calling the church to engage in works of transformation of culture for the glory of God.<\/p>\n The biblical concept of God is that He is both Creator and Redeemer. It is through his Son that God creates and redeems what He has created. Through incarnation, God\u2019s Son, Jesus Christ, entered this world in order to redeem it through his sacrificial death on the cross. However, God through Christ desires not only to redeem the souls, but the whole persons. He desires to redeem not only individuals, but families, societies, cultures, nations, and nature itself.<\/p>\n Significantly, in 1975, three key Christian leaders, Bill Bright, Loren Cunningham, and Francis Schaeffer, simultaneously received personal conviction regarding the divine mandate to bring transformation of the so-called \u201cspheres\u201d or \u201cmountains\u201d of society and culture.They proposed that God\u2019s vision was to mobilize Christians to influence 7 major realms of society and culture: family, church\/religion, school\/education, media\/communication, arts\/entertainment, business\/economy, and government.[20]<\/a> The vision seems to be a reasonable conclusion to Jesus\u2019 mandate for his disciples to function as the \u201csalt of the earth\u201d and the \u201clight of the world,\u201d influencing the world for God\u2019s glory (Mt. 5:13-16). In other words, the church is called to be the transforming agent of God, penetrating into the world systems with the gospel essence of Jesus Christ. This certainly is consistent with Jesus\u2019 final mandate to the church: \u201cGo and make disciples of all nations\u201d (Mt. 28:19).<\/p>\n Such a call for transformation requires conversion\/redemption of all cultural realms, including art.Moreover, redemption of art should begin with the conversion of the artists themselves. Indeed, it is a common sight in the modern world to observe the newly converted artists, celebrities, and athletes using their profession as a platform for witnessing. Such bold act of faith before the public sight, of course, is to be highly commended. The problem, however, is that oftentimes these Christian artists who are witnessing to Christ do not seem to have a high view of art itself as a redeemed venue. Art may be used as a platform for evangelism and conversion of souls, but art itself is not perceived as a realm to be converted.<\/p>\n What is called for in the Christian arts community and the churches in general, then, is an aspiration for a higher view of art\u2014the vision of God redeeming the whole realm of art as holy instrument of ministry in the kingdom. The ministry of art comprises of manifold dimensions, as listed below:<\/p>\n Basically, the redemption of art implies the vision of God transforming art to transform individuals, societies, and cultures.<\/p>\n Redemption and transformation of art also imply something prophetic in nature, which art intrinsically seems to possess. Robin M. Jensen presents 4 usages of art in Christian history as follows: (1) art as decoration; (2) art as didactic; (3) art as devotional; and (4) art as prophetic.[21]<\/a> Of these, it is the prophetic usage of art which seems to be the most promising prospect for transformation of culture and society. Jensen comments:<\/p>\n In a sense, the prophetic role is related to the didactic role of art, but it goes further and in a particular direction. Rather than reinforcing the teachings, stories, or values of the church, the artist may challenge the church and confront the viewer with disturbing images which raise profound moral questions that religion cannot ignore. These images may be drawn from Scripture, but they are just as often drawn from scenes in the modern secular world. Thus, art can be more than a transmitter of tradition or dogma\u2014it may be a social critic and even an agent of change or liberation. Such art points the viewer not to the transcendent or the divine realm but rather to the human plane, calling attention to contemporary problems. Art in this case has a moral urgency and an ethical purpose.[22]<\/a><\/p><\/blockquote>\n However, the prophetic role of art needs to be distinguished from its tendency to be used for the purpose of fulfilling the propaganda agenda, as the history of art has shown us. Calvin Seerveld states:<\/p>\n In summary, propaganda is rightly didactic, and can be certain, forceful and convincing. Propaganda has a bias, promulgates a point of view and disseminates specific teachings. Who doesn\u2019t? However, when propaganda is coloured by greed and violence, hate or deceit, it has been perverted and is evil, no matter what the cause which is promoted may be.[23]<\/a><\/p><\/blockquote>\n Vivien Hibbert suggests that the redemption of diverse arts representative of their cultures and their incorporation into ministry of worship would inspire the unbelievers from all nations to be attracted to the way of God\u2019s kingdom.<\/p>\n Our worship can only be enriched by a genuine effort on all of our parts to redeem the arts from all nations. When we do reclaim the treasures from the nations, a new sound and culture will emerge in the Church that will entice and summon the unredeemed to the Kingdom of God.[24]<\/a><\/p><\/blockquote>\n Ernest Gentile comments as to how true worship would align us to a proper worldview so that God may grant us a heart for the nations.<\/p>\n This call to the nations is both missionary zeal and prophetic insight. When one worships the true God fervently, the Holy Spirit reveals the heart of Father God to bring all peoples before Him in worship.[25]<\/a><\/p><\/blockquote>\n Judson Cornwall presents an eschatological vision of the body of Christ in which a truly Christ-centered worship would cause a blending of different cultures.<\/p>\n Worship is the one religious activity that ends itself to such a delicate blending of different heritages, for worship is so Christ-centered and requires such a God-consciousness that participants must look away from themselves in order to worship.[26]<\/a><\/p><\/blockquote>\n This, of course, is the eschatological vision of international worship which John witnessed before the heavenly throne, as depicted in Revelation 7:9-10.<\/p>\n After this I looked, and there before me was a great multitude that no one could count, from every nation, tribe, people, and language, standing before the throne and before the Lamb. They were wearing white robes and were holding palm branches in their hands. And they cried out in a loud voice: \u201cSalvation belongs to our God, who sits on the throne, and to the Lamb.\u201d<\/p><\/blockquote>\n TRANSFORMATIVE MISSION OF ART<\/strong> The belief that art has the potential to transform culture and society and that artists can serve as agents of transformation is a common conviction among the visionary-minded art institutions, both Christian and secular.[27]<\/a> All types of art are recognized as means by which artists can create new possibilities in all realms of society and to enhance the quality of life of people in general. If this is the natural potential of art, then how great would be the possibility of global transformation with genuine redemption of artists (and their artistic means), guided by the Word and empowered by the Spirit of God!<\/p>\n In this modern era of globalization when all factors\u2014people, culture, education, economy, technology, and communication\u2014are truly interactive, integrative, and international\u2014art can play a most critical role of bring creative and transformative elements in such a context of global matrix. From an eschatological perspective, as the world draws even closer to the historic finale in Christ, all things are likely to crescendo into a dramatic climax. It seems that art would certainly play a key role in birthing, cultivating, and maturing the new generations of people, ideas, paradigms, and events in the eschatological will of God. The creative art in tangent with authentic spirituality has the potential to bring forth trueformation, reformation, and transformation of both the church and the society.<\/p>\n Thus art is missional in nature. As both verbal and non-verbal in terms of language, art can be instrumental in bridging the gap between the \u201cword\u201d-oriented modern generation and the \u201cafter-word\u201d post-modern generation. As both aesthetical and mystical in nature, art can be instrumental in bridging the gap between natural sensuality and spiritual ecstasy. As both specifically ethnic and broadly cross-cultural in mode, art can be instrumental in bridging the gap between ethnic identity and international diversity.[28]<\/a> As both creative and redemptive, theologically-speaking, art can be instrumental in bridging the gap between creative nature and redemptive grace. Ultimately, as both \u201chuman\u201d nature and \u201cdivine\u201d endowment\u2014as implied by the concept of imago Dei\u2014art can be instrumental in bridging the gap between the earthly ministry to humanity and the heavenly worship of God. Thus, art needs to be understood as God-ordained means of global mission in terms of evangelism of the unredeemed people and cultures, ministry to the multi-cultural body of Christ, and worship of God the Creator and Redeemer of all human and cultural types.<\/p>\n ENDNOTES<\/strong><\/p>\n [1]<\/a> SUNY Levin Institute, \u201cWhat is Globalization\u201d in Globalization 101 (The Levin Institute, The State University of New York, 2. BIBLIOGRAPHY<\/strong> ==========<\/p>\n Dr. Daniel J. Kim is Associate Professor of Spiritual Theology and Mission Theology at Asian Center for Theological Studies and Mission (ACTS) in Korea. At ACTS, he serves as Dean of International Graduate School and Director of Spiritual Theology Program in Korean Graduate School. He also serves as Pastor of English Ministry at Seoul Presbyterian Church. Moreover, he is the founder and director of Imago Christi Studio, a research and training institute for theology, spirituality, and creative arts. Born in Korea and educated in the U.S., Daniel received all his theological and missiological degrees (M.Div., Th.M., Ph.D.) from Fuller Theological Seminary.\u00a0<\/em><\/p>\n
\nThe significance of the role of creative arts can be best appreciated in the context of globalization. Globalization is the process of \u201cinteraction and integration\u201d of economic, technological, communicational, and cultural elements at a global or international scale.[1]<\/a> Such global \u201cinter-connectedness and movement\u201d of people, products, and information effect cultures to mutually interact with and transform each other through \u201ctrade networks, international development projects, telecommunications, education, migration, and tourism.\u201d [2]<\/a> Here, the arts play a key role in globalization and distribution of ideas and products. A case in point is what has transpired among Koreans in the past decade or two at both national and international scale.<\/p>\n
\nTheologically speaking, art must find its biblical foundation in the very nature of God as Creator and Redeemer.[13]<\/a> The Book of Revelation\u2014which emphasizes heavenly and eschatological perspectives\u2014well depicts this dual theology of God as Creator-Redeemer, particularly through the central vision in Chapters 4 and 5. In Chapter 4, John testifies to his vision of the heavenly throne, with the surrounding entourage of the 4 living creatures, the 24 elders, and the myriad of angels. The common song of worship around the throne is that which focuses on God the Creator:<\/p>\n
\nIsaiah walked around naked for three years, demonstrating the divine humiliation of Egypt and Cush (Isa. 20:1-6).
\nJeremiah wore a yoke around his neck to depict Judah\u2019s bondage in Babylon (Jer. 27:1-28).
\nEzekiel laid a mock siege to signify the Babylonian siege on Jerusalem, while lying on each side a number of days bearing the sins of Israel and Judah (Ez. 4:1-17).
\nAhijah tore Jeroboam\u2019s cloak into twelve pieces, depicting the division of Israel\u2018s kingdom (1 Ki. 11:30-40).
\nElijah wrapped his cloak around Elisha to signify Elisha\u2019s adoption as his spiritual son, as well as impartation of his spiritual power (1 Ki. 19:19; cf. 19:13; 2 Ki. 2:8, 13).
\nElisha commanded Jehoash to shoot an arrow toward the east as a symbol of his victory over the Arameans, and to strike the arrow on the ground as a symbol of defeating them a number of times (2 Ki. 13:14-19).
\nJesus unclothed himself and washed the feet of his own disciples (Jn. 13:1-17) as a sign of humility and servanthood that the disciples are to imitate.
\nJesus celebrated the Last Supper with his disciples (Mt. 26:26-29; Mk. 14:22-25; Lk. 22:17-20) signifying his new covenant with them through his broken body and shed blood.<\/p><\/blockquote>\n
\nAlthough humans have been created to be creative and artistic like God, and art has been created as means of cultural expression in the likeness of God, both the artists and the arts have fallen just like all realms of human society and culture. Throughout centuries, as much as art has been instrumental in enhancing the quality of life and culture, art has also been used to promote sinful nature. Art has been used to promote ego-centered ideology, licentious mindset, and immoral lifestyle. Although art was meant to be used to glorify God and to allow God\u2019s glory to shine forth in the world, art itself has been vainly and falsely glorified, and the artists themselves became the focus ofworship. This, of course, signifies perversion of art and sin of idolatry\u2014that of worshipping the image instead of God who is the source of the image.<\/p>\n
\nIt was Richard Niebuhr, in the early 1950\u2019s, who pointed out the need for transformation of culture by the power of the gospel of Jesus Christ. In his book, Christ and Culture, Niebuhr analyzed 5 historical typologies describing the relationship between Christ and culture, which may be outlined as below:[19]<\/a><\/p>\n\n
\n
\nArt has its origin in the creative nature of God. God has created humans according to his own image to be creative. Art was ordained as a means of worshiping God and ministering to fellow humans. But humanity and art, along with other gifts of God, has been corrupted by sin. Historically, art has often been used\/misused for sinful and\/or humanistic purposes. So God through the incarnation of his Son Jesus Christ came to redeem human beings, along with all realms of society and culture, including art. By redeeming the individuals, God plans to redeem the people, as well as the society and culture in which people live. By redeeming the artistic individuals, God plans to redeem the artistic realm as well. For only when individuals are genuinely redeemed then can they become transforming agents of God to bringing redemption to the nations and transformation to their culture.<\/p>\n
\n
\n[2]<\/a> Barbara Miller, Cultural Anthropology in a Globalizing World, 2nd ed. (Saddle River, NJ: Prentice Hall, 2008, 2010), 18. \u201cGlobalization, the process of intense global interconnectedness and movement of goods, information, and people, is a major force of contemporary cultural change. It has gained momentum through recent technological change, especially the boom in information and communication technologies.”
\n[3]<\/a> Dal Yong Jin, \u201cHallyu 2.0: The New Korean Wave in the Creative Industry\u201d in International Institute Journal (University of Michigan, Fall 2012), pp. 3-7, would further differentiate between Hallyu 1st generation (1995-2007) and Hallyu 2nd generation (2007-present). Jin, 3-4, comments: \u201cUnlike Hallyu 1.0, emphasizing the export of local cultural goods to East Asia between the late 1990s and 2007, the growth of social media has uniquely influenced Korean creative industries, because a few media outlets, such as YouTube and SNSs, have become significant parts of the new Korean Wave (Hallyu 2.0). In fact, online gaming and K-Pop have become the two most significant cultural genres in the Korean creative industries and have initiated the growth of Hallyu 2.0 since late 2007, because K-Pop fans and online game users heavily access these social media to enjoy local popular culture. Hallyu 2.0 is the combination of social media, their practices, and the uses and affordances they provide, and this new stage has been made possible because Korea has advanced its digital technologies.\u201d
\n[4]<\/a>Yonhap News Agency, \u201cPresident Park\u2019s Inauguration Speech\u201d in Yonhap (Feb. 25, 2013)(Online: http:\/\/english. yonhapnews.co.kr\/national\/2013\/02\/25\/95\/0301000000A EN201302250150031 5F.HTML). \u201cFellow Koreans! In the 21st century, culture is power. It is an era where an individual\u2019s imagination becomes creative contents. Across the world, the \u2018Korean Wave\u2019 is welcomed with great affection that not only triggers happiness and joy but one that instills abiding pride in all Koreans.This is a result of a foundation created by the convergence of both tangible and intangible heritages of five thousand years of Korea\u2019s cultural splendor as well as our spiritual ethos. The new administration will elevate the sanctity of our spiritual ethos so that they can permeate every facet of society and in so doing, enable all of our citizens to enjoy life enriched by culture. We will harness the innate value of culture in order to heal social conflicts and bridging cultural divides separating different regions, generations, and social strata. We will build a nation that becomes happier through culture, where culture becomes a fabric of daily life, and a welfare system that embodies cultural values. Creative activities across wide-ranging genres will be supported, while the contents industry which merges culture with advanced technology will be nurtured. In so doing, we will ignite the engine of a creative economy and create new jobs. Together with the Korean people we will foster a new cultural renaissance or a culture that transcends ethnicity and languages, overcomes ideologies and customs, contributes to the peaceful development of humanity, and is connected by the ability to share happiness.\u201d
\n[5]<\/a>Ralph D. Winter and Bruce A. Koch, \u201cAdvancing Strategies of Closure: Finishing the Task: The Unreached Peoples Challenge,\u201d International Journal of Frontier Missions 19:4 (Winter 2002), 17.
\n[6]<\/a>Michael J. Bauer, Arts Ministry: Nurturing the Creative Life God\u2019s People (Grand Rapids, MI : Eerdmans Publishing Co., 2013), p. 234, affirms that art is indeed a language, and provides some solid rationales. \u201cFirst, art has certain recognizable elemental properties: line, rhythm, color, texture, character, plot, rhythm, and so on. Second, there is a standard syntax that governs the relationship between these elemental properties. While \u201crules\u201d of art change from time to time, it remains true that each new style has its own set of conventions that govern how works in that style are produced and how they arrange these various structural building blocks. Third, at least within a given culture, there is a storehouse of common, shared meanings that unite artist and the consumer of art and enable meaningful communication to occur. These shared meanings relate in part to artistic conventions and in part to metaphorical relationships, some of which are stock and well-worn and some of which are fresh and engage the imagination of the viewer, reader, or listener in new way.\u201d
\n[7]<\/a>R. G. Collingwood, The Principles of Art (Oxford: Oxford University Press, 1938), 273.Garry Hagberg, Art as Language: Wittgenstein, Meaning, and Aesthetic Theory (Ithaca, NY: Cornell University Press, 1995), p. 31, comments: \u201cThe belief that art is a language, or that it is in a deep sense analogous to language, is among the most pervasive of assumptions in the theory of art. \u2026the notion that art and language are essentially alike in serving as physical expressions of pre-existent mental or imaginary objects.\u201d
\n[8]<\/a>Ronald Carter, Language and Creativity: The Art of\u00a0Common Talk, 2nd ed. (NY: Routledge, 2016, original 2004), xxviixxviii.\u00a0Carter comments: \u201cIn complex social media, a mid-ground\u00a0between interactive audio messages, texts that are conventionally\u00a0written, those which are written-as-if-speaking, body language\u00a0and other visual anchors such as photographs and video clips\u00a0may emerge, creating new relationships between language and\u00a0its contexts of use, and new, unforeseen creative configurations,\u00a0including new orthographic symbols and innovative punctuation.\u00a0We can no longer assume that the definition of a \u2018conversation\u2019\u00a0is anything as simple as a face-to-face or even an audio-visual
\nencounter unfolding sequentially in real time. Multi-modal corporaare a step in the direction of a fuller breaking down of boundaries\u00a0between text and context and, in the case of speaking, avoid the\u00a0separation of speech and gesture.\u201d
\n[9]<\/a>Here, the concept of \u201cafter-word\u201d derives from George\u00a0Steiner, Real Presences (Chicago: University of Chicago Press,\u00a01989), pp. 93-94, who defines the present era as \u201cEpilogue\u201d (that is,\u00a0\u201cEpi-logos, meaning \u201cAfter-word\u201d) in which the bond between reality\u00a0and its \u201csayability,\u201d by which our self-perception and understanding\u00a0had once been defined, has been severed (around 1870s-1930s)\u00a0so that our words no longer \u201csay\u201d what they used to mean.
\n[10]<\/a>Maeve Louise Heaney, Music as Theology: What\u00a0Music Says about the Word (Eugene, OR: Pickwick Publications,\u00a02012), pp. 19-22. Heaney, 19-20, comments: \u201cIt is true that the\u00a0transmission of the gospel is not a purely contemporary concern.\u00a0Tradition, the passing on of our faith from one generation to the\u00a0next, is an intrinsic part of Christian faith and doctrine, and has\u00a0been from its birth\u2014the difference is that today, the challenge is\u00a0that of communicating the gospel to a generation that is in such a\u00a0rapid process of change that gathering up the heritage of centuries\u00a0of lived faith and tradition and passing it on seems ever more\u00a0difficult. However little one has sought to work in the area of faith
\ntransmission, one experiences the daily and double dilemma of\u00a0feeling you have something to say that is not understood, and of\u00a0hearing realities new to your ears, a way of seeing and perceiving\u00a0things alien to your perception. \u2026 Furthermore, the issue is not\u00a0only an external one, of communication from one generation to the\u00a0next. The difficulty in contemporary western culture is not just that\u00a0people don\u2019t understand God, the Word of God; they don\u2019t seem to\u00a0understand themselves or the world either.\u201d
\n[11]<\/a>Heaney, Music as Theology, p. 244. Heaney comments:\u201cPrecisely because art has a seductive character, sensuous to\u00a0the core, a discipline of seeing is essential in order for one to be\u00a0illumined beyond the sensory embodiment. The discipline of seeing,\u00a0learned by repeated seeing and essentially in no other way, forms\u00a0the seductive into a discriminating sensuousness that is more than\u00a0itself. Horizons are stretched, formed, and filtered, as creation\u2019s\u00a0images are regained in their sensuousness, in their seductive
\naspects, precisely for their Creator. Why should we leave seduction\u00a0only to the devil? The devil has the monopoly on seduction because\u00a0the demonic requires no discipline of seeing. God\u2019s seductive\u00a0creation requires the appropriate discipline of seeing. The choice\u00a0is not between innocent, uplifting objects, on the one hand, and\u00a0sensuous, seductive art, on the other\u2014as moralists like to describe\u00a0it. The choice is in how one sees the sensuous, for art is sensuous\u00a0by nature.\u201d
\n[12]<\/a>Rudolf Steiner, \u201cThe Arts and Their Mission,\u201d Lecture 8 (8 lectures at Dornach, Switzerland, May 27-June 9, 1923), trans. Lisa D. Monges and Virginia Moore (New York: Anthroposophic Press, 1964) (Online: http:\/\/wn.rsarchive.org\/Lectures\/GA276\/English\/AP1964\/19230520p01.html). Steiner, in Lecture 4 (Online: http:\/\/wn.rsarchive.org\/Lectures\/GA276\/English\/AP1964\/19230603p01.html), comments: \u201cIt is here that art enters. It forms a bridge across\u00a0the abyss. That is why art must realize that its task is to carry the\u00a0spiritual-divine life into the earthly; to fashion the latter in such a\u00a0way that its forms, colors, words, tones, act as a revelation of the
\nworld beyond. Whether art takes on an idealistic or realistic coloring\u00a0is of no importance. What it needs is a relationship to the truly, not\u00a0merely thought-out, spiritual. No artist could create in his medium\u00a0if there were not alive in him impulses springing from the spiritual\u00a0world. This fact points to the seriousness of art, standing alongside\u00a0the seriousness of cognition and religious experience. It cannot\u00a0be denied that our materialistically oriented civilization diverts us,\u00a0in many ways, from the gravity of art. But any devoted study of\u00a0true artistic creation reveals it as an earnest of man’s struggle to\u00a0harmonize the spiritual-divine with the physical-earthly.\u201d
\n[13]<\/a>In this paper, I will primarily focus on the creative and\u00a0redemptive nature of God, and the implications for art and mission.\u00a0However, there is an important theology of art based on the Logos\u00a0nature of Christ and the incarnate nature of Christ, as particularly\u00a0expounded in John chapter 1. But I have delimited from addressing\u00a0these theological themes in this paper, and choose to defer them\u00a0to a future thesis. It will suffice, here, to simply note the following:\u00a0According to Jn. 1:1-4, it is \u201cthrough\u201d the Logos (the divine Son of\u00a0God) (1:2) that God the Father brings all things into creation. It is\u00a0\u201cin\u201d the Logos (1:3) that the light and life source of all creation is to\u00a0be found. Logos (in Greek philosophy) was the rational principle\u00a0that governs and sustains the universe.The Son as the Logos\u00a0signifies the mind and heart, wisdom and revelation of God. The\u00a0Son as the Logos, in essence, represents the perfect expression\/image of God (Col. 1:15-16; Heb.1:3). If the Logos articulates\u00a0the aesthetic ways of God through his creative works, the Logos
\nultimately demonstrates the artistry of God through his personal\u00a0incarnation, according to Jn. 1:14 (cf. 2 Cor. 4:4-7).The Incarnate Logos signifies the divine artistry of enfleshing the very divine\u00a0essence. Basically, the incarnation placed a face on the abstract\u00a0concept of the transcendent God. Essentially, the Logos through his
\nincarnation became the \u201chuman face of God. \u201dThe incarnation is the\u00a0most perfect and concrete expression of divine essence and reality.\u00a0Incarnate Logos (in attitude, speech, action, lifestyle) most perfectly\u00a0demonstrated artistic expressions of all dimensions. The Incarnate\u00a0Logos in his entire human life (birth, childhood, adulthood, teaching,
\nministry, suffering, death, resurrection) perfectly exemplified the\u00a0whole artistic process. The Incarnate Logos in all his symbolic\u00a0actions (baptism, communion, foot-washing, crucifixion) basically\u00a0established a prophetic artistic tradition. The person of Logos then\u00a0signifies the true artistic essence. The incarnation of the Logos\u00a0signifies the ultimate artistic production.
\n[14]<\/a>Sailhamer, John H., \u201cGenesis,\u201d in The Expositor\u2019s Bible Commentary: Genesis-Leviticus, Revised edition, eds. Tremper Longman III and David E. Garland (Grand Rapids, MI: Zondervan\u00a0Publishing House, 2008), 55.
\n[15]<\/a>Vivien Hibbert, Prophetic Worship: Releasing the Presence of God (Dallas, TX: Cuington Press, 1999), p. 257.
\n[16]<\/a>These are among a lengthy list of prophetic dramas\/mimes as identified in Daniel J. Kim, \u201cProphetic Authority: A Biblical Theology of Divine Commission\u201d (Ph.D. dissertation, Fuller Theological Seminary, 2002), pp. 294-298. W. David Stacey,Prophetic Drama in the Old Testament (London: Epworth Press, 1990), presents a full-scale treatment of the topic of prophetic drama. Stacey, 60-62, distinguishes \u201cprophetic drama\u201d or \u201cprophetic action\u201d from all other dramatic actions in the life of Israel: (1) Prophetic drama partakes of the mysterious potency of prophecy in general. (2) Prophetic drama was usually performed at the specific command of the Lord.(3) Prophetic drama was an onceforall action.(4) Prophetic drama was deliberately contrived for one particular situation. (5) Prophetic drama was usually accompanied\u00a0by an oracle or an explanation of its meaning.
\n[17]<\/a>John Calvin, \u201cPreface\u201d in Commentary on the Book of Psalms (1557), vol.1, trans. James Anderson (Edinburgh: Calvin Translation Society, 1845-1849), xxxviii.
\n[18]<\/a>This understanding that all aspects of human life and all realms of human culture are corrupted by sin is consistent with the doctrine known as \u201ctotal depravity,\u201d which was espoused by Augustine and Calvin. This doctrine basically advocates that all dimensions of human nature (intellect, emotion, will, body, etc.)\u00a0have been affected and tainted by sin since the Fall (See especially\u00a0John Calvin, Institutes of the Christian Religion (1559), ed. J. T.\u00a0McNeill, trans. F. L. Battles (Philadelphia, PA: Westminster, 1960),\u00a02.1.2-3, 9-10, 18-21, 26-27; 2.3.2, 5-6, 8, 10. Total depravity,\u00a0however, does not mean that there is absolutely no goodness in\u00a0humanity and that we are utterly sinful. Rather, the doctrine simply\u00a0affirms that there is not a single aspect or realm that has not be\u00a0corrupted by sin. Thus, we cannot in our natural fallen state come to\u00a0God in our own strength or resource, nor can we do anything that is\u00a0spiritually good which would please God. We are considered dead\u00a0in our transgressions and sins (Eph. 2:1-2). We are enslaved to sin\u00a0(Jn. 8:34). We are controlled by sinful nature, and thus we cannot\u00a0possibly please God (Rom. 8:8). Basically all our righteous acts are\u00a0like filthy rags before the sight of God (Isa. 64:6).
\n[19]<\/a>Richard Niebuhr, Christ and Culture (NY: Harper Perennial Publishing, 2001) (original 1951)
\n[20]<\/a>Loren Cunningham, \u201cTranscript of Interview of Loren Cunningham on Original 7 Mountains Vision\u201d in 7 Cultural Mountains (Nov. 19, 2007) (Online: http:\/\/www.7culturalmountains.org\/apps\/
\narticles\/default.asp?articleid=40087&columnid=4347).
\n[21]<\/a>Robin M. Jensen, The Substance of Things Seen: Art, Faith, and the Christian Community (Grand Rapids, MI: Eerdmans, 2004), 75-100.
\n[22]<\/a>Jensen, The Substance of Things Seen, 97.
\n[23]<\/a>Calvin Seerveld, Bearing Fresh Olive Leaves: Alternative Steps in Understanding Art (Carlisle, UK: Piquant, 2002), 128.
\n[24]<\/a>Hibbert, Prophetic Worship, 235.
\n[25]<\/a>Ernest B. Gentile, Worship God: Exploring the Dynamics of Psalmic Worship (Portland, OR: Bible Temple Publishing, 2004),24.
\n[26]<\/a>Judson Cornwall, Elements of Worship (South Plainfield, NJ: Bridge Publishing, Inc. 1985), 108.
\n[27]<\/a>An example of Christian organization is OM Arts\u00a0International (\u201cVision, Purpose, Values,\u201d Online: http:\/\/www.arts.om.org\/about\/vision) whose vision statement is as follows: \u201cThe\u00a0vision and purpose of OM Arts International is to engage, empower\u00a0and equip artists for cross-cultural global ministry so that the Church\u00a0can be better equipped to fulfill the Great Commission. We envision\u00a0transformed artists, transforming lives and communities around the\u00a0world.\u201d(OM Arts International,) An example of secular art organization\u00a0is the Chandler Center for the Arts(\u201cVision Statement,\u201d Online: http:\/\/www.chandlercenter.org\/about\/about\/mission-vision)whose vision\u00a0statement is as follows: \u201cThe Chandler Center for the Arts embodies\u00a0the belief that the arts hold transformative potential. The Center\u00a0elevates the social culture of our community, empowering citizens
\nto bridge borders through participation, intellectual exploration and\u00a0leadership development of the arts.\u201d
\n[28]<\/a>Bauer, Arts Ministry, pp. 136-137, concurs that the arts\u00a0have the potential to cross the cultural barriers and enhance\u00a0community. He comments: \u201cOutside the western world, the arts are\u00a0often allied with Christianity. Worship in Africa practically demands\u00a0dance. Latin America has a thriving visual arts culture. The Christian\u00a0arts faced a difficult beginning in the non-Western world owing to the\u00a0oppressive cultural evangelism of nineteenth-century missionaries.\u00a0The situation is no less challenging today because of the ubiquity\u00a0and hegemony of American popular culture. Nonetheless, much\u00a0indigenous music, art, and dance has made its way into the worship\u00a0lives of cultures throughout the world. From Korean Presbyterians\u00a0to Argentinian Roman Catholics, there has been an upsurge in\u00a0indigenous artistic activity during the past century. In the United\u00a0States, non-Western artistic expression is rapidly becoming a more\u00a0important part of the worship and cultural life of many mainline\u00a0churches, including those churches that have little or no ethnic\u00a0population.\u201d<\/p>\n
\n
\nBauer, Michael J. Arts Ministry: Nurturing the Creative Life God\u2019s People. Grand Rapids, MI : Eerdmans Publishing Co., 2013.
\nCalvin, John, Institutes of the Christian Religion (1559). Ed. J. T. McNeill. Trans. F. L. Battles. Philadelphia, PA: Westminster, 1960.
\nCalvin, John. \u201cPreface.\u201d In Commentary on the Book of Psalms (1557). Vol. 1. Trans. James
\nAnderson. Edinburgh: Calvin Translation Society, 1845-1849. xxxviii.
\nCarter, Ronald. Language and Creativity: The Art of Common Talk. 2nd ed. New York: Routledge, 2016 (original 2004).
\nChandler Center for Arts. \u201cVision Statement.\u201d Online: http:\/\/www.chandlercenter.org\/about\/ about\/mission-vision.
\nCollingwood, R. G. The Principles of Art. Oxford: Oxford University Press, 1938.
\nCornwall, Judson. Elements of Worship. South Plainfield, NJ: Bridge Publishing, Inc. 1985.
\nCunningham, Loren. \u201cTranscript of Interview of Loren Cunningham on Original 7 Mountains Vision.\u201d In 7 Cultural Mountains. Nov. 18, 2007. Online: http:\/\/www.7cultural mountains. org\/apps\/articles\/default.asp?articleid=40087&columnid=4347.
\nDillenberger, John. A Theology of Artistic Sensibilities: The Visual Arts and the Church. Eugene, OR: Wipf and Stock, 1986.
\nGentile, Ernest B. Worship God: Exploring the Dynamics of Psalmic Worship. Portland, OR: Bible Temple Publishing, 2004.
\nHagberg, Garry. Art as Language: Wittgenstein, Meaning, and Aesthetic Theory. Ithaca, NY: Cornell University Press, 1995.
\nHeaney, Maeve Louise. Music as Theology: What Music Says about the Word. Eugene, OR: Pickwick Publications, 2012.
\nHibbert, Vivien. Prophetic Worship: Releasing the Presence of God. Dallas, TX: Cuington Press, 1999.
\nJensen, Robin M. The Substance of Things Seen: Art, Faith and the Christian Community. Grand Rapids, MI: Eerdmans Publishing Co., 2004.
\nJin, Dal Yong, \u201cHallyu 2.0: The New Korean Wave in the Creative Industry.\u201d In International Institute Journal. University of Michigan, Fall 2012. pp. 3-7.
\nKim, Daniel J. \u201cProphetic Authority: A Biblical Theology of Divine Commission.\u201dPh.D. dissertation, Fuller Theological Seminary, 2002.
\nMiller, Barbara. Cultural Anthropology in a Globalizing World. 2nd edition. Saddle River, NJ: Prentice Hall, 2008, 2010.
\nNiebuhr, Richard. Christ and Culture. New York: Harper Perennial Publishing, 2001 (original 1951).
\nOM Arts International.\u201cVision, Purpose, Values.\u201d Online: http:\/\/www.arts.om.org\/about\/ vision.
\nSailhamer, John H. \u201cGenesis\u201d in The Expositor\u2019s Bible Commentary: Genesis-Leviticus. Revised edition. Eds. Tremper Longman III and David E. Garland. Grand Rapids, MI: Zondervan Publishing House, 2008. pp. 21-323.
\nSeerveld, Calvin. Bearing Fresh Olive Leaves: Alternative Steps in Understanding Art. Carlisle, UK: Piquant, 2002.
\nStacey, W. David. Prophetic Drama in the Old Testament. London: Epworth Press, 1990.
\nSteiner, George. Real Presences. Chicago: University of Chicago Press, 1989.
\nSteiner, Rudolf. \u201cThe Arts and Their Mission.\u201d Lectures 4 and 8.(8 lectures delivered in Dornach, Switzerland, May 27-June 9, 1923). Trans. Lisa D. Monges and Virginia Moore. New York: Anthroposophic Press, 1964.
\nOnline:http:\/\/wn.rsarchive.org\/Lectures\/GA276\/English\/AP1964\/19230603p01.html. Online: http:\/\/wn.rsarchive.org\/Lectures\/GA276\/English\/AP1964\/19230520p01.html.
\nSUNY Levin Institute. \u201cWhat is Globalization.\u201dIn Globalization 101. The Levin Institute, The State University of New York, 2015. Online: http\/\/www.globalization101.org\/ what-is-globalization.
\nWinter, Ralph D. and Bruce A. Koch. \u201cAdvancing Strategies of Closure: Finishing the Task: The Unreached Peoples Challenge.\u201d In International Journal of Frontier Missions 19:4 (Winter 2002)15-25.
\nYonhap News Agency.\u201cPresident Park\u2019s Inauguration Speech.\u201d In Yonhap. Feb. 25, 2013.Online:http:\/\/english.yonhapnews.co.kr\/national\/2013\/02\/25\/95\/0301000000AEN2013022501500315F.HTML.
\n*Dr. Daniel J. Kim presented this paper at the Plenary session of the AMA Manila 2016 Convention held from April 18-22, 2016.<\/p>\n